IDA DIARY
Blandford Matteo ID:10039052 Studio 3 Live Project LIVE PALAZZO AR6003
TABLE OF CONTENTS:
I. Studio 3 - How the project began...p.7 II. Operazione Arcevia 1976...p.8 III. Strategy Inspiration - Regeneration...p.19 IV. Operazione Arcevia 2.0...p.34 V. Operazione Arcevia 2.0_LAB...p.35 VI. Palazzo D’Arcevia...p.40 VII. Strategy Inspiration - Economical Value...p.60 VIII. Re-branding of Operazione Arcevia 2.0...p.62 IX. Design Inspiration - Urban Interventions p.65 X. Person Scale - Conversation piece...p.94 XI. Community Scale - The Gift Concept...p.96 XII. February site visit...p.100 XIII. Community Scale - The Gift...p.118 XIV. UNIT+ Pavillion for Riserva Privata San Settimio...p.150 XV. FSE Foundry Site Visit...p.158 XVI. Organization April 2013...p.160 XVII. Operazione Arcevia 2.0 and LIVE Palazzo...p.168 XVIII. Building Scale - LIVE Palazzo HQ...p.194 XIX. Town Scale - LIVE Palazzo Agency...p.234
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Unit+ is a multidisciplinary group of creatives and skilled collaborators. The UNIT’s size fluctuates according to the specific needs of the indvidual projects. At the groups centre is a team of London based designers who believe that through collaboration of expertise and examination of ideas, the quality can be enriched. Unit+ was born through discussion between students of different Studios of the London Metropolitan University faculty of Architecture and Spatial Design in January 2012. Brought together by an extension of a live project undertaken by one of the students, Nicolo’ Spina, Unit+ grew to be made of 6 people and it ideated a strategy of workshop construction for the client’s property in the Marche region in central Italy.
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1. UNIT + Logo 2-3. Photos of Studio 3 2012 final exhibition. 4. Sketch model of private accomodation proposed to client 5. Final 3D model of private accomodation proposed to client 6. Master plan map of site with gallery and private accomodation.
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I. Studio 3 - How the project began
As UNIT + was born the client satisfaction grew. The initial live project undertaken by Studio 3 student Nicolo’ Spina was to design of a gallery space to be placed on the shore of a lake in the client’s site (Riserva Privata San Settimio). By January it expanded drastically. The gallery became also a workshop facility for architecture students and it was built by them after a series of construction workshops. The gallery hosted private collections of resident artists that would come to the client’s site and live/create for a period of time living in a private accomodation which was designed by UNIT +. Nicolo’ Spina designed the organization of the construction and of the workshops so that they would be relevant in a slow gradual redesign of the site. The construction was to begin in September 2012, before the first workshop, planned to happen in April 2013. In June 2012 at the end of the academic year funding hadn’t been found yet so we decided to visit the site in September and begin, as planned, with the first design workshop in April 2013. Upon visiting the site in September we discovered that the site was engaged in a masterplan redesign by 40 design collaborators in the 1970s and that the town immediately below the site is a drastically shrinking town, Palazzo D’Arcevia. Built sometime in the XIII century on a hill side, the town was a florent medieval settlement but since the closing of the local sulphur mine in the 1950s unemployment and lack of business brought the town of almost 500 to 8 residents with 20 visiting relatives. Our visits in September defined our work for the future and inspired more extensive intervention over a longer period of time, as it also defined my personal engagement with the site. When I came back to University I proposed a Live Project of a regeneration strategy of the town to Studio 2 tutors: Freddie Phillipson and Lucy Pritchard that were basing their studio project in the town of Gubbio, 48Km away. Interested but afraid of dividing the studio, they declined and so I proposed and was accepted again in Studio 3 by tutors Sandra Denicke-Polcher and Torange Khonsari on the base that it was a continuation of a project commenced in the previous year. This is only partially true as I am part of UNIT + outside of University but I did include UNIT + as a business strategy in my second year final project.
Operazione Arcevia 1976
7. Planimetry of masterplan development of Operazione Arcevia’s new settlement.
In 1976 the Bartoletti family published “Operazione Arcevia” a collection of works towards a new architectural landscape. “Operazione Arcevia 2.0” gives a brief history of Operazione Arcevia, reflecting on the plans first set out in 1972 and some of the work created by collaborators to the project during that era. 40 years later this research and the enthusiasm of Bartoletti’s family has informed UNIT+ to create a new phase of development with some of the original values at its heart. In 1972 Bartoletti with the help of architect Ico Parisi started Operazione Arcevia. Parisi introduced the idea;
through he’s pervious study, the suggestion of an existential community. He also wished to introduce to the area new “creators of beauty”, such as sculptors, painter and musician and other contemporary artist of the time, and to bring them together for the development of this new architectural landscape. Operazione Arcevia tried to intervene in the local situation, in a non- elitist way, and tried to create a new territory wide infrastructure through fixing the existing social, economic and cultural aspects of the area. One of these hypostatise was to have a residential and productive complex for a 600 users and housing for population of 400 inhabitants. To
integrate the agriculture reality of the time, they aimed to improve production to a point that the area would become self-sufficient for food and would be able to sustain all the inhabitants, permanent and visiting. After different studies they came to the realisation that this could only happen if inside the complex they could create employment for 50% of the residents. Moreover they thought about the potential of tourism and to create a hotel to house up to 50 visitors and a “ritiro laico” (a place for reflection, silence and peace). Also they thought about periodical cultural activity and facilities such as; a conference meeting room, exhibition space, a concert space, open
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air artistic activity, a series of study space used for research and artisan activity. For the founder of the project “Existential community” did not mean therapeutic community but they want to create a life model closer to the human needs of today’s world. Key to its success the inhabitants needed to adopt this new life dimension, the essential criteria was to development sociality between the inhabitant, the artist, the guest, and the farmer.
8. Operazione Arcevia Comunita’ Esistenziale. 9. Map of the area. 10. Plan of Operazione Arcevia’s Comunita’ Esistenziale 11. Conceptual image of city centre. 12. Impression of Existential Community settlement in the landscape. 13. View of one of the structures in the settlement. 14. Each collaborator had his say and could do anything relevant to the settlement - Example of designer intervention 15 - 16. View of one of the structures in the settlement.
17. Operazione Arcevia members visiting the site.
Operazione Arcevia members:
Antonio Michelangelo Arman Astengo Balderi Ignito Bairo Gabriella Bartoletti Italo Bertoncini Mario Burri Alberto Carrino Cavalieri Alik Cegna Giorgio Ceroli Mario Cesar
Consoli Vittorio Corneile Clementi Aldo Collina Giuliano Crispolti Enrico Di Bello Bruno Del Pezzo Lucio Dudley Rod Frasca’ Nato Guerra Tonino Maglione Milvia Manucci Miotto Antonio
Nikos Parravicini Antonio Parisi Ico Pennisi Francesco Restany Pierre Ricci Aldo Romanos Chrissa Sabbatini Sanejouand Serrini Giuseppe Somaini Francesco Sonzogni Vito Soto’ J.R.
Staccioli Mauro Strazzi Artemio Takahashi Shire Tilson Joe Trubbiani Valeriano
CREATIVE LAB THOUGHT FACTORY
CREATIVE LAB THOUGHT FACTORY 18
18. Shift in approaching the design - 1972 vs 2012
R I S E R V A P R I V A T A
SAN SETTIMIO
palazzo arcevia fabriano assisi gubbio
senigallia corinaldo castelleone san lorenzo urbino 19
In the past 40 years since the projects inception, through the passion of Bartoletti’s family some of the project has been realised, in forms very different to that the group suggested in 1975 final presentation. In the case of “visitor/tourist accommodation� there are now high quality accommodation for 80 people in renovated farm houses, a small formal conference centre, an artistic atmosphere with sculptor adorning many areas of the reserve and a level of self sufficiency of being able to feed the 17 employees and up to 80 guests from the land in the reserve. While the core ideals of the project have informed the development that has taken place, some of the fundamentals of Operazione Arcevia have not come to fruition.
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Initial thoughts about Operazione Arcevia 2.0
The first priority and epicentre of the 1970s project was the complex, which gave birth to the approaches and ideas of the “thought factory or creative lab”. For UNIT + the focus shifts away from the complex and to the “thought factory and creative lab” to be the nucleus of the projects evolution. The original infrastructure for creativity, (“ritiro laico” (a place for reflection, silence and peace), a conference meeting room, exhibition space, a concert space, open air artistic activity and a series of study spaces used for research and artisan activity) holds great importance to cultivate the thought factory. Interventions and projects attiring to these functions will mark the landscape built through the initiation of periodical cultural activity and workshops to enriching the reserves identity, the quality of space and the nurturing creative environment. Some of the interventions will take the form of ‘pop up’ studios - various shelters or items of furniture which will create/designate places to paint, write or simply dream. Together, these plans will encourage other practitioners - artists, architects, writers and conceptual performers crafts people other visitors - to come and interact with the site. The inclusion and partnership with these “beauty creators” is still at the heart of constructing this “thought factory” this is not a utilitarian project based around us but the beginnings of an open invitation for all to collaborate.
19. Map of the Reserve. 20. One of the Reserve’s Hotel hut.
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Survey and Proposal
Towering Sundial
Crystal Therapy Meditation Room
In September 2012, five members of Unit + journeyed to Riserva Privata San Settimio, at the invitation of the Bartoletti family, to carry out a survey work to document the area for future phases and to present some of the initial ideas from living on site for a week. Through this dynamic engagement using experiential and live mapping techniques across a range of different media (conceptual documentaries, sketches, models and a fairy tale inspired comic book) Unit + presented a new colour-coded navigation systems, the concept of open ‘air studios’, a proposal for a ‘floating’ meditation room and a towering sundial.
The Brief created by the unit for the Sundial is to create a beacon, a landmark to identify the reserve within the greater hilled agricultural landscape, that celebrates the reserve and to make a new statement of drawing in new interest and creativity. The construction is restricted to only using material harvested within the reserve, so that the material quality is a direct articulation of the site, hay bales, stone, timber and clay.
The meditation room takes influence from one of the member of the Family, Nicolo’, who practises crystal and bell theories. The platform which floats on the water rises and falls according to the season water collection. The structures its self is a 7 pillared supported triangluar pavilion which can be completely opened to the outside through a shuttered façade, allowing extensive connection to the outside world while still responding to the particular climate and weather of the day.
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Open Air Studio - Concept
Tree Mapping
Conceptual Video
Through the creation of objects at a furniture or pavilion scale location in the reserve will be redefined as destination and be given some constraints and become designated to particular types of activity.
A common characteristic visitor’s engagement with the area is that many people become lost in its vastness, the response currently in place is to call the park keeper and wait to be found. The proposal of the coloured navigation is along the lines of a ribbon bombing to take place on the site. To have specific colours correlating to particular ‘zones’ to aid in the navigation back to the centre of the reserve.
The video runs through 3 types of outside environments, hill top looking down towards a nearby town, sheltered woodland and one of the lakes. These locations would house the sundial, one of the open air studios and the meditation room.
21. Captions of timelapse video of the drawing of the reserve’s map on body - “The Birth” 22. Sketches of the Sundial.
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23. Model of the floating studio made in the reserve with clay from the lake. 24. Sketches of the studio
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23. Conceptual image of an Open Air Studio. 24. Initial sketch for the Mapping intervention. 25. Captions from video.
Strategy Inspiration - Regeneration.
Banners for the 2012 Venice Architecture Biennale
“This theme is a deliberate act of resistance towards the image of architecture propagated.” “I wish to promote the fact that architecture is internally connected, intellectually and practically, sharing common concerns, influences and intentions.” David Chipperfield
Sub-chapters:
JAPANESE PAVILLION - Architecture. Possible here? Home-for-all . BRITISH PAVILLION - Venice Take Away: New [Socialist] Village
Architecture. Possible here? Home-For-All.
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For the Japan National pavilion exhibit in the 2012 International architecture biennale in Venice, commisioner Toyo Ito presents: a proposal to offer housing solutions for all the people who lost their homes in the Great East Japan Earthquake of 2011, specifically in the city of Rikuzentakata.
Designboom.com interviewed Sou Fujimoto, one of the participating architects of this year’s Japan pavilion at the 2012 Venice Architecture Biennale:
Responding to architecture in the modern era by re-evaluating its aesthetic and formal definition within the context of a site currently undergoing a revitalization a series of potential projects are displayed atop bases made of solid wood planks. Natural timber columns seem to hold the pavilion from the open courtyard below, echoing the schemes of each dwelling anchored amongst a series of vertical pillars. Fullsize panoramas of the host city after the tsunami create the setting as a backdrop to the environment. “One characteristic of ‘home-for-all’ is the way in which those ‘making’ the facilities and those ‘living’ in the join together to discuss the project during the design and building processes... why a building is made, and for whom - have been forgotten. a disaster zone where everything is lost offers the perfect opportunity for us to take a fresh look, from the ground up, at what architecture really is.”
‘I was invited by mr. Ito to contribute to this project following several months post-quake during which I had not the slightest clue what I could do, or what approach to take, as an architect or as an individual. I was profoundly struck by the fundamental question of ‘whether architecture was still necessary, whether there was anything architecture could do, whether architecture was even possible’, and the idea that a new architecture could only emerge beyond those questions. I was gripped by a powerful desire to be present at the moment architecture is regenerated, alongside the fundamentals of human endeavor, and to see it through.
designboom.com
“He gave us an exclusive tour of the projects on show and discussed the important themes of the exhibition.
initially the project was plagued by difficulties. our strong focus on the search for this new architecture drove us round and round in circles. but once we arrived on site, speaking to the people we met there about the realities of their everyday lies, and actually having physically experienced the sit for ourselves, I began to sense the emergence of an architecture that would inevitably arise in this place, among these people; the product of snippets of conversation, scenes that lasted just a fleeting instant but stayed in memory: accumulating in orderly fashion. This architecture nearing completion does not seem to belong to any particular period or style. Yet it reaches out towards something universal. Can that be because the myriad of memories once held by this community, the bonds between people that are starting to take form here, the vitality of people going about their day to day lives; the countless experiences and memories and hopes that words cannot express possessed by people who have overcome a major disaster, have taken shape as a building via a method that could only occur here. It is something that did not exist anywhere before, and yet perhaps existed in the memories of everyone here. Thus, architecture emerges once again, from the people.’” Sou Fujimoto for designboom.com
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1-2.Photos by Naoya Hatakeyama of Rikuzentakata,before and after the Tsunami in 2011. 3.Photo by Naoya Hatakeyama of Rikuzentakata after the Tsunami in 2011. 4. Toyo Ito in the town of Rikuzentakata with the community showing the proposal for the town house. 5. Map of North-East Japan with indicated the cities with international support.
Rikuzentakata
Hachimohe Kamahishi Ofunato Kesennuma MinamiSanrikucho
Ishinomaki Omagawacho Shiogama
Shichigahamamachi
Tagajo Natori Sendai
Soma Iwanuma
Fukushima Prefecture
Iwate & Miyagi Prefecture 5
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THE IMPORTANCE OF A
COMMUNITY SPACE
IN THE REGROWTH OF A DESTROYED CITY IS:
6. Photos of the Japanese Pavillion at the 2012 Venice Architecture Biennale.
:DESIRE TO UNIFY A place to be together, a sense of community
:APPRENTICESHIP :SMALL PUBLIC BUILDING :NEW MEANING OF INDIVIDUAL Artisan workshop of construction
With materials from local manufacturers for free or cheap
Small in scale but the realisation comes from being together mind and heart
Those who build and those who live join in a discussion about construction and development
Venice Take-Away: New [Socialist] Village
Darryl Chen studied Caochangdi, an atypical ‘new socialist village’ on Beijing’s Fifth Ring Road with a thriving and diverse mixed-income community. Amongst the city’s singularly masterplanned mega-developments, Caochangdi is an anomaly. In the space created by the Chinese government’s evolving planning laws, the village’s growth is driven by the instincts of local peasants and the bohemian opportunism of artists who have established a set of unstated rules governing urban form. The Localism Act of 2011 provides the biggest opportunity in decades to rethink the role of planning. Chen argues that the time has come to breathe new life into the idea of the village by eliminating townscape sentimentalism and recovering economic growth as the primary driver of urban form. Chen’s project questions the seemingly oneway importation of Western ideas and expertise into China by asking, what can China teach the UK about planning?
Why did you want to be part of Venice Takeaway?
This is a forum for the best architectural ideas rather than the best work of a subjectively selected group of architects. The pavilion is showcasing game- ch anging ideas at a time when we desperately need to stimulate new thinking and new approaches to practice. Considering today’s economic climate, this seems more relevant than indulging in retrospectives.
Where did your idea come from? My idea sparked from frustration with the planning system and the arbitrary hurdles it makes you jump through. In the UK, I’ve noticed a kind of love of anomalous detail, which is both brilliantly distinctive and maddeningly frustrating. The Chinese, on the other hand, are able to unlock urban intensity and economic opportunism at a time when they’ve become more open to new ways of doing things.
How are research and exploration important to your practice?
Design doesn’t come from thin air. Research enables a platform for a design idea to take flight. The most interesting propositions come from taking found, sometimes unexpected, phenomena as a starting point, and asking ‘what if?’ I find that exceptions to norms often say as much, if not more, about a society than intentional urban design. Consequently, I’m interested in the fringe, the underrated, the unlikely and the
sometimes perverse. Research becomes a mode of operating without the rigidity of presumed outcomes. Interview published on the booklet: New [Socialist] VIllage
A culture of copying and making small adaptions can lead to the creation of a vernacular style of building. Incremental design improvements including small personalisation and micro-innovations will persist and be replicated throughout the village. A local identity will be enstablished that has emerged in an organic way. The Localism Act requires the geographical definition as a pragmatic necessity, with jurisdictional clarity over where the local regime of planning rules starts and ends. The positive consequence is that it reinforces difference between inside and outside the village, fostering a zone of experimentation. It intensifies locality and can potentially spark economic competition from village to village creating strong points of distinction, or unique selling points. The proposed restriction of plot sizes keeps land acquisition costs low, and maintains a low threshold to economic entry. Consolidation of plots is prohibited thus resisting volume house builders and large commercial developers whose economic interest may leave land undeveloped at the expense of local interests. A lack of restriction on material palettes, fenestration and ornament releases building projects. An imperative to build simply and cheaply thus finds the natural value point where the returns on investments are maximised and issues of taste are overshadowed by economic priorities. Under the Localism Act, ‘neighbourhood development orders’ are intended to facilitate certain types or extents of buildings without normal planning application procedures. An extension of this could see a near total relaxation of planning controls, and give up the control of buit development to negotiations at the level of the neighbour. This abolishes restrictions that a design guide or developement framework artificially imposes in the service of subjective notions of townscape.
Online banner of Darryl Chen.
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7. Holding the booklet given out at the British Pavillion at the 2012 Venice Architecture Biennale. 8. Images of Chaogandi from the booklet: New [Socialist] Village. 9. Images of Chaogandi from the booklet: New [Socialist] Village.
NEW [SOCIALIST] VILLAGE
IT FOLLOWS THE COUNTRY’S POLITICAL ETHOS AND ECONOMY BUT IT TAKES IT TO THE EXTREME
“GUERRILLA” ACTION OF CONSTRUCTION OF ILLEGAL ART GALLERY SPACES = AFFLUENCE OF ARTISTS. ILLEGAL ACTION WITH POSITIVE POLITICAL AND ECONOMICAL OUTCOME SPARES DEMOLITION
CHEAP SIMPLE EFFECTIVE, A NEW DESIGN GUIDE: COPYCAT CULTURE, PROMISE TO BUILD FREELY, TYPOLOGIES OF ACTION: DOMESTIC EXTENSION PLOT EXTRUSION, COURTYARDS IMPROVED, COMMERCIAL SLAB & WAREHOUSE REFURBISHED
A COLLECTIVELY REDEVELOPED SITE WITH MULTIPLE SMALL SELF BUILD STRUCTURES CREATES THE PERFECT CONDITIONS FOR ENTREPRENEURIAL STARTUPS AND A SELFSUSTAINED VILLAGE WITH VALUE ADDED PRODUCTS VILLAGE/AS/ START-UP/ VILLAGE/AS/ COOPERATIVE VILLAGE/AS/ THINKTANK VILLAGE/AS/ INDUSTRY
THE/ WORKING/ VILLAGE
Comments
These precedents were investigated upon the return from the reserve. I went to the Venice Architecture Biennale 2012 in VEnice and discovered them. I was looking at these examples in relation to Palazzo D’Arcevia and what our visit to the reserve meant. Palazzo D’ARcevia is the town which is gateway to the Riserva Privata San Settimio (centre of Operazione Arcevia). Investigating future for UNIT+ and Operazione Arcevia and my final year we began thinking and developing Operazione Arcevia 2.0 and I developed the pitch for my LIVE project for third year.
Riserva Privata San Settimio
Palazzo D’arcevia
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10. Model of property of Riserva Privata San Settimio
Conclusions
REPOPULATION STRATEGIES Desire to unify a place to be together and a sense of community.
CONTEXT -population in decline in non-metroadjacent towns -long period of economic adjustments -aging population -lack of immigration WHY IT MATTERS -potential of more tax income -cheaper services as a result -shrinking size of potential labour -expansion of public services -expansion of infrastructure -more labour in private sector
Apprenticeship , artisan workshop of construction Those who build and those who live join in a discussion about construction development
MAKE A LIVABLE COMMUNITY Elements of liveability: -economic opportunity -access to services -rise in quality of life/overall good quality of life
Small public buildings with materials from local manufactures for free or cheap
POTENTIAL STRATEGIES -reflection of:youth, young families, seniors -new population in rural areas: urban residents, immigration -repatriation YOUTH Reasons for leaving: -employment -education -exploring -relationships FORMER RESIDENTS Family/Social ties Greater Economic Opportunity NEW RESIDENTS Quality of life Services Cheaper Living
Small in scale but the realization come from being together mind & heart
new meaning to individual 11
Operazione Arcevia 2.0/12
Promotion
Foreigner awareness
Events: Jazz festival Film festivals Vivere in campagna Organization of event
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11-12. Diagram of strategy points
Employment is key
Being local is key
-Analise grounds -Offer -Make it happen
Implementing building Regulatory for procedure Economical boost
Collaboration from analysis
Operazione Arcevia 2.0
Operazione Arcevia 2.0 - Ethos 40 years ago Italo Bartoletti started Operazione Arcevia. The goal was to promote contemporary arts and create a place in the Marche region, specifically Arcevia, where art is born and created: a ‘thought factory and creative lab’ built by the ‘Beauty Creators’ of the time. Today Unit+ is developing Operazione Arcevia 2.0. In this continuation Unit+ are collaborating with artists who are free to work and invest their passions into building a new cultural and artistic hub in Riserva Privata San Settimio, and the surrounding areas. Proposals thus far include a series of ‘pop up’ studios: physical shelters or items of furniture that will define places to paint, write or simply dream. A meditation room: a place of reflection that exploits the areas natural beauty. A towering sun dial: the beacon for the hub that is being created. A colour coded tree mapping to give visitors a sense of time and place. These interventions that are powerful, symbolic and genuine representations of the reserves cultural, spiritual and artistic core, which provide the foundations for ideas and programs to arise and flourish. Our intention is to resume the work of Italo Bartoletti shifting the focus from the ‘thought factory and creative lab’ idea, into developing the nucleus for future projects that will mark the landscape, enrich the local identity and enhance the potential of regrowth. There are two concrete objectives in Operazione Arcevia 2.0: inspire research, as this is a place for inspiration and innovation; and to create an intercultural exchange, as this is a place where artists can compare their experiences and, by doing so, to work and create. We believe these plans will encourage other practitioners - artists, architects, writers, conceptual performers and other creative professionals - to come and interact with the site. The collaboration with these other ‘beauty creators’ is at the heart of constructing the nucleus. It is not a utilitarian project to the exclusion of others. Rather, it is the beginning of an open invitation to gather, collaborate, enrich, discuss, design and create together. Ultimately Operazione Arcevia 2.0 wants to organise recurring residencies for open-minded individuals from all over the world. There will be symposiums, seminars, art exhibitions and performances to enrich the minds
and souls of the region. In concomitance with Operazione Arcevia 2.0 we will be running the Operazione Arcevia 2.0_ School workshops and the Operazione Arcevia 2.0_Lab office and gallery facilities. Still all three activities deal with all expressions of visual contemporary arts. Operazione Arcevia 2.0_School The aim of this Operazione Arcevia 2.0 School is to explore the architectural design and art potential of small towns as cultural and artistic hubs. The town in consideration is Palazzo di Arcevia, it exists on the periphery of a major European economical hub – in this case, Ancona – and within the context of the current capitalist crisis. ‘According to the Wall Street Journal’s 2011 index of economic freedom, it’s easier to do business in Uganda, Rwanda and Botswana than in Italy’, observes one report. For countries like Italy, the longterm projection is that of continued high unemployment and financial instability. Indeed, it is a reality that all European countries are going to have to adapt to conditions of greater austerity and scarcity, as global capital shifts increasingly to eastern and southern Asia. As a general rule, it is the smaller satellite or peripheral towns that reflect more painfully economic and social crises than their big urban neighbours do. This is because larger cities possess more socioeconomic flexibility at a time of austerity and scarcity, and thus can behave in different, even often contradictory manners. This has been happening to Palazzo since the 50s when the only local economy, a mining factory, closed to relocate north in another Italian region, the effects of this are coming to its peak now as there are almost no more inhabitants in Palazzo and the average age is 70. By rediscovering the potential of such lost ghost towns, it allows the possibility for design and art to give birth to resistance and revolution, by creating new ideas, or else disappear. Palazzo could be seen to have taken both these routes in the 70s, with on one hand the utopian and yet genius approach to design of Ico Parisi and Italo Bartoletti with the original Operazione Arcevia based in the Riserva Privata San Settimio, and on the other hand the continuous shrinking of Palazzo; gate town to the reserve. This 10-day workshop is intended to investigate the role of the design and art
creative industries in the redevelopment of Palazzo D’Arcevia, which has less then 20 inhabitants, in its tourism, environment and economical businesses. Hence the participants in the workshop will have the option of projecting their intellectual discussions and design investigations to include as well the city of Arcevia, and as such look at possible future scenarios for the Arcevia/Marche region in, for instance, 2050. The workshop will be taking place twice a year, in April and September, with different themes for each workshop. For every theme there will be an appropriate team of tutors specialised or with considerable background in the matter of discussion. Following the initial activities of extensive site observation, re-reading existing local maps, and carrying out techniques such as ‘social mapping’ and/or other forms of documentation, the second stage of the workshop will be to produce conceptual design ideas which address the selected theme in Palazzo through design/art installation proposals. The design process will result in speculative, on-site 1:1 physical interventions to bring in the views of the local community about the issues. Therefore, from out of the selected proposals that emerge during the fieldwork research stage, workshop participants can then discover how innovative design and art proposals are translated spatially into responsive design by using both pragmatic and speculative, visionary and conceptual methods of representation and installation. For the workshop, participants will each be asked to address the selected theme under the title of regrowth, and then look at how urban forms and spaces are able to respond. As noted, the workshop will place particular emphasis on fieldwork research, mapping techniques, design testing, representation methods and close participation with the local community. The end outcomes will be a small exhibition and event of Operazione Arcevia 2.0 School work to be held locally in Palazzo; a project will be selected by the inhabitants, the owners of the Riserva Privata San Settimio (host of the workshop) and local authorities to be built and kept as a temporary installation to be placed in Palazzo. The exhibition along with an online pdf publication about the workshop that also has the potential to be also printed in hard copy (funds permitting). Hence each participant will have at the end of the
LIVE PROJECT Operazione Arcevia 2.0_LAB
workshop a body of research and design work plus a collective online publication from the Operazione Arcevia 2.0 to include in their portfolio when applying for design and art jobs or undergraduate and postgraduate courses. In terms of the outline schedule for the Operazione Arcevia 2.0 School, this will comprise of: Series of morning and evening tutorials followed by evening practical and theoretical lectures A day of mapping and social/urban documentation 2 days of intensive designing with a final review and debate in conjunction with a locals, owners and guests 3 days of finalising and constructing the selected proposal 1 day of event and exhibition This International Operazione Arcevia 2.0 School is aimed at those students who have some architectural design and art background at any university level, or with some related professional background.
Operazione Arcevia 2.0_Lab is an initiative that runs along side the Operazione Arcevia 2.0_School workshops both under the umbrella of Operazione Arcevia 2.0 projects sponsored by Riserva Privata San Settimio. The main focus of the Lab is the regeneration of Palazzo D’Arcevia using a redevelopment strategy on a damaged public school building. The Lab is the catalyst between the Operazione Arcevia 2.0 operations in the Riserva Privata San Settimio and the world outside this microcosm. It brings the creative outcomes and events of the Operazione Arcevia 2.0 and the reserve to Palazzo trying to involve the world to this secluded reality and raise awareness to the chronic shrinking of the town. The location for such events will be the redeveloped school. The ex-school becomes a gallery for events and exhibitions, initially mainly from Operazione Arcevia 2.0 operations, and a laboratory and office for local professional creative start ups, of the Marche Region, or locally involved but of an international origin. And as a later addition a community run independent theatre and cinema with attached a bar and coffee shop. The Lab will fight the shrinking of the city with a strong involvement of the inhabitants of Palazzo and the surrounding communities. The principles of community and the importance of a community space for a town to regrow are essential as is the importance of having a space to raise awareness of contemporary and real-time issues, as is shown in the community redevelopment strategies by Toyo Ito in action in the city of Rikuzentakata, Japan. And, as part of community improvement, giving the chance to fresh new voices to say their own thoughts and to exhibit their own artefacts is also key for the town to develop a sense of ownership and individuality. This last point being even stronger if the creators of such artefacts are living there as is proven by the redeveloped district of Caochangdi, Beijing made in collaboration with Ai Wei Wei. In June 2013 a proposal will be put forward to the council for the redevelopment of the ex-school and will be followed by a detailed business plan for a master redevelopment of the area taking as an example the town of Salemi in Sicily. Such business plan will look at re-evaluating the artisticcultural relevance of Palazzo; it will also
look at increasing the influx of tourism by creating new employment options resulting in numerous youth associations and economical start ups in the creative industry in the town.
1. Diagram of Operazione Arcevia 2.0 strategy
R I S E R VA P R I VATA
SAN SETTIMIO
1
SENIGALLIA
ANCONA
ROMA
2
3
NIDASTORE
LORETELLO
SAN PIETRO
Ripalta
RISERVA PRIVATA SAN SETTIMIO
PALAZZO
CAUDINO
MONTALE
San Ginesio
PITICCHIO Magnadorsa
Monte Fortino
ARCEVIA
Colleaprico
Costa
CASTIGLIONI
Santo Stefano Santa Croce Prosano
Civitalba AVACELLI
4
RISERVA PRIVATA SAN SETTIMIO
PALAZZO D’ARCEVIA
5
2. Map of Italy. 3. Map of the Marche region. 4. Map of council of Arcevia. 5. Map of boundaries of Riserva Privata San Settimio.
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6. Photos of Riserva Privata San Settimio
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6. Captions from video “Documentary� 7-8. 2012 and1976 photos of the gatherings of Operazione Arcevia.
Palazzo D’Arcevia
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2
1-2. Photos of Palazzo D’Arcevia
3. Areal view of Palazzo D’Arcevia
4. Photos of Palazzo D’Arcevia with correspondance to the location
5. Photos of Palazzo D’Arcevia with correspondance to the location
6. Photos of Palazzo D’Arcevia with correspondance to the location
Palazzo D’Arcevia is a town formed in the XIII century, though the first settlements of houses date back to the XI century. It grew fast due to its extensive agriculture in the vicinities. The castles in the vicinities never posed any threat as all of the castles are more or less of the same size. None, other than Arcevia prevailed in size. In the XVI century there were few families of Palazzo D’Arcevia that managed to have their name recognized, like Andrea Vici, architect and engeneer that became famous at a regional scale. From the XVII century the decline began and though a local sulphur mine opened in the XIX century, the city once strong was becoming weaker as the mining industry didn’t end up providing much wealth to anybody. In 1952 the mine closed and there was a big migration to Belgium where the mining industry was growing. In the 1970s with Operazione Arcevia the town had a rise in the demographics. Now it counts 8 inhabitants of avarage age of 80 years old, most of them with cares; Palazzo has become mostly a holiday town, it counts 200 people at maximum over the summer holidays.
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7. Images of Palazzo D’Arcevia in time 8. Map of Palazzo D’Arcevia with town extensions in time 9. Images of Palazzo D’Arcevia boundary walls
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10. 1300 map of Palazzo D’Arcevia 11. 1815 Map of Palazzo D’Arcevia 12. 1881 Map of Palazzo D’Arcevia 12
13. Map of Palazzo D’Arcevia properties
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14. Topographic map of Palazzo D’Arcevia vicinities 15. Dlanimetry of Palazzo D’Arcevia
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16. Model of Riserva Privata San Settimio properties 17. Model of Palazzo D’Arcevia
COMMUNITIES STATS OF THE REGION, PROVINCE, COUNCIL. POPULATION, BUSINESS, VOTERS, UNEMPLOYMENT, HAPPINESS, COMPANIES, ANIMALS, IMMIGRATION, INACTIVITY, ANALPHABETISM, SCHOOL, FRIENDS.
POPULATION 100%
100%
11% 13%
75%
75%
23%
50%
50%
53%
25%
25%
0%
0%
2608 TOTAL
3%
7%
11%
U.S.A.
ASIA
AFRICA
34% EUROPE
45% EU
Population on benefits: Pension 53% State Benefit 23% Invalid Pension 13% Civil Invalid Pension 11%
56.5%
50.7%
5300 TOTAL VOTERS
61%
63.9%
53.3%
360
57.6%
18
55.6%
59.4%
48%
55.7%
18. Diagrams of Arcevia’s economics and demographics
778 BUSINESS TOTAL AGRICULTURE MINES WATER GAS ELECTRIC CONSTRUCTION STOCK OF GOODS TRANSPORT OF GOODS TOURISM INSURANCE ESTATE AGENCIES ARTISANS/PROFESSIONALS EDUCATION HEALTH SERVICES OTHER
476 1 0 73 79 25 28 8 5 7 0 1 19 1
FOOD TEXTILES FURNITURE LEATHER WOOD REPROGRAPHICS MACHINES MAINTENANCE MINE REFINERIES METAL PRODUCTS COMPUTER NCA MACHINES
6 2 1 8 10 1 2 2 13 1 2
MANUFACTURING 55 18
ANIMAL COMPANIES
PORT OF ANCONA
AIRPORT ANCONA
CAR - 1 HOUR
CAR - 1 HOUR
DESTINATION
TIME
Tirana Roma Fiumicino Monaxo Skopje Dusseldorf Weeze Trapani Dusseldorf Weeze Trapani Roma Fiumicino Timisoara Monaco Trapani
0630 0655 0655 0700 0900 0905 0920 1045 1115 1130 1200 1225
Bruxelles Charleroi Madrid Palermo Monaco Tirana Alghero Stockholm Roma Fiumicino Palermo Cagliari Stockholm
1335 1335 1735 1825 1840 1925 1930 1930 1935 1940 2010
Cagliari
2120
3043
7116
3047
London Stansted 1330
London Stansted 2035 London Stansted 2215 18
FROM
COMPANY
Albania Croatia Greece Montenegro
Adria Ferries SNAV; Jadrolinija; Blue Line Anek Lines; Minoan Lines; Superfast Ferries Montenegro Lines
Cruise
Costa Crociere; MSC Cruise
CAR - 15min drive PUBLIC TRANSPORT: by Mobilitami-ATMA 05:40-05:57 13:50-14:06 15:31-15:47
VI3 to Arcevia BR3 to Arcevia VI3 to Arcevia
342
384
1786
1877 18
PEOPLE FIGURES POPULATION OF ARCEVIA 5300 28% DECLINE
100%
75%
50%
POPULATION ON BENEFITS 68% TOTAL OF 2608
25%
0% 1971
2001
2005
2009
FOREIGN CITIZENS TOTAL 8%=20%RISE 18
UNEMPLOYMENT WITH SCHOOL
18
POSTGRADUATE DIPLOMA 3.6%
A LEVELS/GCSE 21.7%
MIDDLE SCHOOL 26%
INACTIVE
TOTAL 2012 267080 TOTAL 1992 209680 VEHICLES 4472 ACCIDENTS 5 x year DEATH RATE 2.68:1
UNEMPLOYED TOTAL 2012 58830 TOTAL 1992 39810
ELEMENTARY/PRIMARY 31.6%
ANALPHABET 26.1%
NUMBER OF SCHOOLS 6
Strategy Inspiration - Economical Value.
Europe: Approaches to Urban Regeneration From the Cass Dissertation 2013 by Matteo Blandford In principle, a regeneration strategy tries to counteract a decline in a city or an attempt to rehabilitate impoverished neighborhoods by large-scale renovation or reconstruction of housing and public renovation works. The rehabilitation of substandard city areas by renovating buildings or demolishing and replacing them with new ones is often done without the consideration of the city before its decline, without considering the historical value. While the replacement of elements might appear appropriate, there is an element of ownership and – most importantly – of citizens still living in the city or with memories of the city which must be taken into consideration in order to provide the appropriate resolution of the problem. The failure of a city usually comes from the failure of the local businesses and not economically profitable grounds lead to a lack of interest by larger companies and private entrepreneurs to invest. The council, or the public official in charge of the city, then tries to make a profitable investment in order to regrow the conglomerate of houses to become a city again. If an investment is not made from public offices, or private investors, the town often experiences a slow continuous decline. The belief that there are no other alternatives stands from exposure to the success it had in other cities that are used as case studies. Thought it is not always the case, by result alternative investments must be taken into consideration. In Alternative Investment in Shrinking Cities, Brigit Schmidt explains: Three essential groups of initiators and participants in alternative investments are interim users, owner-occupants, and civic projects [...] Interim users seek opportunities for the limited-term use of spaces for locating business or engaging with the established community in the immediate surroundings. (1) Desire is expressed in the importance of being a part of something, “Owneroccupants are primarily important in urban residential situations.” But at the same time, “Civic projects implement new uses as a group”(2). Ultimately this boosts private investments over company investments and new economic players rise. The economy goal in this sense break with Capitalist objectives and move
towards the understanding that: one must pursue values and goals for reasons other than the purely monetary reasons. A practical example is that of a different rent structure: “traditional property rights are replaced by models of interim-use with limited-term rental agreement, rents that cover only operating costs, and rights of use in exchange for maintenance and upkeep of spaces, buildings, and lots.”(3) This is one of the solutions proposed by Birgit Schmidt in her article. Users become investors for a cause that yes, may turn out cheaper, yet it generates appropriation of a space and so the upkeep of such. Needless to say this works better in the use of existing structures over new built houses and it boosts cooperative thinking rather than competitive thinking and it lays the foundation for the creation of a new community. One now can divide for the appropriate individual cases the correct strategy of action. But if one must, one shall not only analyse the sample of the American man with savings and mortgages paid, but also consider that one may not have the necessary money requirements to initiate a business. So when intermediate uses take place, the opportunity for small entrepreneurs become more of a reality. Helle Tempo, a town in the Berlin district of Hellersdorf, not far from Helle Mitte, is a striking example. It is a town with a wide variety of interim-use spaces. The fulfilment of such task by the council was only able because of its spontaneity, without the bureaucracy, without the hassle, with the simple and effective desire of individuals following the proposed slogan “Space in exchange for ideas”. Klaus Overmeyer in his article Vacant lots as incubators? Interim-Uses in Shrinking Cities says: Interim-uses seem to be the miracle cure for the bankrupt districts, space surpluses, vacancy, and reduced budgets [...] Because lack of demand rules out the options of selling or building on unutilized properties, interim-uses often represent the only opportunity to stop the feared downward spiral--so that the urban network and public life can be preserved, at least temporarily.(4) Every aspect has a down side though, and as Overmeyer clearly states: Not every vacant lot is suited for interimuses. […] Strategic factors of a site’s location and transportation connections, synergies with existing interim-uses, relations with neighbours, and basic financial arrangements are crucial. [...]
The initiation and support of interimuse projects by district administrators or delegated sponsoring companies lowers the inhibitions of many citizens about becoming active themselves. Many examples demonstrate however, that the users leave the sites when the public programs run out as a result of budget cuts. (5) How can one avoid these problems, architecturally, from the start; if one cannot then how do we solve them? In the town of Barnsley, England, architect Will Aslop from Aslop Architects engaged in the city masterplan of the town after the closing of the coalmines. He structured the plan so that the initial step concentrated on understanding the city. It was divided into phases the first of which was the ‘visioning phase’ where he went around the town recording the reactions that the town residents to the question: “If you had £150m to spend on making Barnsley better, how would you spend it?”(6) Most of the answers were “free parking”. This phase was followed by a workshop where residents were asked to sketch or draw or list points of how they imagined a day in Barnsley in 10/15 years time. Beyond the dreams of the residents, the project and the town went through a branding exercise to boost the tourism: “Barnsley - a Tuscan hill town”. Barnsley isn’t and will never again be a commercial centre, “But it could be a pleasant place to live” says Aslop. In an interview with Aslop, Oswalt asked: “When you speak of re-branding, does it differ in any way from classic commercial strategies?” Aslop answered quite frankly, talking about the commercial side of the project, which must be taken into consideration: After the visioning phase we entered a more conventional phase. We investigated where opportunities lay, examined all the site boundaries and densities, came up with a master plan, and identified potential investors: all of which related to the vision and helped make it a reality. About £150m is being put into Barnsley, a mixture of private and public investment.(7) This master plan was structured to create community spirit, shortening distances between the workplace and the residences. Oswalt then posed a significant question on the effects of contemporary massive architecture, the “Bilbao factor”. (8) In the twentieth century urban
generation was picking up, forecasts were that globalization and the powers of multinational corporations would move towards investing in individual cities rather than nations. Thus cities set about “reinventing themselves” in order to gain as much as possible from the newly given interest, value was becoming more important than culture. Councils hoped to use a Starchitect to drive traffic and tourist income to their new facilities. With the popular and critical success of the Guggenheim Museum in Bilbao (Spain) by Frank Gehry, the city once in economic decline was brought back in huge financial growth. The media called it the “Bilbao factor” a star architect designing prestigious building that was the new landmark for the city. Shrinking cities expressed need to have this piece of iconic architecture to sprout a sense of ownership of the town. But as Bilbao at first did not accept the idea of a huge mega structure of the Guggenheim museum, how could Barnsley cope with it? How could Barnsley benefit from an iconic building? Most importantly, how best to convey identity, given that identity is a dynamic process, a fluctuating idea? If it is possible, does the city then depend upon this building to find its identity? Aslop replied, First of all, “genetic” identity theories since Erik Erikson have proven that identity is a dynamic process, as opposed to a static condition. Personal identity is thus bound up with educational and developmental processes. We can stimulate and foster identity. We can also, however, fall short of it or lose it.(9) Architect Ulf Matthiesen also discusses how processes such as the one that Aslop proposes, sometimes fall short of development as the individuals may not feel appropriation of such plan and thus wait upon the eventual unfolding of events, in their favour, in local politics and investments. Urban Societies may indeed strategically construct complex identity concepts, developed in accordance with their overall image, thus “stimulate” development. However, they cannot determine or impose forms of identity by simply providing “recipes” from an “identity cookbook.”(10) The construction of identity is a primarily self-organized process, going back to the Helle Tempo town example, were interim-use lots and buildings are guided by the existing community. Ulf
Matthiesen also says that for developers: The seemingly more marketable normativity of a glossy urban image campaign sets the dominant tone: branding is hip (though often unsuccessful). [...] This is precisely why so many “urban creativity” image campaigns have a uniform look characterized by design-obsessed superficiality…[and] “Real” Urban identity structures are constituted through civic negotiation processes.(11) So, to summarise, identity construction processes must manage: self-image, exclusion of the external image of the city portrayed by the media, control of the image through the media external and internal target audiences and ultimately create an urban typology from the previous three points. Artist Elske Rosenfeld describes how, A remarkably high number of the projects that have taken place in different context of shrinkage took place in [run down] modern housing estates. [They] have attracted artists for a number of reasons: they are seen by some as providing an interesting formal or conceptual context for artistic interventions, by others as a rich visual landscape - as a treasure chest of utopias that can be brought to the attention of others through art, if not back to life.(12) Projects have begun upon this belief and if on one side organizations have taken over the building for an art festival without considering much of the existing community, others have been more successful in this coexistence enabling both parties to meet and interact on equal terms. For example, Bad Elster (Germany) is characterized by a quite particular joie de vivre. The culture of the town values consideration over hecticness and it has the grounds to grow with the two realities coexisting. If one considers the value of the history of a place and what an older person can teach to the younger generations, then one must realize the value of culture. So the value of identity and culture of one city is set upon the shoulders of its elderly. Value as an untouchable quality of a place does not give a monetary return; it will give a social return. One of the effects can be less unemployment; if a greater part of the population is smart and more informed about the town’s history, it directly feeds into the potentially lucrative tourism and leisure industries.(13) The value of identity is high: if a neighbourhood is built and
one is a part of it, one might be inclined to do whatever it takes to not see it run down. Clear example of this is “anarchist” action of squatters in Rome (Italy). Some groups organize impoverished families that cannot afford rent in the centre of Rome and move them into new, empty high-rises in the outskirts. Such houses also become centres of creativity for their inclination to free thinking and no boundaries. Major creative individuals come from such places also because it provides them with the necessary empty space as well as freedom from constraints. When families inhabit empty areas in the city the place becomes lively and less inclined to be dangerous. Safety in a neighbourhood is also a strong factor for the elderly to decide to relocate there, even though squatted it has a sense of security. If an entire tower is squatted by families the council usually leaves them there, as it cannot afford to build council estates to house them all. Matthias Grunzig states in ‘Cities in an Aging Society’ that, “‘older people’ do not form a homogenous group.” In Germany, urbanism professionals have realised that a ‘one-size-fits-all’ approach does not work, so other modernist thinking countries shall not make the same mistake. The “Older people” as Grunzig states, necessitate a different array of utilities (services, elevators, access to spaces for wheelchair users) where they live, and further down the line, they will need more of them. Smaller towns in this case adapt quicker and more efficiently because security can be controlled easily in a small centre (security being a point perceived differently between the younger and the older generations). 1. In Shrinking Cities Vol.2. edited by Oswalt, Philipp (Berlin: Hatje Cantz, 2006) p. 387 2. Schmidt, ‘Alternative Investment in Shrinking Cities’ in Shrinking Cities Vol.2 ed. by Oswalt p. 386 3. Schmidt, ‘Alternative Investment in Shrinking Cities’ in Shrinking Cities Vol.2. ed. by Oswalt p. 386 4. In Shrinking Cities Vol.2. ed. by Oswalt p. 341 5. Overmeyer, ‘Vacant Lots as Incubators? Interim Uses in Shrinking Cities’ in, Shrinking Cities Vol.2. ed. by Oswalt p. 342 6. Aslop, ‘Architecture as Branding’ in Shrinking Cities Vol.2. ed. by Oswalt p. 753 7. Aslop, ‘Architecture as Branding’ in Shrinking Cities Vol.2. ed. by Oswalt p. 754 8. Witold Rybczynski, ‘The Bilbao Effect’, The Atlantic Monthly, September 2002. 9. Aslop, ‘Architecture as Branding’ in Shrinking Cities Vol.2. ed. by Oswalt p. 755 10. Matthiensen, Ulf, ‘Urban Identities’ in Shrinking Cities Vol.2. ed. by Oswalt p. 788 11. Matthiensen, Ulf, ‘Urban Identities’ in Shrinking Cities Vol.2. ed. by Oswalt p. 789 12. Rosenfeld, Elske, ‘What is Art Up To in Disused Buildings?’ in Shrinking Cities Vol. 2 ed. by Oswalt p. 355 13. Grunzig, Matthias, ‘Cities in an Aging Society’ in Shrinking Cities Vol.2 ed. by Oswalt p.257
Re-branding of Operazione Arcevia 2.0
1. New symbols in use - Upon UNIT+ return to London the project underwent major imporvements to its presentation and symbology. This was in preparation of press realeases to look for funding, to create awareness for the projects and to keep the client updated with a continuity in the design and in the project’s presentation. 2. Images of inspiration for logos of Operazione Arcevia. The bottom one is a painting of Palazzo D’Arcevia made in the XVI century.
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1
3
4
Logo Typeface
Text Typeface
CALVERT MT Std 8pt Light ABCDEFGHIJKLMNOPQRSTUVWYXZ abcdefghijklmnopqrstuvwxyz 1234567890 ÀàÁáÈèÉéÌìÍíÒòÓóÙùÚú
ITC LUBALIN GRAPH STD 8pt Book ABCDEFGHIJKLMNOPQRSTUVWYXZ abcdefghijklmnopqrstuvwxyz 1234567890 ÀàÁáÈèÉéÌìÍíÒòÓóÙùÚú
Regular ABCDEFGHIJKLMNOPQRSTUVWYXZ abcdefghijklmnopqrstuvwxyz 1234567890 ÀàÁáÈèÉéÌìÍíÒòÓóÙùÚú
Demi ABCDEFGHIJKLMNOPQRSTUVWYXZ abcdefghijklmnopqrstuvwxyz 1234567890 ÀàÁáÈèÉéÌìÍíÒòÓóÙùÚú
Book Oblique ABCDEFGHIJKLMNOPQRSTUVWYXZ abcdefghijklmnopqrstuvwxyz 1234567890 ÀàÁáÈèÉéÌìÍíÒòÓóÙùÚú
Book Oblique ABCDEFGHIJKLMNOPQRSTUVWYXZ abcdefghijklmnopqrstuvwxyz 1234567890 ÀàÁáÈèÉéÌìÍíÒòÓóÙùÚú Demi Oblique ABCDEFGHIJKLMNOPQRSTUVWYXZ abcdefghijklmnopqrstuvwxyz 1234567890 ÀàÁáÈèÉéÌìÍíÒòÓóÙùÚú
3. Logo option, later we decided to split it into three seperate logos. 4. Operazione Arcevia 2.0’s Logos - The new symbology is based on simplicity and geometry which makes it very graphic and modern, yet with the choice of Calvert MT Std as a font, it remains rooted in tradition of serif types; recalling to Italy and traditions.
Design Inspiration - Urban Interventions.
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Urban Interventionism “Public or participatory art through which publics constitute themselves and experience something extraordinary in the process. Artists working in this international vein often utilize outdoor video projection, found objects, sculptural artifacts, posters, and performance events that might include and involve passersby on the street. The goals are often to create new awareness of social issues, and to stimulate community involvement” George Yúdice
Sub-chapters:
LONDON The importance of communities. Barking Bath House - Something & Son The importance of home. London’s Largest Living Room - Studio Weave and Eley Kishimoto The importance of graphics. MVMNT Cafe’ - Morag Myerscough
1. Map of London in 1807.
THE IMPORTANCE OF COMMUNITY Barking Bath House - Something & Son
CREATE has commissioned Something & Son to design and build The Barking Bathhouse. Focusing on wellbeing, The Barking Bathhouse will experiment in the latest design, health and beauty ideas to help people feel happy and relaxed this summer during perhaps the most hectic period in London’s history. The Bathhouse will open on 24 July in Barking town centre and provide affordable spa treatments as well as a free social space for people to meet. Something & Son are the design practice behind the hugely successful FARM:shop in Dalston which saw the practice create a fully functioning farm within a disused shop. This new project is one of the Mayor’s Outer London Fund projects being delivered for Barking and Dagenham Council. The Barking Bathhouse will combine a spa with a bar, where visitors will be able to sip healthy cocktails under a canopy of growing cucumbers and sunbathe in seaside-inspired pebble bays. After soaking up vitamins and being pampered with a variety of treatments – using produce grown by local allotment gardeners – visitors will be able to sweat it out or cool down in a traditional wooden sauna or a cold room with a pioneering ‘dry ice’ chiller. The purpose-built design of the Bathhouse is inspired by 20th century working men’s bathhouses, ultra modern spas and Barking’s industrial heritage. Drawing on the industrial heritage of Barking, as well as the aesthetic of darkened timber farm buildings found in nearby Essex and the wooden beach huts of Kent, Something & Son will combine functional design and new spa technologies to create the Bathhouse building. The clear roofed structure of the bar area will allow high levels of sunlight into the communal space. In the treatment area, strong spotlights will pinpoint areas such as the nail bar, creating some drama in an otherwise low lit, tranquil space. A raw aesthetic throughout will challenge traditional notions of ‘luxury’ while creating a blissful space to relax. The pod-based structure, to be prefabricated and docked together on site, has been planned with the future in mind, and when the Bathhouse closes at the end of the summer the different pods will be separated with the aim of relocating them locally for continued use by the community, including local allotment owners, playgrounds and youth centres. The Bathhouse will also run a rich and
varied events programme with workshops, talks and discussions with happiness and wellbeing as the central ethos. From talks on whether money can make you happy to chocolate making and meditation workshops, the programme will focus on establishing personal happiness. A workshop on the beauty myth will offer photoshop makeovers showing how media images of beauty are unattainable, while laughter yoga, clowning workshops and comedy nights will all bring an extra bit of happiness to the day. Anna Doyle, Producer, CREATE, said: “We have developed a relationship with Something & Son over the past two years and are thrilled to have commissioned The Barking Bathhouse. Working with Barking and Dagenham we hope that the project will reinvigorate Barking town centre, bringing back a social space for local people, as well as providing a place for visitors to escape the crowds in central London during the Olympic period. CREATE is a great place to nurture new design talents like Something & Son, and The Barking Bathhouse is very exciting project for east London.”
2. Face of Muslim child and logo of Barking Bath House.
PROCESS PICTURES
BARKING
BATHHOUSE
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Something & Son
office
3. Map of Barking new development
FINISHED STRUCTURE PICTURES
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4. Sketches by Something and Son of the Barking Bath House.
CREATE
LONDON
+
Application for construction of pavillion created interest in the council.
+
BARKING
CONSERVATIVES
+
LABOUR
CREATE
GRANTS
CONSTRUCTION
£
SOMETHING AND SON
SURVEY AND REGULATIONS
DESIGN 5
5. Diagrams showing the flow of funding and organisation
Something & Son Something & Son is a design practice rooted in a long history of British inquisitiveness and experimentation, applied to the creation of a more sustainable world. “Our work reflects our varied backgrounds and shared passion for social enterprise, the environment, engineering and art. We like to create popular, provocative and witty work that tackles the big design and social challenges of our time. A keenness to collaborate has led us to work alongside swift experts, mushroom men, scrapyard merchants, farmers, scientists and sociologists.� - Some-
ARCHITECTURE TECH
ART
ENVIRONMENT
SOCIAL
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thing & Son
When I met with Andy, a co-founder of the practice, we chatted about how the Barking Bath House came about and a little bit of history of the practice. We met in the FARM:Shop, another successful project of theirs located in Dalston, London. Something & Son works like a pentagon, each project has its area of interest: from Architecture to Art, from Environment to Social, Something & Son covers everything. Matter of great interest for the practice are the existing communities and the easy direct message that architecture can give to them, a message of hope and reasurance, a message of change. Engaging with ech project with the existing and trying to work with the existing, examplary is the Barking Bath House because, thanks to the Outer London Fund, they managed to give grants to individuals from BArking with special interest to Health Treatments and SPA and on top of that giving them a permanent working position in the future Bath House, a more permanent option to the existing temporary bath house.
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ARCHITECTURE TECH
ENVIRONMENT
ART
SOCIAL 8
Something & Son created the Barking Bath House with Create sponsored by The Outer London Fund on the basis that Barking was in need of regeneration for a lack of an art scene and in response to the success of the public square by MUF Architecture in the vicinities. Through the funding the sum of money went also to cover grants for local individuals with interest in massages and health treatments to work in the temporary Bath House and later in the new location for the permanent version.
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6. Diagram of Something and Son business interest. 7. Photos of the FARM:Shop 8. Interests of Barking Bath House according to S&S 9. Photos of S&S projects 10. Image of black person over Barking Bath House
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THE IMPORTANCE OF HOME London’s Largest Living Room Studio Weave Eley Kishimoto
Designers Studio Weave and fashion designers Eley Kishimoto have collaborated on a range of super-sized street furniture for the London Festival of Architecture. Called Vistas, the range has been placed at venues across London starting in the courtyard at Somerset House, where last weekend they formed a temporary installation called London’s Largest Living Room. The furniture is designed by Studio Weave with a pattern by Eley Kishimoto. Creative direction is by Gerrard O’Carroll. The importance of home is to simbolize the potential of an outside furniture in giving a feel to a new space. In the light of such assumptio n it is only natural that we investigate aquiring such feel in the design for an outdoor environment to not feel alienated when lived.
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11. Structures touring the city
THE IMPORTANCE OF GRAPHICS MVMNT Cafe’- Morag Myerscough
The Movement Café is a new temporary café and performance space next to the DLR station in Greenwich, South East London, designed by British designer and artist Morag Myerscough. It sits in a corner of the site of the former Greenwich Industrial Estate that is currently being regenerated by developers, Cathedral Group. Built from scratch in just sixteen days to coincide with the opening of The Olympics (the developers thought it important that the gateway to the Olympic borough was not an unattractive construction site), The Movement Café is an explosion of colour and type and sits at the centre of an amphitheatre-like space created from the natural level of the site, post-demolition, being 2m below street level. It’s the result of a public art collaboration between Myerscough and Olympic Poet and prolific tweeter Lemn Sissay. Sissay has been commissioned by Cathedral to write a poem about Greenwich, which will eventually be set permanently into the road that cuts through the site when it is completed. In the short term, the poem, Shipping Good, is painted on the hoarding that wraps the site. Myerscough’s design for The Movement Café was inspired by one of Sissay’s tweets: This is the House. This is the Path. This is the Gate. This is the Opening. This is the Morning. This is a Person Passing. This is Eye Contact. Lemn Sissay, June 27th 2012 The designer has used words and phrases from this tweet and painted them by hand on large wooden panels, positioned over the core structure of the building which is covered in an original hand-painted Myerscough multi-coloured geometric pattern. Sissay’s tweets will be written daily on a blackboard in the cafe. The outdoor amphitheatre seating area provides a lovely, contemplative, sheltered place of respite for commuters and visitors to Greenwich and several times a week plays host to storytelling, poetry reading and acoustic performances. All furniture is made by Morag Myerscough and Luke Morgan from reclaimed laboratory tops. Cushions are hand sewn from kite fabric. The cafe’s prominent position at the gateway to one of the most important sites during the Olympic games, presented a unique opportunity to showcase the best of British design talent and creative collaboration. Designer Morag Myerscough
used the tweets of a poet to create the bold graphics surrounding this temporary cafe in London. Located close to the Olympic Park in Greenwich, the cafe was commissioned by developer Cathedral and constructed in just 16 days to coincide with the start of the games. The brightly painted words on the facade spell out phrases such as ‘this is the gate’ and ‘this is eye contact’, which originate from one of many creatively written tweets by poet Lemn Sissay. “I had worked with Lemn Sissay on a previous project and wanted to collaborate with him on this project,” Myerscough told Dezeen. “So we met up, and he mentioned these tweets he does everyday and I liked the idea of somehow incorporating them into this project.” The structure of the building is made from plywood, scaffolding and shipping containers. ”I have used containers before for projects,” she said, “but this time it was important to me that the containers were used only as a base and not as the main feature.” She also explained how her studio will re-use most of the materials when the building is deconstructed in a few months time. Myerscough collaborated with artist Luke Morgan to design the colourfully painted furniture, which includes stools and tables made from reclaimed wood. Amphitheatre-style wooden steps climb up around the edge of the cafe’s outdoor seating area and are covered with cushions made from kite fabric.
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12-13. Image if the MOVEMENT CAFE’ from the outside.
THIS IS THE HOUSE THIS IS THE PATH THIS IS THE GATE THIS IS THE OPENING THIS IS THE MORNING THIS IS A PERSON PASSING THIS IS EYE CONTACT
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14. Sissay’s (poet) Tweet on which the MOVEMENT CAFE’ is based upon
PROCESS PICTURES
Comments: In the above investigations I analised the importance of community in the retrieval of funding from N.G.O. and how also, one project can influence and give hope to a already existing and broken community such as the one in Barking, London, which suffered greatly from the riots between nationalist English and radical muslim parties. Barking also suffered from the regeneration of Stratford for the Olympic games in 2012. In the secondinvestigation, where graphics and more of an urban intervention by architects worked upon generating the feeling of home in a square. Even if supported by a festival the engagement was inspiring and it was a successful project as it changed the perspective of tourists and of visitors of the Somerset house. A newborn sense of community arose from the cold pavements of the strand and fun was given back to its population with the simplicity of design. In the third investigation of graphics I analised how a very graphic design,
not a licenced architect, managed to make a successful strategic building and managed, with a pop-up cafe aquire clientel and funding for the project. Even as a temporary structure the cafe was greatly successful. Granted it was a location for the Olympic games, Greenwich was a successful location and the cafe worked well in placing the stop on the “map�.
Operazione Arcevia 2.0_LAB Strategy Strategy 1:
With Operazione Arcevia 2.0 running in the reserve, the continuous visits by artists and creatives will benefit the area and create new possibilities for the school and LAB to grow to make a change. Through the art pieces produced in the workshops the gallery space will start to grow and the startups that will take over the space seasonally will have enough exposure to make it worth it. Workshops of the school will create installations and artefacts that will generate art events and exhibitions value added pieces identifying the local identity. The lab will fight the shrinking of the city with a strong involvement of the inhabitants of palazzo and the surrounding communities. The principles of community and the importance of a community space for a town to regrow are essential as is the importance of having a space to raise awareness of contemporary and real-time issues, as is shown in the community redevelopment strategies by Toyo Ito in action in the city of Rikuzentakata, Japan. And, as part of community improvement, giving the chance to fresh new voices to say their own thoughts and to exhibit their own artefacts is also key for the town to develop a sense of ownership and individuality. This last point being even stronger if the creators of such artefacts are living there as is proven by the redeveloped district of Caochangdi, Beijing made in collaboration with Ai Wei Wei.
R I S E R VA P R I VATA
SAN SETTIMIO
In june 2013 a proposal will be put forward to the council for the redevelopment of the ex-school and will be followed by a detailed business plan for a master redevelopment of the area taking as an example the town of Salemi in Sicily. Such business plan will look at re-evaluating the artisticcultural relevance of palazzo; it will also look at increasing the influx of tourism by creating new employment options resulting in numerous youth associations and economical start-ups in the creative industry in the town.
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Not to destroy but to rebuild is the only rule guiding private investments in real-estate for Palazzo D’Arcevia. Not to exclude the community but to help it rebuild itself is the rule guiding the social structure. Not to close the boundaries and to being open is the only rule guiding profitable economic flux.
1. Strategy 1 diagram
LIVE Palazzo Strategy Strategy 2:
R I S E R VA P R I VATA
SAN SETTIMIO
THE GIFT
CONVERSATION PIECE
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1. Strategy 2 diagram
Upon the study of the arts and crafts of Palazzo D’Arcevia and the situation in which the in-habitants have been living I can exclude the use of EU funding because the basis are inexistent for which a funding can be based. It is a process as earlier explained in the strategies investigations so a project for which a funding can deped on cannot be a viable way. Thought this study made me realise that an action from the people for the people can happen and if there is interest the value can be higher and so directly can be the revenue: in Palazzo D’Arcevia there are empty properties, there is openess towards the outside and the peoole are friendly to young initiatives. Hipothetically speaking I will investigate how a strategy can happen, dividing it into phases: Person scale, analysing how upon my first interaciton with the community they reacted and were keen to creatively thinking of a solution. Community scale, engaging with them as a whole, rather then going to each individual house presenting the project; a more group approach proposing them topics to spark conversations and asking them what do they think and how they imagine Palazzo can be in a more detailed perspective. Building scale, here more hipothetically imagining how the communtiy could be if they had a new business running in the town, and, within the same building, have a leisure facility and a common space to which rely on for company and happiness. Ultimately town scale, here proposing them a viable opportunity for them to regain the lost value of the town, with an organisation, an agency, which provides them with services and connections to start renting out their properties. This it is not only intended to make profit but also to enrich the community with a more human aproach, each house shall have a owner-occupant agreement on which to base their relationship for and following a design guide that simplifies the approach to redevelopment of properties in a simpler way, allow occupants to refurbish the house ad (by the owner’s sde) have a lower rent in exchange for work and ideas to re-value the property. As protection and faster boost of the community, the agency will also organise ho and when and for how long one occupant shall remain in one property, all of which shall be supervised by the owners. AS a mean of higher protection for the historical site, make it a UNESCO Heritage site.
Branding of LIVE PALAZZO
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A BCDEFG ABCDEFG H IJKLMN H I J K LMN OPQR STU OP QR S T U V WXYZ V WX Y Z 37
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C 2.33 M 15.74 Y 88.36 K 0 R 250 G 209 B 57 #fad038
C 76.08 M 17.72 Y 34.35 K 0.28 R 42 G 160 B 168 #2aa0a7
C 24.2 M 98.49 Y 50.03 K 7.28 R 180 G 36 B 87 #b32357
C 54.9 M 74.3 Y 72.93 K 77.91 R 45 G 21 B 16 #2c150f
C 2.04 M 0.13 Y 44.27 K 0 R 253 G 245 B 165 #fcf4a4
3 38. Font creation and selection of colours for it, this was a process as part of the branding exercise.
What follows is the work presented during the cross crit examination (of the 7th of December 2012). I presented to Studio 4 tutors Rufus Willis and Anna Ludwig and Studio 3 tutors. In the cross crit work was mostly presented in the format of a booklet. The format chosen turned out to be inappropriate as it was impossible to utilize it to explain the project to an audience (aside from a map that was bigger and presentable). At this point of the academic year the project and the studio were up to the design of the ‘conversation piece’: a device to spark conversation between the community in consideration; and, in my case, understanding how to integrate the necessities of the client and the necessities of the inhabitants.
YOU WOULD HAVE BEEN BORN IN PALAZZO
In April 2013 there is an event to engage with the community, I had to create a temporary installation of explanation of my project. At this point of the academic year, no plans were yet made for the installation. A survey of179 the area was also presented.
YOU WOULD HAVE GROWN IN PALAZZO
As mentioned before the work has been modified to be less of a negative approach and has been modified to integrate all of the necessities of the client and the academic year.
BUT PALAZZO IS DYING
LIVE IN PALAZZO 40 4
2. LIVE Palazzo font creation 3. LIVE Palazzo font colouring 4. LIVE Palazzo manifesto
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5. Sketches of living room and of font 6. Sketches of living room furniture 6
7. Sketches of branding for LIVE Palazzo
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8. Images of the coat of arms in use in the XVII century in Palazzo D’Arcevia and in Arcevia.
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“Palazzo, un’immagine della memoria da salvare” cit.
“Palazzo, an image of the memory to save” cit.
2050 d.c.-Come saranno le cittá in continuo declino demografico in un futuro non troppo remoto? Come si possono recuperare le cittá fantasma?
2050 a.d.-How will the cities in constant demographic declin be in a not to distant future? How can we save ghost towns?
Ad Aprile 2013 Unit+ in collaborazione con la Riserva Privata San Settimio presenteranno a Palazzo D’Arcevia un’installazione prodotta tramite lo studio che analizza il passato ed il presente ed immagina un futuro per le cittá fantasma. Prendendo come caso esemplare Palazzo D’Arcevia vogliamo offrire una ipotetica soluzione al problema delle cittá in contrazione e le cittá fantasma (di cui è costellato il centro Italia). L’installazione temporanea non vuole essere un prodotto finito ma vuole essere il mezzo attraverso il quale, insieme a voi, abitanti di Palazzo D’Arcevia, immaginiamo un futuro insieme. La struttura interattiva rappresenterá un’ idea e al contempo raccoglierà riflessioni e domande per portare il progetto a una fase di più precisa analisi. A Giugno sará poi presentato un documento riassuntivo del progetto e delle proposte finalizzate al Comune. Il fine ultimo di “LIVE Palazzo” é quello di sperimentare una collaborazione tra designer/artisti e gli abitanti delle citta’ in contrazione, in questo caso di Palazzo D’Arcevia, per iniziare discussioni sulla rivitalizzazione della cittá, al fine di ideare insieme strategie per recuperare e rivivere il centro italia nella sua storia e nel suo futuro unendo le arti con la vita di tutti i giorni. Vi mandiamo queste carte da gioco fatte su misura per Palazzo D’Arcevia per riflettere in attesa del progetto che avverrà ad Aprile 2013 ma soprattutto per farvi divertire! Sono state ispirate dali mestieri e dalle arti di Palazzo. Per ulteriori informazioni: www.operazionearcevia.org www.sansettimio.it
In April 2013 UNIT+ in collaboration with Riserva Privata San Settimio will present in Palazzo D’Arcevia an installation produced through a study that analises the past and the present and imagines a future for ghost towns. Taking Palazzo D’Arcevia as an examplary case we want to offer an hipothetic solution at the problem of shrinking cities and ghost towns (of which the centre of Italy is full). The temporary installation doesn’t want to be a finished product but a tool through which, together with you, residents of Palazzo D’Arcevia, we imagine a future. The interactive structure will represent an idea and will gather thoughts, ideas and information to bring the design to a higher level of detailed analisis. Subsequently, in June 2013, we will present a summary document of the project and of the final proposals to the council. The goal of “LIVE Palazzo” is that of experimenting a collaboration between designer/artists and the inhabitants of shrinking cities, in this case Palazzo D’Arcevia, to spark conversations on the revitalization of cities; ultimately to ideate together strategies to recover and re-live the centre of Italy in its history and in its future unifying the arts with the every day life. We are sending you these playing cards made especially for Palazzo D’Arcevia to start thinking about the project before April 2013, but also the have fun! They were inspired by the arts and crafts of Palazzo. For additional information: www.operazionearcevia.org www.sansettimio.it
9. Logo Operazione Arcevia 10. Logo Live Palazzo
NIDASTORE
LORETELLO
SAN PIETRO
Ripalta
RISERVA PRIVATA SAN SETTIMIO
PALAZZO
CAUDINO
MONTALE
San Ginesio
PITICCHIO Magnadorsa
Monte Fortino
ARCEVIA
Colleaprico
Costa
CASTIGLIONI
Santo Stefano Santa Croce Prosano
Civitalba AVACELLI
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11. Diagramatic map of Arcevia Council
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12. Diagramatic map of Riserva Privata San Settimio and Palazzo D’Arcevia
13. Diagramatic map of LIVE Palazzo intentions from research
FU
F L I O F L E L
!! !
RISERVA PRIVATA SAN SETTIMIO
PALAZZO D’ARCEVIA
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Person Scale Conversation Piece
In order to provide the project with funding and to create awareness for the disappearing city, as a mean to spark a conversation what could be better then a deck of playing cards. Scopa cards are traditionally italian, played at all ages but mostly with elderly, it is a very common pastime. Scopa is an Italian card game, and one of the two major national card games in Italy. It is also popular in Brazil, brought in by Italian immigrants, mostly in the Scopa di Quindici variation. It is played with a standard Italian 40-card deck, mostly between two players or four in two partnerships, but it can also be played by 3, 5, or 6 players.
The choice of the symbols on the cards is in response to Palazzo, it’s businesses and requirements. The Marche region, famous for its leather goods governs the back of the cards. Money, the most important symbol of the deck is represented by the coin. Wine, a local product is another symbol. Spade for the agriculture of the area. Wood, for the construction companies of the area that have a big involvementin the business of the area.
A deck of Italian cards consist of 40 cards, divided into four suits. Neapolitan, Piacentine, Triestine, and Sicilian cards are divided into Coppe (Cups), Ori or Denari (Golds or Coins), Spade (Swords) and Bastoni (Clubs), while Piemontesi, Milanesi and Toscane cards use the ‘French’ suits, that is Cuori (Hearts), Quadri (Diamonds, literally “Squares”), Fiori (Flowers) and Picche (Spades, literally “Pikes”).
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The values on the cards range numerically from one through seven, plus three face cards in each suit: Knave [Fante in Italian] (worth a value of 8), Knight [Cavallo in Italian] in the Neapolitan-type decks or Queen [Donna in Italian] in the Milanese-type decks (worth 9), and King [Re in Italian] (worth 10). A Knave is a lone male figure standing. The Knight is a male figure riding a horse; the Queen is a female figure. The King is a male figure wearing a crown. To determine the face value of any numeric card, simply count the number of suit icons on the card. Since the Coins are important in winning some points, the cards of that suit are also nicknamed as “bello” (handsome): so, “il settebello” is the Seven of Coins, “l’asso bello” is the Ace of Coins/Diamonds Designed by Unit+ Attributes of Icons from The Noun Project: Acorn designed by Adam M. Mullin from The Noun Project. Bird Cage designed by Matthias Schmidt und Jule Steffen from The Noun Project. Coins designed by Bram van Rijen from The Noun Project. Cow designed by Olivier Guin from The Noun Project. Drop designed by Fernando Vasconcelos from The Noun Project. Bird designed by Bram van Rijen from The Noun Project. Horseshoe from The Noun Project. Shovel designed by Steven Dow from The Noun Project. Wine designed by Paul Philippe Berthelon Bravo from The Noun Project. Flower from The Noun Project. Grape designed by Stefano Bertoni from The Noun Project. Hit designed by Andrey Gerasimov from The Noun Project.
2 1. Original Scopa cards 2. Mockup of proposed cards
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3. Proposed cards version
Community Scale The Gift-Concept
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THE GIFT LABORATORY
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EVENT LOCATION
In the backyard of the ex-school building I’m proposing to the mayor to host an event to create awareness for Palazzo, as many other towns in the Marche region and Italy, as a shriking reality: in population and economy. Palazzo in particular which is so full of Art history is at the core of my involvemente in the area and the first step to the regeneration of the twon is trying to involve the existing community in the action to create a communal space for the inhabitansts to meet and work and enjoy life. As I point out in the first precedent booklet the importance of having a communal space for the regenration of a town is essential. And the importance of communities in cities or towns is crucial. I chose this building as it was a school, it is not accessible for safety reasons but it is still public property and it could be reutilized for better purposes that can benefit Palazzo
1-2. Examples of billboards to create awareness for the proposed event. 3. Photo of location for event to which present the temporary structure-the gift.
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Crit feedback - 7 December 2012:
Comments:
-Talk through drawings. All the talking you do must be in a drawing. This is your checklist. -The most painful presentation I have heard. -What is the proposal? What do you want to do? Why is it dying? -The books won’t work as a medium of presentation consider powerpoint presentation or portfolio pages. -Timetable of phasing of project, what you are doing and why: _ Playing cards: when and why _ Event: what are you doing and why - Proposing of the phases is really important: costs and problems.
After the crit I went back analysing more the economies and the people but without the resources from aborad I had to go to Italy and find out. I booked a flight for the following February in order to gather more of the necessary information about the present and past of Palazzo D’Arcevia. In order to gather the information from abroad I contacted the planning commission for the council of Arcevia (firstly to get the plans for the future building proposal for the site chosen) secondly to find more about the actual number of people living there and the economies more locally (rather than at council scale). After the crit I also started designing the event in the shape of a living room. We had a series of workshops with a graphic designer that made me also wonder on the decision of the fonts and the invasive graphics of the event’s billboards. He made me look at typographers from Italy from the period after the second world war. These two things made me completely change the idea for the event and instead of making it an installation, I started thinking of making it out of works and basing the entire work on graphics in the city. The event is intended to valorize the present and the past of Palazzo D’Arcevia.
Thoughts: -What is the scale of the regeneration? -Should the town be smaller or bigger then it was? Liability? -Strategic investigation of what happens in the place. -Should it get UNESCO status or have EU funding for its scenario to become more real? -What is the relationship with the client? -Regenerate with artists
4. Conceptual image of living room outside boundary walls
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5. Sketches for furniture of the living room
February Site Visit
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1. Tickets of February flight to Italy
Email Correspondance for February
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Mayor Andrea Bomprezzi Tourism Commissioner Fiorenzo Quajani
Planning Commissioner Massimo Bergamo
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2. Photo of Mayor, counsillor for tourism and planning
Client: Carolina Bernasconi
Client: Roberto Coda Zabetta
3. Photo of Clients
Email Correspondance with Planning Commisioner Massimo Bergamo for ex-school plans
Email Correspondance with Planning Commisioner Massimo Bergamo for ex-school plans
21 November 2012 Matteo Blandford to Massimo Bergamo
21 November 2012 Matteo Blandford to Massimo Bergamo
Egregio Sig. Bergamo,
Dear Mr. Bergamo,
Le scrivo per avere informazioni su metodi di acquisizione di piante e sezioni catastali di edifici pubblici nella frazione di Palazzo D’Arcevia, piu’ specificatamente dell’edificio ad uso scolastico (allegata trova un immagine con indicazione precisa). Sarei inoltre a conoscenza del fatto che l’edificio non e’ in uso per mancanza di studenti e, da fonti meno affidabili, che possa inoltre essere inagibile per danni del terremoto; mi chiedevo se Lei abbia piu’ informazioni a riguardo.
I am writing to get information on methods of acquiring land registry plans and sections of public buildings in the village of Palazzo D’Arcevia, more specifically for school use (attached is a picture with a precise indication). I would also be aware of the fact that the building is not in use for lack of students, and from less reliable sources, which can also be closed due to earthquake damage, I was wondering if you have more information about it.
Sono uno studente di architettura della London Metropolitan University. Sto completando l’ultimo anno della triennale di architettura e come tesi sto attuando un progetto in congiunzione con la Riserva Privata San Settimio e Unit+ chiamato Progetto Arcevia 2.0. Parte di suddetto progetto si occupa della rigenerazione di Palazzo D’Arcevia. La prego di scusarmi per il disturbo, spero che per Lei sia possibile raccogliere tali informazioni. Se necessita ulteriori informazioni non esiti a contattarmi. Egregi Saluti.
22 November 2012 Massimo Bergamo to Matteo Blandford Buongiorno, purtroppo non abbiamo molto materiale per quello che ci chiede; abbiamo comunque delle piante dell’ex scuola, che possiamo mettere a Sua disposizione (ma non in formato digitale). Il fabbricato non è più in uso perchè inagibile a causa del cedimento di una parte del solaio del primo piano, non dipendente dal sisma del 1997. Possiamo prendere un appuntamento per farLe vedere il materiale disponibile; mi faccia spaere. Buon lavoro, cordiali saluti Massimo Bergamo
27 November 2012 Matteo Blandford to Massimo Bergamo Buongiorno, grazie mille per la risposta, non importa se il materiale in questione e’ limitato, lavorero’ con quello che si ha. L’unico dilemma che sorge e’ che sono residente a Londra per l’anno scolastico per finire la tesi e non avro’ l’opportunita’ di passare per Arcevia fino ad Aprile, data nella quale sarei piu’ che disponibile nell’incontrarLa. Se fosse possibile per Lei spedire delle fotocopie per posta, o far delle foto o scanerizzarlo e mandarle via mail, Le sarei estremamente grato per questo favore. Sono a disposizione di pagarLe le spese di spedizione.
I am a student of architecture at the London Metropolitan University. I am completing the last year of the three-year architecture thesis and how I’m implementing a project in conjunction with the Private Reserve San Settimio and Unit + called Project Arcevia 2.0. Part of this project is concerned with the regeneration of Palazzo D’Arcevia. I apologize for the inconvenience, I hope for you it is possible to collect such information. If you need more information do not hesitate to contact me. Kind regards
22 November 2012 Massimo Bergamo to Matteo Blandford Hello, unfortunately we do not have a lot of material for what it asks of us, though we still have plans of the former school, which we can put at your disposal (but not in digital format). The building is no longer in use because its unfit for use due to the failure of a part of the first floor slab, but it has not been affected by the earthquake of 1997. We can arrange an appointment to see the available material; let me know when it may suit you. Good work, best regards Massimo Bergamo
27 November 2012 Matteo Blandford to Massimo Bergamo Good morning, thank you very much for your answer, it does not matter whether the material in question is limited, I will work with what you have. The only dilemma that arises is that I’m set in London for the school year to finish and will not have the opportunity to go to Arcevia until April, the date on which I’d be more than happy to meet you. If it were possible for you to send photocopies by mail, or have photos or scan and send them via e-mail, I would be extremely grateful for this favor. I’m available to pay the shipping costs.
A riguardo delle condizioni del fabbricato, sarebbe disponibile un documento piu’ dettagliato a riguardo dell’inagibilita’ e delle cause? Immagino che essendo la struttura inutilizzata e senza scopo di riutilizzo per mancanza di studenti, il fabbricato sia rimasto inagibile dalla data del cedimento del solaio. Basando la mia tesi su Palazzo D’Arcevia sarebbe interessante sapere se ci sono state proposte di ristrutturazione e/o di riutilizzo della struttura? Saprebbe inoltre indicarmi un recapito per informazioni piu’ dettagliate su Palazzo e la sua attuale popolazione, economia locale, indici di migrazione e dati catastali piu’ precisi di quelli reperibili sul sito arceviaweb.eu?
In this respect the conditions of the building, would be available a document more detailed about the inagibility and the causes? I imagine that the structure being unused and not-for-reuse for lack of students, the building has remained unusable after the date of the collapse of the floor. Basing my thesis at Palazzo D’Arcevia would be interesting to know if there have been proposals to restructuring and/or reuse the property? Could you also tell me a contact for more detailed information about Palazzo and its current population, local economy, indices of migration and land registry, I’m looking for more precise data than the one found on the website arceviaweb. eu?
Grazie ancora in anticipo, buona giornata.
Thanks again in advance, good day.
Egregi saluti,
kind regards,
30 November 2012 Matteo Blandford to Massimo Bergamo
30 November 2012 Matteo Blandford to Massimo Bergamo
Buonasera Sig. Bergamo,
Good evening Mr. Bergamo,
Le scrivo per rammentarLa dell’ultima Mia e per chiederLe se ci sono stati sviluppi riguardo la mia richiesta di Piante Catastali del fabbricato ex-scuola situato appena fuori dalle mura di Palazzo D’Arcevia e delle altre informazioni richieste.
I am writing to ask you to remember it last email and if there have been developments regarding my request for Plans of the former school building located just outside the walls of Palazzo D’Arcevia and other required information.
Le scrivo inoltre per chiederLe informazioni sulle procedure, ed eventuale disponibilita’, per la proposta ed allestimento di un evento nel cortile sul retro della scuola sopracitata. A scopo del progetto che le ho menzionato nella Mia prima email, sarebbe estremamente rivelante per la buon fine del progetto poter avere a disposizione la corte per un evento, della durata di un giorno. L’evento non e’ inteso a fini di lucro ma allo scopo di far conoscere agli abitanti di Palazzo D’Arcevia l’interesse nostro (di Unit+) e mio personale nei riguardi di Palazzo. La ringrazio in anticipo, Egregi saluti
I am writing to ask you also for information on procedures, and possible availability for the proposal and preparation of an event in the backyard of the aforementioned school. A goal of the project that I mentioned in my first email, it would be extremely important for the good end of the project to be able to have the court for an event, lasting one day. The event is not intended for profit but for the purpose of making known to the inhabitants of the Palazzo D’Arcevia our interest (of Unit +) and myself in regard to the Palazzo. Thank you in advance, KInd Regards
4 December 2012 Massimo Bergamo to Matteo Blandford
4 December 2012 Massimo Bergamo to Matteo Blandford
Mi scuso, ma non ho potuto rispondere prima (sono ad Arcevia solo il martedì e il giovedì). Sto cercando di recuperare del materiale che possa essere utile sulla scuola, e che le trasmetterò via e-mail; intanto posso informarLa che l’edificio è inagibile dal 2009 (fino allora è stato regolarmente utilizzato) per il cedimento di una trave del solaio del primo piano; da allora non si è parlato di nuova destinazione, tanto che il fabbricato è attualmente in vendita. Per i dati demografici e sociali, può contattare l’ufficio anagrafe del Comune (r.verdini@arceviaeb.it), mentre per informazioni di tipo socio-economico non sono in grado di dare un riferimento preciso; un paio di anni fà è stato comunque pèubblicato un libro sul castello. Per i dati catastali, non ho capito cosa Le serve esattamente, se può essere più preciso cercherò di aiutarLa. Quanto alla richiesta per l’organizzazione dell’evento, ho trasmesso la Sua richiesta al Sindaco, cui compete l’eventuale autorizzazione. Cordiali saluti Massimo Bergamo
I apologize, but I could not answer before (I’m in Arcevia only on Tuesdays and Thursdays). I’m trying to retrieve the material that will be useful on the school, and then I will send them by e-mail, meanwhile I can inform you that the building is unfit for use since 2009 (until then it has been regularly used) for the collapse of a beam in the ceiling of the first floor, and since then there was no talk of a new destination, so that the building is currently for sale. For demographic and social data, please contact the registration office of the City (r.verdini @ arceviaeb.it), while socio-economic information are not able to give a precise reference, a couple of years ago was however published a book about the castle. For plans data, I did not understand exactly what’s needed, it may be more accurate I will try to help you. As for the request for the organization of the event, I forwarded the request to the Mayor, which is responsible for authorization, if any. Sincerely Massimo Bergamo
11 December 2012 Matteo Blandford to Massimo Bergamo
11 December 2012 Matteo Blandford to Massimo Bergamo
Buongiorno Sig. Bergamo,
Good morning Mr. Bergamo,
Grazie mille per la Sua risposta, mi scuso per il ritardo ma ero via per un congresso. Aspetto il materiale che sta recuperando, grazie ancora per la Sua disponibilita’. In quanto ai dati catastali, intendevo informazioni del tipo: quante case sono utilizzate per tutto l’anno, quante di privati ma in qualita’ di casa vacanze e quante sono in disuso per tutto l’anno. Quante in vendita e qual’e’ il valore medio di una casa nel centro storico di Palazzo D’Arcevia? Credo che tali dati siano disponibili nell’ufficio anagrafe?
Thank you very much for your reply, I apologize for the delay but I was away for a conference. I’m waiting for the material that is recovering, thanks again for your availability. As for the plans data, I mean information such as: how many houses are used throughout the year, but how many of private ownership for a holiday home and how many are in disuse throughout the year. How many for sale and what’s the average value of a house in the historic Palazzo D’Arcevia? I believe that this data is available in the office registry office?
In quanto all’evento, e’ in fase di progettazione le faro’ sapere quando e se si concretizzera’.
In the event, and at the design stage I’ll let you know if it materializes.
Grazie per il contatto con l’anagrafe, le scrivero’ una mail al piu’ presto.
Thank you for contacting the registrar, I’ll write an email to them as soon as possible.
Egregi saluti,
Kind regards,
Matteo
10 January 2013 Matteo Blandford to Massimo Bergamo Buongiorno Sig. Bergamo,
Matteo
10 January 2013 Matteo Blandford to Massimo Bergamo Good Morning Mr Bergamo
Spero che abbia passato delle piacevoli vacanze del santo natale e che l’inizio del 2013 stia procedendo bene. Le scrivo per rammendarLa della mia richiesta per le piante catastali dell’immobile, ora inutilizzato, adibito a scuola elementare. Mi dispiace disturbarLa ancora ma mi servirebbero alquanto urgentemente il prima possibile. Inoltre Le anticipo che sarò nei pressi di Arcevia agli inizi di Febbraio 2013, mi piacerebbe organizzare un incontro con Lei per parlare di Palazzo D’Arcevia. Mi faccia sapere quando potrebbe essere disponibile per tale incontro. Egregi Saluti,
17 January 2013 Massimo Bergamo to Matteo Blandford In allegato la documentazione relativa alla scuola di Palazzo. Per quanto riguarda le planimetrie di inquadramento urbanistico, potrà trovare sul sito www.arceviaweb.eu la documentazione del Piano Regolatore Generale. Mi scuso per il ritardo nella risposta, ma questo inizio d’anno è stato molto impegnativo. Mi faccia sapere quando pensa di essere qui così concordiamo un appuntamento. Cordialmente Massimo Bergamo
17 January 2013 Matteo Blandford to Massimo Bergamo Grazie mille per la documentazione. Mi spiace averle messo pressione; le piante saranno veramente utili nelle prossime settimane e mesi. In proposito all’appuntamento sarei ad Arcevia da giovedi 14 febbraio, nel pomeriggio fino alla successiva domenica (17 febbraio) nella mattina. Magari potremmo organizzare per il 15 mattina o pomeriggio?
I hope you have a pleasant christmas holiday and the beginning of 2013 is going well. I am writing to remind you of my request for land plans of the property, now unused, once used as a primary school. Sorry to bother you again but I would need very urgently, as soon as possible. I would also like to let you know that I will be near Arcevia the beginning of February 2013, I’d like to arrange a meeting with you to talk about Palazzo D’Arcevia. Let me know when it might be available for such a meeting. Kind regads
17 January 2013 Massimo Bergamo to Matteo Blandford Enclosed is the documentation for the school building. With regard to the plans of the urban framework, can be found on the website www.arceviaweb.eu the documentation of the city Plan. I apologize for the delay in response, but the beginning of this year has been very challenging. Let me know when you plan to be here so we agree on a date. Regards Massimo Bergamo
17 January 2013 Matteo Blandford to Massimo Bergamo Thank you very much for documentation. I’m sorry to have put pressure on you, the plants will be really useful in the coming weeks and months. In this regard, the appointment, I would be in Arcevia from Thursday 14 February, in the afternoon until the next Sunday (February 17) in the morning. Maybe we could arrange for the 15 morning or afternoon?
4. Plans given from council of ex-school building
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Email Correspondance with Planning Commissioner and Mayor of Arcevia Andrea Bomprezzi over site visit in February
Email Correspondance with Planning Commissioner and Mayor of Arcevia Andrea Bomprezzi over site visit in February
17 January 2013 Matteo Blandford to Massimo Bergamo
17 January 2013 Matteo Blandford to Massimo Bergamo
Grazie mille per la documentazione. Mi spiace averle messo pressione; le piante saranno veramente utili nelle prossime settimane e mesi.
Thank you very much for documentation. I’m sorry to have put pressure on you, the plants will be really useful in the coming weeks and months.
In proposito all’appuntamento sarei ad Arcevia da giovedi 14 febbraio, nel pomeriggio fino alla successiva domenica (17 febbraio) nella mattina. Magari potremmo organizzare per il 15 mattina o pomeriggio?
In this regard, the appointment, I would be in Arcevia from Thursday 14 February, in the afternoon until the next Sunday (February 17) in the morning. Maybe we could arrange for the 15 morning or afternoon?
22 January 2013 Massimo Bergamo to Matteo Blandford
22 January 2013 Massimo Bergamo to Matteo Blandford
Il 14 pomeriggio mi trova in ufficio (Area Urbanistica, 2’ piano) presso il Comune di Arcevia, almeno fino alle 18.30. Magari può contattarmi se pensa di arrivare intorno a quell’ora così ci incontriamo; il telefono è 07319899213. In caso contrario possiamo accordarci per il venerdì 15 pomeriggio o il sabato 16 mattina. A presto Massimo Bergamo
On the 14th afternoon you can find me in the office (Planning COmmission, 2nd floor) at the Council of Arcevia, at least up to 18.30. Maybe you can contact me if you think you get around that time that we meet, the phone is 07319899213. Otherwise we can agree for the afternoon Friday 15 or Saturday 16 morning. See you soon Massimo Bergamo
24 january 2013 Nicolo Spina to Andrea Bomprezzi (Cc Matteo Blandford, Massimo Bergamo)
24 january 2013 Nicolo Spina to Andrea Bomprezzi (Cc Matteo Blandford, Massimo Bergamo)
Egregio Sig. Bomprezzi,
Dear Mr. Bomprezzi,
Mi scuso se la disturbo nuovamente ma Volevo chiederle se ha avuto modo di leggere la mail inviatagli alcuni giorni fa.
I’m sorry to bother you again but I wanted to ask if you have had the opportunity to read the mail sent a few days ago.
Colgo anche l’occasione per ricordarle che a febbraio uno di noi si recherà a Palazzo e ci chiedevamo se fosse possibile incontrarla di persona ed anticiparle quello che avremmo piacere di fare con Operazione Arcevia 2.0 .
I also take this opportunity to remind you that in February one of us will travel to the Palace and we were wondering if you could meet her in person and anticipate what we would like to do with Operation Arcevia 2.0.
Cordiali saluti
Sincerely
Nicolò Spina
Nicolo Spina
7 February 2013 call between Nicolo Spina and Mayor Andrea Bomprezzi
7 February 2013 call between Nicolo Spina and Mayor Andrea Bomprezzi
8 Febraury 2013 Matteo Blandford to Massimo Bergamo (Cc Nicolo Spina, Carolina Bernasconi)
8 Febraury 2013 Matteo Blandford to Massimo Bergamo (Cc Nicolo Spina, Carolina Bernasconi)
Buongiorno Sig. Bergamo,
Good morning Mr. Bergamo,
Spero questa mail la trovi in salute, Le vorrei confermare che per il 14 Febbraio pomeriggio sarei disponibile per un incontro con Lei per aggiornarla su gli sviluppi attuali e futuri del progetto che sto intraprendendo. Sono inoltre in contatto con il Sig. Bomprezzi per un appuntamento. Se possibile, sarebbe interessante poter incontrarVi assieme, ma se non fosse possibile, non e’ un problema. Mi faccia sapere l’orario che potrebbe andare bene per incontrarla,
I hope this message finds you well, I would like to confirm that on 14 February afternoon I would be willing to meet with you to update you on the current and future developments of the project I am undertaking. We are also in contact with Mr. Bomprezzi for an appointment. If possible, it would be interesting to meet you together, but if not possible, it is not a problem. Let me know the time that would be fine to meet her,
A presto,
8 February 2013 Matteo Blandford to Mayor (Cc Carolina Bernasconi and Nicolo Spina) Buongiorno Sig. Bomprezzi, Spero questa mail la trovi in salute, e’ un piacere conoscerLa anche se virtualmente. Sono Matteo Blandford, membro di UNIT + e sono colui che si sta occupando di Operazione Arcevia 2.0 a Palazzo D’Arcevia. Le scrivo in seguito alla Sua telefonata con Nicolo Spina ieri sera a proposito di Operazione Arcevia 2.0 (OA2.0) per dirle due parole più specifiche sul progetto su cui mi sto concentrando
See you soon,
8 February 2013 Matteo Blandford to Mayor (Cc Carolina Bernasconi and Nicolo Spina) Good morning Mr. Bomprezzi, I hope you find this mail in good health, it’s pleasure to meet you even if virtually. I’m Matteo Blandford, a member of UNIT + and I’m the one who is working on Operation Arcevia 2.0 in Palazzo D’Arcevia. I am writing in reply to your phone call with Nicolo Spina last night about Operation Arcevia 2.0 (OA2.0) to say a few words more specific project on which I am concentrating at the Palazzo; project and that also my thesis for the three-year architecture I’m following at the London
a Palazzo; progetto che e’ inoltre la mia tesi di laurea per la triennale di architettura che sto seguendo alla London Metropolitan University. Come immagino Lei sappia già, OA2.0 e’ cominciato a settembre, e alla luce di ciò che abbiamo visto in Riserva Privata San Settimio e dintorni, ho deciso appena tornato a Londra di intraprendere un progetto che espandesse i principi di OA2.0 (che riprendono in parte i principi di Ico Parisi degli anni ‘70) al di fuori della Riserva. Questo mi ha portato a pensare come l’arte e, specialmente, il design possa influenzare la struttura sociale delle città favorendo turismo e economia. Prendendo come caso esemplare Palazzo D’Arcevia ho cominciato uno studio sulle strategie di rivitalizzazione tramite il design. Questo studio ha base in forma accademica per la mia tesi, ma in forma pratica per OA2.0 e Riserva Privata San Settimio. Lo studio “2050d.C.” si impone di non semplicemente presentare una strategia ma di prendere in considerazione le opinioni e le idee, le esperienze e le storie, la collaborazione e la cooperazione della comunità esistente e effettuare una strategia creata con e tramite gli abitanti. Questo aspetto dello studio mi portera’ ad essere ad Arcevia la settimana prossima per incontrare i residenti di Palazzo; conoscerli e farci conoscere, scoprire di più di Palazzo e le opinioni dei Palazzesi sulla loro città. Questo incontro ha lo scopo di informarci più nel dettaglio sul passato e sul presente, per poi ad Aprile presentare una struttura che immagina il futuro, appunto il 2050 d.C. Tale struttura, installazione di design, trae le sue origini dai Palazzesi, da Palazzo e presenta la nostra immagine di come Palazzo potrebbe essere nel futuro; il nostro intento principale e’ di ispirare i visitatori a immaginare il futuro con noi e raccogliere le loro idee per sviluppare ulteriormente lo studio. Siamo estasiati di essere stati accettati dalla Riserva Privata San Settimio per intraprendere questo progetto, che pian piano vediamo espandersi; speriamo e stiamo lavorando per rendere questo progetto una realtà, il Suo supporto e’ veramente gratificante essendo un ulteriore onore per noi lavorare con un circolo più vasto di persone. Come meglio detto da Nicolo, non vogliamo imporre nulla ma aiutare utilizzando le nostre capacita’, la ricrescita di un posto che ci ha colpito profondamente nell’animo e nel corpo per la sua bellezza. In conclusione Le vorrei annunciare che sarò ad Arcevia dal 14 al 17 Febbraio e, se fosse possibile per Lei, mi piacerebbe incontrarLa per esporLe il progetto, rispondere alle Sue domande e conoscere, tramite Lei, le profondità del paesaggio di Arcevia. Al momento sto organizzando con Sig. Massimo Bergamo un incontro per parlare di Palazzo per il 14 pomeriggio, ma se conviene anche a Lei, potremmo espandere questo incontro per far si che io possa incontrare entrambi e avere una discussione più dettagliata. In tale incontro vorrei inoltre chiederVi i dettagli specifici sulla fattibilita’ dell’installazione che abbiamo in mente di fare ad Aprile. Successivamente, passero’ il tempo rimanente a Palazzo e dintorni per un preciso rilevamento e sondaggio sociale e architettonico e per incontrare i residenti, per tutto ciò sarò accompagnato da Cecilia Verdini (studente di Architettura a Ferrara con origini a Palazzo che abbiamo conosciuto in Riserva). La ringrazio per l’attenzione, cordiali saluti, Matteo
8 February 2013 Carolina Bernasconi to Matteo Blandford (Cc Nicolo Spina) Perfetto matte! Speriamo che ci aiuti a trovare bancali di legno o ci dia il contatto giusto... Tu parlagliene!! Un bacio
Metropolitan University. As I imagine you already know, OA2.0 began in September, and in the light of what we have seen in Riserva Privata San Settimio and its surroundings, I decided just returned to London to undertake a project that expanded the principles of OA2.0 (informed by the principles of Ico Parisi 70s) outside the reserve. This led me to think about how art and, especially, the design can affect the social structure of the cities by encouraging tourism and economy. Taking as an exemplary case Palazzo D’Arcevia I started a study on regeneration strategies through the design. This study is based in academic form for my thesis, but in practical form to OA2.0 and Private Reserve San Septimius. The study “2050d.C.” Imposes itself not simply present a strategy but to take into account the opinions and ideas, experiences and stories, collaboration and co-operation of the existing community and make a strategy created with and through the inhabitants. This aspect of the study will take me ‘to be in Arcevia next week to meet with the residents of Palace; know and let us know, discover more of the Palazzo and the opinions of Palazzesi about their town. This meeting aims to inform us in more detail about the past and the present, and then in April with a structure which imagines the future, precisely 2050 AD This structure, design installation, draws its origins from Palazzesi, Palazzo and presents our image as Palazzo might be in the future, our main aim and ‘to inspire visitors to imagine the future with us and solicit their ideas to further develop the study. We are delighted to have been accepted by the Riserva Privata San Settimio to undertake this project, we see that slowly expanding, we hope and we are working to make this project a reality, your support and ‘truly rewarding being a further honor for us to work with a circle wider range of people. As best said by Nicolo, we do not want to impose anything but help using our capacity, the regrowth of a place that has affected us deeply in soul and body for its beauty. In conclusion I would like to announce that I will be in Arcevia February 14 to 17, and if it were possible for you, I’d like to meet you to expose the project, answer your questions and get to know, through you, the depth of the landscape of Arcevia. At the moment I am organizing a meeting with Mr. Massimo Bergamo to talk about Palazzo on the 14th afternoon, but also whether it makes sense to you, we may expand this meeting to ensure that I can meet them both and have a more detailed discussion. At this meeting I would also ask you specific details on the feasibility ‘of the installation we have in mind to do in April. Subsequently, sparrow ‘the remaining time at the Palazzo and surroundings for precise detection and social and architectural survey and to meet the residents, for all that I will be accompanied by Cecilia Verdini (student of Architecture in Ferrara with origins in the Palazzo that we have known in Reserve) . Thank you for your attention, best regards, Matteo
8 February 2013 Carolina Bernasconi to Matteo Blandford (Cc Nicolo Spina) Perfect matte! Hopefully that will help us find wooden pallets or give us the right contact ... Talk to him about it! a kiss
8 February 2013 Matteo Blandford to Carolina Bernasconi (Cc Nicolo Spina)
8 February 2013 Matteo Blandford to Carolina Bernasconi (Cc Nicolo Spina)
Grazie!
Thank you!
Si si, adesso ci stiamo preparando con nico con una scaletta esatta e dettagliata di cosa dirgli e come poter avere un supporto anche materiale da loro!
Yes, yes, now we are preparing with nico with a accurate and detailed view of what to say and how to get an even material support from them!
A presto, un bacio
See you soon, a kiss
8 February 2013 Carolina Bernasconi to Matteo Blandford (Cc Nicolo Spina)
8 February 2013 Carolina Bernasconi to Matteo Blandford (Cc Nicolo Spina)
Benissimo!!!
Great!!
12 February 2013 Massimo Bergamo to Matteo Blandford
12 February 2013 Massimo Bergamo to Matteo Blandford
Confermo la mia disponibilità per il pomeriggio di Giovedì 14; l’orario migliore sarebbe dopo le 17.30, vedo se anche il Sindaco può essere disponibile per quell’ora. Magari quando arriva ad Arcevia può chiamarmi per gli ultimi accordi (07319899213 - 3492561370). A presto Massimo Bergamo
I confirm my availability for the afternoon of Thursday 14th, the best time would be after 17.30, see if the Mayor may be available for that hour. Maybe when it comes to Arcevia you can call me for the last agreements (07319899213 3492561370). See you soon Massimo Bergamo
12 February 2013 Massimo Bergamo to Matteo Blandford
12 February 2013 Massimo Bergamo to Matteo Blandford
Faccio seguito alla comunicazione di qualche ora fà; ho parlato con il Sindaco, lui sarebbe disponibile alle 17 perchè dopo ha un impegno, io sarò comunque in ufficio quindi penso che possiamo anticipare l’appuntamento a quell’ora, così possiamo incontrarci tutti insieme. Spero che non sia un problema, aspetto una conferma. Cordialmente Massimo Bergamo
I refer to the communication of a few hours ago, I spoke with the mayor, he would be available at 17 because after a commitment he has, I’ll still be in the office so I think we can anticipate the appointment at that time, so we can all meet together. I hope that is not a problem, look for a confirmation. regards Massimo Bergamo
12 February 2013 Matteo Blandford to Massimo Bergamo
12 February 2013 Matteo Blandford to Massimo Bergamo
Buongiorno,
Good morning,
nessun problema sull’anticipazione dell’orario. Grazie mille per aver accordato anche con il Sindaco. A giovedi’ alle 17.00 allora,
no problem on anticipation of the time. Thank you so much for talking with the Mayor. See you thursday then at 17.00,
cordialmente, Matteo
Regards Matteo
20 February 2013 Matteo Blandford to Mayor Andrea Bomprezzi, Massimo Bergamo (Cc Carolina Bernasconi, Nicolo Spina)
20 February 2013 Matteo Blandford to Mayor Andrea Bomprezzi, Massimo Bergamo (Cc Carolina Bernasconi, Nicolo Spina)
Buongiorno Andrea e Massimo,
Hello Andrea and Massimo
Vi scrivo perche’ volevo ringraziarvi ulteriormente per la vostra disponibilita’ ad incontrarmi durante la visita a Palazzo ed ad Arcevia. La visita e’ stata assolutamente un successo e ci sono le basi per continuare a progettare e effettivamente portare Operazione Arcevia 2.0 ed i progetti affiliati a compimento!
I am writing you because I wanted to thank you for your availability, further to meet during the visit to the Palazzo and in Arcevia. The visit was definitely a success and there are bases to continue to design and actually lead Arcevia 2.0 Operation and projects affiliated to fruition!
A proposito di questo, siamo riusciti a trovare tramite Fiorenzo Quajani del materiale per dei progetti, ma mi chiedevo se aveste da darmi dei nomi di aziende di legname (per laminati) locale da contattare per preventivi o sponsorizzazioni.
About this, we could find by Fiorenzo Quajani of the material for the projects, but I was wondering if you had to give me the names of timber companies (for laminates) local contact for quotes or sponsorships.
Inoltre, per l’evento a Palazzo, volevo sapere quali fossero i permessi da richiedere per far si che siamo in regola per la costruzione e l’evento. (richiesta suolo pubblico, utilizzo dei muri della chiesa, ecc.)
In addition, for the event in Palazzo , I wanted to know what were the permissions to be requested to ensure that we are in good standing for the construction and the event. (required, public land, use of the walls of the church, etc.).
Grazie mille ancora, a presto!
Thank you so much again, see you soon!
Email Correspondance with Client Carolina Bernasconi over site visit in February
Email Correspondance with Client Carolina Bernasconi over site visit in February
7 february 2013 Matteo Blandford to Carolina Bernasconi
7 february 2013 Matteo Blandford to Carolina Bernasconi
Ciao Carolina!
Hello Carolina!
Allora io sarei nei pressi di Palazzo dal 14 al 17, sicuramente sono a palazzo il 16 e il 17 tutto il giorno!
Then I’d be near Palazzo from the 14 to the 17, are certainly at Palazzo on 16 and 17 all day!
Spero tutto stia andando bene e che tutti siano in salute, A presto!
I hope everything is going well and that everyone is healthy, See you soon!
Kindest Regards, Matteo Blandford
Kindest Regards, Matteo Blandford
7 febraury 2013 Carolina Bernasconi to Matteo Blandford
7 febraury 2013 Carolina Bernasconi to Matteo Blandford
Mah..mi sembra che stiano morendo in continuazione... comunque tu chiamami quando arrivi che avviso due o tre vecchietti... Ma dove dormi?
Mah. Seems to me that are dying all the time ... whatever, call me when you get there so I’ll call two or three residents... But where do you sleep?
7 february 2013 Matteo Blandford to Carolina Bernasconi Andiamo giu con mia mamma in camper, essendo anche il camper vecchietto, saremo, spero ben accettati dai signori/e di Palazzo e Arcevia! Va bene, dove posso chiamarti? Kindest Regards, Matteo Blandford
7 february 2013 Carolina Bernasconi to Matteo Blandford ah ma che divertente! ma certo che vi accetteranno... cmq per qualsiasi cosa chiami maurizio (fuoristrada) che e’ sempre in zona al numero 348. 5112616 e me 335.6303230 ricordati che i vecchietti da pranzo in poi si riposano:) un bacio
7 february 2013 Matteo Blandford to Carolina Bernasconi Perfetto! Grazie mille! Ci sentiamo presto! Kindest Regards, Matteo Blandford
7 february 2013 Matteo Blandford to Carolina Bernasconi I’m getting therewith my mom in the camper-van, being also the camper old, we will be, I hope, well accepted by the lords / and Palazzo and Arcevia! Okay, where do I call you? Kindest Regards, Matteo Blandford
7 february 2013 Carolina Bernasconi to Matteo Blandford ah but what fun! of course I will accept you ... anyway for anything call Maurizio (off-road instructor) he is always in the area to the number 348. 5112616 me and 335.6303230 remember that the old men from lunchtime onwards are resting :) a kiss
7 february 2013 Matteo Blandford to Carolina Bernasconi Perfect! Thank you very much! Talk to you soon! Kindest Regards, Matteo Blandford
INTRODUZIONE Nel 1976 la famiglia Bartoletti ha pubblicato “Operazione Arcevia”, una collezione di lavori - disegni, foto, sondaggi e testi – esplorativi sulle diverse modalita di espressione creativa e immaginativa del nuovo paesaggio architettonico in Arcevia, dove comincio’ il progetto. 40 anni dopo, la ricerca e l’entusiasmo della famiglia Bartoletti ha portato UNIT+ a creare una nuova fase di sviluppo mantenendo i valori originali. Il risultato e’ Operazione Arcevia 2.0. Foto delle riunioni di Operazione Arcevia
UNIT+ Unit+ e’ un gruppo multisciplinare di creativi di collaboratori esperti. Le dimensioni di Unit+ fluttuano a seconda dei bisogni e dei progetti specifici. Al centro c’e’ un gruppo di designer con base a Londra che credono che attraverso la collaborazione di esperienze e l’analisi di idee, la qualita del design puo essere arricchita. Logo UNIT+
MEMBRI: Nicolo’ Spina Matteo Blandford Luke Miles Jordana Lyden-Swift Massimo Dorigo Florian Seigel Laura-Sophie Behrends Hara Anastasiou Immagine concettuale della nascita della citta’. Op. Ar. 1976
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Mappa della zona. Op. Ar. 1976
Immagine concettuale di una strada del complesso. Op. Ar. 1976
Per i fondatori del progetto, la “Comunita Esistenziale” non era una comunita terapeutica
Immagine concettuale dell’interno di una residenza. Op. Ar. 1976
Immagine di un prospetto di un edificio del complesso progettato. Op. Ar. 1976
Immagine concettuale di una strada del complesso. Op. Ar. 1976
ma un modello per un metodo di vita differente, piu vicino alle effettive necessita umane nel mondo odierno. Chiave del successo era la necessita da parte dei residenti di adattarsi al loro stile di vita proposto, con a sua base il rapporto residente-artista-visitatoreagricoltore.
OPERAZIONE ARCEVIA 1972-76 Nel 1972 Italo Bartoletti con l’aiuto dell’architetto Ico Parisi creo’ Operazione Arcevia. Basato su i suoi previ studi, Parisi introdusse l’idea di comunita esistenziale e di “Operatori Estetici” quali scultori, pittori, musicisti e artisti contemporanei, portandoli insieme per lo sviluppo della visione del nuovo paesaggio architettonico. Operazione Arcevia si sforzo’ di intervenire, in maniera non elitaria, proponendo una riconsiderazione delle realta sociali, economiche e culturali del tempo creando una infrastruttura territoriale.
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INDAGINE E PROPOSTA A Settembre 2012 cinque membri di Unit+ si recarono nella Riserva Privata San Settimio, su invito della famiglia Bartoletti. In una settimana portarono a termine una serie di lavori di indagine del territorio documentando l’area e le future fasi di progettazione, presentarono, poi, idee iniziali di progetti in risposta al loro primo incontro con l’esperienza di vivere nella riserva. Tramite questo profondo confronto con il posto, utilizzando un live mapping e varie tecniche di rappresentazione e di indagine, UNIT+ presento’ un sistema di riconoscimento del territorio tramite sentieri di colori, un concetto di open-air studio, una proposta per una struttura adibita a spazio meditativo e un pinnacolo fungente da simbolo per futuri collaboratori a cui dirigersi.
Schizzo del pinnacolo con dettaglio costruttivo. Op. Ar. 2.0
Leaves
Soil
Field
Sky
Planimetria del complesso. Op. Ar. 1976
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I colori della riserva. Durante la visita abbiamo racolto tutte le informazioni possibili. Op. Ar. 2.0
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A Settembre 2012 cinque membri di Unit+ si recarono nella Riserva Privata San Settimio, su invito della famiglia Bartoletti.
Alcuni dei lavori che sono stati portati avanti da Settembre 2012 si materializzeranno ad Aprile 2013.
Schizzo concettuale della mappatura degli alberi a colori. Op. Ar. 2.0
Immagine concettuale dei “pop up” studios. Op. Ar. 2.0
Modello della piattaforma di meditazione in creta. Op. Ar. 2.0
APRILE 2013
aves
Soil
eld
Sky
Ad Aprile 2013 UNIT+ si rechera’ nuovamente in Riserva Privata San Settimio con un numero ampliato di persone, 8 componenti del collettivo, e 2 collaboratori interessati a conoscere e a partecipare ad Operazione Arcevia 2.0; alcuni dei lavori che sono stati portati avanti da Settembre 2012 si materializzeranno.
Bark
Lake
Schizzi della piattaforma di meditazione. Op. Ar. 2.0
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San Settimio:Colours of September
NIDASTORE
Logo Operazione Arcevia 2.0 Op. Ar. 2.0
LORETELLO
SAN PIETRO
Ripalta
RISERVA PRIVATA SAN SETTIMIO
OPERAZIONE ARCEVIA 2.0 40 anni fa Italo Bartoletti inizio’ Operazione Arcevia. L’obiettivo era quello di promuovere l’arte contemporanea e creare un luogo nelle Marche, in particolare Arcevia, dove l’arte nasce e si crea: una ‘fabbrica di pensiero e laboratorio creativo’ costruito dai “creatori di bellezza” del tempo. UNIT+ oggi sta sviluppando Operazione Arcevia 2.0. In questa continuazione UNIT+ sta collaborando con artisti che sono liberi di lavorare e investire le loro passioni nella costruzione di un nuovo polo culturale e artistico nella Riserva Privata San Settimio, e le zone circostanti. Le proposte finora comprendono una serie di ‘pop up’ studios: rifugi fisici o elementi di arredo che definiscono luoghi per dipingere, scrivere o semplicemente sognare. Una Immagini dal video concettuale dei progetti fatti in Riserva. Op. Ar. 2.0
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PALAZZO
CAUDINO
MONTALE
San Ginesio
PITICCHIO Magnadorsa
Monte Fortino
ARCEVIA
Colleaprico
Costa
CASTIGLIONI
Santo Stefano Santa Croce Prosano
Civitalba AVACELLI
Nuova mappa per Riserva Privata San Settimio. Op. Ar. 2.0
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Mappa della zona. Op. Ar. 2.0
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stanza di meditazione: un luogo di riflessione che sfrutta la bellezza naturale del posto. Un pinnacolo che funge da meridiana: il faro per il polo che si sta creando. Una mappatura della Riserva a colori. Codificato per dare ai visitatori il senso del tempo e del luogo. Questi interventi sono potenti, rappresentazioni simboliche e genuine dlla Riserva in quanto base culturale, spirituale e artistica, che fornisce le basi a idee e programmi per sorgere e prosperare. La nostra intenzione è quella di riprendere il lavoro di Italo Bartoletti spostando l’attenzione dalla ‘fabbrica di pensiero e laboratorio creativo’, e sviluppare il nucleo per i progetti futuri che segneranno il paesaggio, ad arricchiranno l’identità locale e rafforzando il potenziale di ricrescita. Ci sono due obiettivi concreti in Operazione Arcevia 2.0: ispirare la ricerca, in quanto questo è un posto per l’ispirazione e l’innovazione; e creare uno scambio inter-culturale, in quanto questo è un luogo dove gli artisti possono confrontarsi e, così facendo, lavorare e creare. Crediamo che questi piani incoraggeranno
austerità economica una flessibilità socio-economica più elevata La prima fase del workshop sarà basata sull’osservazione del sito, la rilettura delle mappe esistenti a livello locale, e la realizzazione di nuova documentazione con metodi quali la ‘mappatura sociale’. La seconda fase sarà incentrata nella produzione di idee concettuali che affrontano il tema scelto attraverso la proposta di installazione artistiche e/o di design . Il processo di progettazione si tradurrà in interventi fisici specifici in scala reale in loco tenendo sempre presente I problem e le esigenze della comunità locale. Pertanto, delle proposte che emergeranno durante la fase di ricerca sul campo alcuni progetti verranno selezionati dagli abitanti, i proprietari della Riserva Privata San Settimio (ospite del workshop) e le autorità locali per poi essere costruiti e mantenuti come installazioni temporanee a Palazzo. Come già detto, il workshop porrà particolare accento sulla ricerca sul campo, tecniche di mappatura, analisi progettazione, metodi di rappresentazi-
Logo Operazione Arcevia 2.0_School Op. Ar. 2.0
Immagini dei raduni nel 1974 Op. Ar. 1976
Immagine concettuale di un laboratorio possibile. Op. Ar. 2.0
altri praticanti - artisti, architetti, scrittori, artisti concettuali e altri professionisti della creatività - di venire a interagire con il sito. La collaborazione con questi altri creatori di bellezza “è al centro della costruzione del nucleo. Non è un progetto utilitaristico ad esclusione di altri. Piuttosto, è l’inizio di un invito pubblico a raccogliere, collaborare, arricchire, discutere, progettare e creare insieme. In definitiva Operazione Arcevia 2.0 vuole organizzare residenze ricorrenti di artisti con mentalità aperta e provenienti da tutto il mondo. Ci saranno convegni, seminari, mostre d’arte e spettacoli per arricchire le menti e le anime della regione. In concomitanza con Operazione Arcevia 2.0 ci sara’ l’esecuzione dii laboratori tramite Operazione Arcevia 2.0_School e studi individuali da parte di ogni membro e collaboratore. Tutte e tre le attività avranno a che fare con tutte le espressioni di arti visive contemporanee.
Immagini dal video concettuale: la nascita della Riserva. Op. Ar. 2.0
Immagini delle discussioni nel 1974. Op. Ar. 1976
OPERAZIONE ARCEVIA 2.0_SCHOOL Settembre 2013 L’obiettivo di Operazione Arcevia 2.0 School è quello di esplorare le potenzialità architettoniche insite nel contesto locale della regione attraverso un lavoro di scambio che avviene grazie a workshop/ laboratori nei quali gli studenti si confrontano con tutor italiani ed internazionali. Le attività di workshop, che copriranno svariate tematiche verranno organizzati due volte all’anno, nei rispettivi mesi di Aprile e Settembre. Il primo vero appuntamento avverrà questo prossimo Settembre a Palazzo di Arcevia, piccola cittadina nella perferia di Ancona, capoluogo marchigiano. L’interesse nasce nei centri più piccoli e le cittadine periferiche che riflettono una crisi economica e sociale più profonda rispeto ai piu’ grandi centri abitati. Questo succede in quanto le città più grandi possiedono durante un periodo di
one e di partecipazione con la comunità locale. Tutti risultati finali verranno esibiti in una mostra. Ogni partecipante avrà al termine del workshop un corpo di ricerca e di lavoro di progettazione oltre a una pubblicazione collettiva on-line dal Operazione Arcevia 2.0 da includere nel proprio portfolio.
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L’idea di rivitalizzare Palazzo tramite il design e’ arrivata dal nostro desiderio di unire due nostre passioni. Il primo stadio ci fa conoscere di piu’ i residenti e vuole cominciare a creare un dibattito. Il
approccio possibili. Parte della ricerca ci ha fatto notare come le economie locali stiano ritornando all’artigianato e a lavori rurali come l’agricoltura, l’allevamento, la produzione di alimenti e la costruzione. Parte integrante della strategia guarda a integrare l’esistente riponendoci le basi per il futuro. Tale azione non si occupa di limitare le possibilita’ solo all’esistente ma vuole valorizzare l’identita’
Logo Palazzo secondo la strategia 2050 d.C. Op. Ar. 2.0
2050 A.D.
2050 d.c.- PALAZZO 2050 d.C. comincia dall’ideale di espandere i limiti di intervento di Operazione Arcevia 2.0, estendendoli oltre ai confini della Riserva Privata San Settimio. Si tratta di una strategia di rivitalizzazione che segue linee guida attuabili su diversi paesi con le stesse caratteristiche, ma segue una traettoria propria per ogni paese, in questo caso Palazzo D’Arcevia. UNIT+, come Italo Bartoletti a suo tempo, venendo a conoscenza delle bellezze di Palazzo, e facilitati dal fatto che e’ il passaggio per arrivare in Riserva, ha deciso di intraprendere questo studio non solo in forma teorica e accademica ma con sfondi pratici con Operazione Arcevia 2.0. 2050 d.C. ha inizio a Settembre 2012 seguito principalmente da Matteo Blandford, Nicolo Spina e Massimo Dorigo. Partendo da una mappatura della storia e dell’economia attuale di Palazzo, abbiamo tratto le nostre opinioni iniziali sulle strategie di
2050 d.C. parte di Operazione Arcevia 2.0. Op. Ar. 2.0
Modello topografico in cartone che identifica l’idea di due centri artistici nell’area. Op. Ar. 2.0
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Il regalo: analizzando i dati dei censimenti e dell’economia tramite il primo studio di Palazzo, ci siamo iniziati a chiedere una domanda costante: come saranno le cittá in continuo declino demografico in un futuro non troppo remoto? Come si possono recuperare le cittá fantasma? Ad Aprile 2013 presenteremo, in collaborazione con Riserva Privata San Settimio, un’installazione prodotta tramite lo studio ma immagina un futuro per le cittá fantasma. Vogliamo offrire una ipotetica soluzione al problema delle cittá in contrazione e le cittá fantasma (di cui è costellato il centro Italia). L’installazione temporanea non vuole essere un prodotto finito ma vuole essere il mezzo attraverso il quale, insieme a gli abitanti di Palazzo D’Arcevia, immaginiamo un futuro insieme. La struttura interattiva rappresenterá un’ idea e al contempo raccoglierà riflessioni e domande per portare il progetto a una fase di più precisa analisi
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Carte del mazzo da scopa. Op. Ar. 2.0 In senso orario: Padiglione del Giappone alla Biiennale di architettura 2012 a Venezia: Toyo Ito presenta il progetto per uno spazio comune per la cittadina di Rikuzentakata per ricrescere dopo lo tsunami. Padiglione dell’ Inghilterra alla biennale di architettura 2012 a Venezia: Darryl Chen investiga le proprieta del progetto di Ai Wei Wei in un distretto di Pechino rinnovato costruendo gallerie illegali d’arte. L’idea e’ di sfruttare l’arte per rigenerare un’area degradata. Salemi, Sicilia: Salemi alla guida di Vittorio Sgarbi e Oliviero Toscani rigenerata vendendo case a 1€. Op. Ar. 2.0
PALAZZO D’ARCEVIA
PROPOSALS
FU
RISERVA RISERVA PRIVATA PRIVATA SAN SETTIMIO SAN SETTIMIO
Mappa topografica della relazione tra Riserva e Palazzo D’Arcevia. Op. Ar. 2.0
Mappa topografica con indicati Palazzo e la Riserva con l’obbiettivo di 2050 d.C. Op. Ar. 2.0
LL O
F LIFE
per gli step successivi. Il fine ultimo é quello di sperimentare una collaborazione tra designer/ artisti e gli abitanti per iniziare discussioni al fine di ideare insieme strategie per recuperare e rivivere il centro italia nella sua storia e nel suo futuro unendo le arti con la vita di tutti i giorni. Con un evento che vogliamo organizzare per presentare la struttura prodotta vogliamo dare voce agli abitanti e rendere la comunita’ e la loro identita’ piu’ forte. Identificando cio che e’ di valore e appropriandosene: “Questo e’ Palazzo”.
Questo mazzo di carte che trae il suo design dalle arti e dall’artigianato locale, verra’ utilizzato per provocare discussioni iniziali con i residenti. Riportate ci sono immagini concettuali iniziali per il design del mazzo da scopa.
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L’idea di rivitalizzare Palazzo tramite il design e’ arrivata dal nostro desiderio di unire due nostre passioni. La strategia finora figura due stadi di intervento. Kit di conversazione: il mazzo di carte da scopa si preoccupa di essere il primo nostro intervento di design al fine di iniziare un primo discorso tra noi (UNIT+ e Riserva Privata San Settimio) e gli abitanti di Palazzo D’Arcevia. Il design prende spunto dalle carte tradizionali e rimodella i quattro simboli a seconda delle economie locali. I simboli sono stati inoltre semplificati, principio che vogliamo portare avanti in 2050 d.C. cosi da rendere la strategia accessibile a tutti. Questo primo stadio si occupa di farci conoscere di piu’ i residenti e vuole cominciare a creare un dibattito su come un nostro futuro intervento puo essere recepito.
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secondo vuole essere un prodotto finito ma vuole essere il mezzo attraverso il quale, insieme a gli abitanti di Palazzo D’Arcevia, immaginiamo un futuro insieme.
di ogni paese. L’esistente e’ l’identita’ di Palazzo: viene dai residenti ma anche da cio che produce, da cio che e’ (nella sua architettura e le sue arti) e da cio che era (le sue tradizioni). 2050 d.C. vuole rivitalizare tramite l’identita’ integrando gli interventi di Operazione Arcevia 2.0 in quanto anch’essi parte dell’identita’ locale estesa. In questo frangente ci stiamo impegnando a eseguire una operazione di re-branding, creare una identita’ visiva.
PALAZZO PALAZZO D’ARCEVIA D’ARCEVIA
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Immagine concettuale di come potrebbe venire l’evento. Op. Ar. 2.0
Con un evento che vogliamo organizzare per presentare la struttura prodotta vogliamo dare voce agli abitanti e rendere la comunita’ e la loro identita’ piu’ forte. Identificando cio che e’ di valore e appropriandosene: “Questo e’ Palazzo”.
PALAZZO ON AIR! L’installazione di aprile consistera’ di: un primo elemento che riportera’ il passato ed il presente di Palazzo. Il secondo sara’ l’identita’ visiva di Palazzo: QUESTO E’ PALAZZO! appunto. Tale componente sara’ costituito di lettere a grandezza uomo dipinte. Il terzo componente sara’ un giornale prodotto da UNIT+ con illustrata la nostra idea di Palazzo nel 2050 d.C. Il quarto sara’ il pranzo in comune con residenti e noi. L’ultimo componente sara’ poi necessario a noi per la raccolta di informazioni per i successivi step di “2050 d.C.”.
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Dimensioni dell’intervento Op. Ar. 2.0
PALAZZO PALAZZO
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Mappa della zona con indicate le posizioni dei pannelli. Op. Ar. 2.0
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Immagine concettuale di come potrebbe venire l’evento. Op. Ar. 2.0
Immagine dei pannelli appesi.Lungo la strada per Palazzo. Op. Ar. 2.0
Immagine concettuale di come potrebbe venire l’evento. 36Ar. 2.0 Op.
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5. Thumbnails from the documents for the Mayor
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6. Official Operazione Arcevia 2.0 photos of the visit
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7. Photos of the people met (from top left): Cecilia Verdini, Beppe, Fiorenzo Quajani, Mayor Andrea Bomprezzi, Massimo Bergamo, Michele, Gianni, Doctor, Citizen 1, Citizen 2, Pino, Angela, Laura Coppa, Marina, Virginio Villani, Angelo Verdini, Carla. 8. Shop where I met most of the people.
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9. Sketches of project development during the visit.
Comments: Before the visit to Palazzo D’Arcevia in February after months of preparation I couldn’t go anywhere else. All of the information had led me mainly to, I discovered later, at wrong conclusions. After the visit there were so many things in motion it was hard to keep track of everything, especially with my academic year to finish. During the visit I found acceptance from the locals, some even offered to sponsor us but I declined because I didn’t trust his intentions. We found local companies that would spons us in for of providing us with a number of pallets to be able to make a pavillion in April. I gathered much information about Palazzo and was able to organize the event in Palazzo properly. I was also able to find more information regarding the building site where I would later lay my design. The LIVE Palazzo Event will be structured in three parts: Panels with written poetry of a local Palazzo citizen Words around the town, in different sizes, symbolizing the uses of the squares Shadows on the ground of the streets of Palazzo to symbolize the presence of people in the past. The event schedule is: -10 am meet at the pavillion in Riserva Privata San Settimio, -Presentation of Operazione Arcevia 2.0 -Walk with Palazzo historian towards Palazzo D’Arcevia -Presentation of LIVE Palazzo as a strategy -Refreshments offered by Riserva Privata San Settimio.
Community Scale The Gift
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1. Ispiration image to valorize area 2. Font utilized by Operazione Arcevia 1976 3-4. Lower case studies
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5. Font studies
INSPIRATION Flare Serif fonts
Italian typographers prior to the XX century
COLOSSAL PRO By Aldo Novarese
Font developed for dislexia by Italian Designer
INSPIRATION Serif fonts
Font similar to the one developed in Operazione Arcevia (1970)
Type writer Poster
Typical Futuristic Manifesto
FUTURA Bold developed in 1927 by Paul Renner famous in 1950s
MICROGRAMMA 1953 Italian Font by Aldo Novarese
Similar Variation of MICROGRAMMA
Road signs used across Europe and New York and London Underground
More geometrical font from Univers and Trade Gothic
UNIVERS Condensed humanist font developed in the 1950s
INSPIRATION
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6-7. Sketches of font for Operazione Arcevia 2.0
FOLIO PALAZZO
HELVETICA PALAZZO
UNIVERS PALAZZO
GILL SANS PALAZZO
HELVETICA NEUE PALAZZO
TRADE GOTHIC PALAZZO
ITC AVANT GARDE PALAZZO
DIN 1451 PALAZZO 8
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Initially the words were to inspire, this later changed becoming more architectural: the words now symbolize the use that the squares in the town had in the past. They are made out of marine ply for its qualities against weather conditions. Along side the words, also to symbolize the past of Palazzo D’Arcevia I sprayed with removal paint, shadows on the ground to illustrate that the town was once full of people. The words were also sprayed in the end due to complications with the manufacturer. They will be installed at a later date.
8. Font tests on buildings 11
9-10-11-12. Installation photoshop images
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13. Study of local fonts
THIS IS ON AIR! Immagine concettuale di come potrebbe venire l’evento. Op. Ar. 2.0
LIVE 2050
Con un evento che vogliamo organizzare per presentare la struttura prodotta vogliamo dare voce agli abitanti e rendere la comunita’ e la loro identita’ piu’ forte. Identificando cio che e’ di valore e appropriandosene: “Questo e’ Palazzo”.
WHO ARE YOU? 14
primo esente di di Palazzo: ponente mo dipinte. odotto Palazzo comune sara’ poi mazioni per i
nsioni dell’intervento Ar. 2.0
PALAZZO D'ARCEVIA
PALAZZO 14
14. Font for installation versions
2200mm
1600mm
Email correspondance for the creation of the word installation with local factories
Email correspondance for the creation of the word installation with local factories
27 February 2013 Matteo Blandford to Laura Coppa, Fiorenzo Quajani
27 February 2013 Matteo Blandford to Laura Coppa, Fiorenzo Quajani
Buongiorno ad entrambi,
Good morning to both,
spero questa mail vi trovi in salute. Vi scrivo a riguardo di due cose, la prima, riguardante i permessi da richiedere in comune per l’evento ad aprile. A questo riguardo immagino il permesso per l’utilizzo del suolo pubblico, sicurezza sul lavoro per quanto riguarda la costruzione, permessi per quanto riguarda la cena in piazza ecc.
I hope this email finds you in good health. I write about two things, the first concerning the permissions to be requested in common for the event in April. In this regard, I guess permission for the use of public land, work safety with regard to the construction, permits regarding dinner in the square and so on.
La seconda cosa e’, se voi sapreste nominarmi delle falegnamerie e/o produttori di legname nella zona di Arcevia che potrebbero essere disposti a creare l’installazione per Palazzo. Fino a questo momento abbiamo avuto tutte proposte alticce per quanto riguarda preventivi, a Londra e in Lombardia (dalle nostre conoscenze). L’installazione comporta la creazione di 17 pannelli di laminato marino (2500mmx1250mmx9mm) in forma di lettere cosi da formare parole, allegati ci sono i disegni con le misure per farvi un’idea.
The second thing ‘, you would know if you appoint me of joinery and / or producers of timber in the area of Arcevia who might be willing to create the installation to the Palace. Up to this time we had all tipsy proposals with regard to estimates, in London and in Lombardy (our knowledge). The installation involves the creation of 17 panels of laminated marine (2500mmx1250mmx9mm) in the form of letters so as to form words, attachments, there are drawings with measurements to get an idea.
A tra poco per piu’ dettagli, ma ci sono molti avanzamenti nell’organizzazione, allo scoccare del 13 marzo partiamo con inviti e tutto il resto! A presto, cordialmente, Matteo
27 February 2013 Laura Coppa to Matteo Blandford, Fiorenzo Quajani 1100mm
Ciao Matteo! Non vedo l’allegato... a me ne vengono in mente due di falegnami... ma con un progettino sotto possiamo, secondo me, già richiedere un preventivo e girartelo... magari Fiorenzo conosce anche qualcun’altro... io intanto mi informo!
27 Febraury 2013 Matteo Blandford to Laura Coppa (Cc Fiorenzo Quajani) Ciao ancora,
1800mm
scusate alla fine l’allegato non c’era, eccolo qui sotto riportato: lettere con misure e arrangiamento nei pannelli per il migliore uso e consumo. attached file letters
27 February 2013 Matteo Blandford to Laura Coppa 15 15. FInal size and words for installatio
Ciao Laura, si ecco perfetto! sarebbe fantastico, anche perche’ oltre ai costi di produzione
MISURE IN MILLIMETRI SCALA 1:100
A soon for more ‘details, but there are many advances in the organization, at the stroke of 13 March we start with invitations and everything else! See you soon, cordially, Matteo
27 February 2013 Laura Coppa to Matteo Blandford, Fiorenzo Quajani Hello Matthew! I do not see the attachment ... I can think of two carpenters ... but with a little project below we can, I think, already request a quotation and girartelo ... Fiorenzo also knows maybe someone else ... I while I can look for someone!
27 Febraury 2013 Matteo Blandford to Laura Coppa (Cc Fiorenzo Quajani) Hello again, sorry at the end of the attachment was not there, here it is below: letters with measures and arrangement in the panels to the best use and consumption. attached file letters
27 February 2013 Matteo Blandford to Laura Coppa Hello Laura, here is perfect! would be great, also because ‘in addition to production costs Londoners (we hoped free), then there
Londinesi (che speravamo gratuiti) , poi ci sarebbero i costi di spedizione e anche se non alti, evitarli sarebbe meglio.
would be the cost of shipping and although not high, it would be better to avoid them.
Grazie mille, attendo risposta,
Thank you very much, I look forward answer,
27 Febraury 2013 Fiorenzo Quajani to Matteo Blandford, Laura Coppa
27 Febraury 2013 Fiorenzo Quajani to Matteo Blandford, Laura Coppa
Purtroppo sono a letto con la febbre ed alla mia età potrebbe essere fatale... Credo senza ombra di dubbio che Laura saprà consigliarti nel migliore dei modi, vista la sua esperienza nell’organizzare ogni anno il festival AR(t)CEVIA. A presto, Fiorenzo
Unfortunately I’m in bed with a fever, and at my age it could be fatal ... I believe without a doubt that Laura will advise you in the best way, given its experience in organizing every year the festival AR (t) CEVIA. See you soon, Fiorenzo
11 March 2013 Matteo Blandford to Laura Coppa
11 March 2013 Matteo Blandford to Laura Coppa
Ciao Laura,
Hello Laura,
Come stai? Spero bene, qua a Londra procede tutto secondo i piani e siamo quasi pronti! Ti scrivo per chiederti se hai poi saputo niente dai falegnami che mi dicevi. Quello che sto cercando e’ di trovsare qualcuno che ci faccia 17 pannelli esagonali delle dimensioni totali di 87cmx56cmx0.5cm (spessore).
How are you? I hope well, here in London everything goes according to plan and we are almost ready! I am writing to ask you if you knew anything then you said to me by carpenters. What I’m looking for and ‘trovsare of someone who face 17 hexagonal panels of the total size of 87cmx56cmx0.5cm (thickness).
Ti allego una foto di come verrebbero dopo essere dipinti per tua informazione,
I am attaching a picture of what would later be painted for your information,
grazie mille!
thank you very much!
A presto,
See you soon,
Matteo
Matteo
attached image panel
attached image panel
12 March 2013 Laura Coppa to Matteo Blandford
12 March 2013 Laura Coppa to Matteo Blandford
Ciao Matteo! Ti rispondo da questa mail per le misure... aiuto! Non mi corrispondono più rispetto all’ultima mail!!! Comunque, faccio così... appena riesco a contattare il falegname (argh! Purtroppo sono fuori e al momento al tel non mi risponde nessuno di utile!!!) mi faccio dire il costo di tutte le misure che ho... poi, vi metto in contatto! (spero in serata, o entro domani mattina che sono di giro, di farti avere tutto). Bancali: ad oggi siamo a 50, pronti per il ritiro... basta che mi dai l’ok e possiamo già cominciare a caricare (ho preso contatti con massimo gelsi, linea marche). Arrivo anche con i costi dei pannelli... arrivo!!! Buon lavoro per ora!
Hello Matthew! I’ll answer you by this mail to the measures ... help! I did not meet more than the last email! However, I do so ... I can just contact the carpenter (argh! Unfortunately they are out and when the phone does not answer me no useful!) I do mean the cost of all the measures that I have ... Then, I put you in touch! (hopefully in the evening or by tomorrow morning you are turning, you have everything). Pallets: now we are 50, ready for collection ... just give me the go ahead and we can already begin to load (I took up contact with mulberry trees, line brands). Check also with the costs of the panels ... Arrival! Good job for now!
12 March 2013 Matteo Blandford to Laura Coppa
12 March 2013 Matteo Blandford to Laura Coppa
Ciao Laura,
Hello Laura,
scusa non volevo spaventarti con le misure, le misure sono le stesse, gli ultimi pannelli (che sono enormemente piu’ grandi) sono “gli originali” da cui dobbiamo tirare fuori le lettere (che sono diverse dall’ultima volta). Allegata trovi immagine di chiarimento. Comunque, si grazie, cosi’ mi metto in contatto direttamente, scusa per tutte le diverse informazioni.
sorry did not mean to scare you with the measurements, the measurements are the same, the last panels (which are vastly more ‘big) are the “original” from which we have to pull out the letters (which are different from the last time). See attached image for clarification. Anyway, thank you, so ‘I get in touch directly, sorry for all the different information.
Grazie, a presto
Thank you, see you soon
attached file letter arrangement
file attached letter arrangement
14 March 2013 Laura Coppa to Matteo Blandford Ciao Matteo! Allora, due cose: 1) Al falegname più veloce, meno costoso, bravo e disponibile ho chiesto il preventivo per 17 pannelli in compensato laminato 250x125x9 (9 di spessore?) e/o 17 pannelli 87x56x0,5. Gli ho detto anche
14 March 2013 Laura Coppa to Matteo Blandford Hello Matthew! So, two things: 1) The carpenter faster, less expensive, good and helpful I asked the quote for 17 panels laminated plywood 250x125x9 (9 thick?) And / or panels 17 87x56x0, 5. I also told him that the great need to be cut letters, commas, periods, to compose a
che dai grandi dovranno essere tagliate lettere, virgole, punti a comporre una frase. Non ha problemi. Per martedì sa dirmi costo del materiale e del lavoro. Appena ho il preventivo ti comunico il prezzo, poi ci mettiamo (cioè, si mette...) subito al lavoro, sperando non sia troppo caro! 2) Mi scrivi due righe veloci sul progetto, eventi, ecc. (poi le sistemo io)?!? Scrivo per una rivista online di arte e cultura e, dovendo inviare un articolo per Artcevia, pensavo di comunicare anche il vostro progetto... se vi va e se non avete nulla in contrario! A presto!
sentence. He has no problems. On Tuesday tell me the cost of materials and job. As soon as I have the quote you communicate your price, then we put (Ie, you put ...) to work immediately, hoping it is not too expensive! 2) I write two lines fast on the project, events, etc.. (Then I settle)?!? I write for an online magazine of art and culture and, having to submit an article for Artcevia, I thought to also communicate your project ... if you like and if you have nothing against it! See you soon!
March 14, 2013 to Matteo Blandford Laura Coppa
14 March 2013 Matteo Blandford to Laura Coppa
Hello Laura!
Ciao Laura!
thank you very much! Hope for the best for the carpenter! Today I make the final drawings and maybe we can save on material too!
grazie mille! Speriamo in bene per il falegname! Oggi faccio i disegni finali e magari riusciamo a risparmiare su materiale anche! Sotto riportato trovi testo di descrizione dell’evento e dei primi interventi: “LIVE Palazzo” è un evento che coinvolge tutti i residenti del circondario del Comune Di Arcevia e della comunità di Palazzo Di Arcevia, con lo scopo di presentare gli interventi attuati dal team di Operazione Arcevia 2.0 nella Riserva Privata San Settimio e in Palazzo. Dopo l’arrivo dei partecipanti in Riserva, dove sarà presente la prima serie di installazioni e verrà presentato il programma della giornata e Operazione Arcevia 2.0, l’evento procederà nel trasportare Pannelli Di Poesia dalla Riserva a Palazzo, passeggiando e continuando a discutere del progetto. I Pannelli raccontano una poesia sulla Frazione e saranno poi ‘nascosti’ in giro per Palazzo. Futura parte dell’evento avrà come punto focale l’esplorazione di Palazzo alla ricerca dei Pannelli posti negli angoli più suggestivi della citta. All’arrivo nella piazza centrale di Palazzo sarà introdotta l’installazione nei suoi elementi: i Pannelli di Poesia e le e Parole d’Ispirazione, parole che serviranno a rafforzare la riscoperta della Frazione. Usufruendo delle sedie e dei tavoli messi a disposizione dal Consorzio sarà imbandito un pranzo/rinfresco con vivande offerte dalla Riserva Privata San Settimio. Lo scopo di questo simposio è di iniziare a confrontarsi e immaginare un nuovo futuro per Palazzo Di Arcevia e circondario, un futuro nel quale arte e design diventino parte integrante del luogo, tramite Operazione Arcevia 2.0. Le proposte saranno poi raccolte e serviranno ad aiutare il Team a procedere con i successivi sviluppi di Operazione Arcevia 2.0, già impegnata sul territorio. Operazione Arcevia 2.0 e’: 40 anni fa Italo Bartoletti iniziò Operazione Arcevia. L’obiettivo era quello di promuovere l’arte contemporanea e creare un luogo nelle Marche, in particolare Arcevia, dove l’arte nasce e si crea: una “fabbrica di pensiero e di laboratorio creativo” costruito da “operatori estetici” del tempo. Unit+ sta collaborando con artisti che sono liberi di lavorare e investire nelle loro passioni per la costruzione di un nuovo polo culturale e artistico in Riserva Privata San Settimio, e nelle zone limitrofe. Tramite interventi di design sul territorio vogliamo riportare il turismo e l’economia e le arti in Riserva e contemporaneamente nel Comune per esteso. Questi interventi sono rappresentazioni simboliche e genuine della Riserva che forniranno le basi per future idee e programmi . Riprendendo il lavoro di Italo Bartoletti, marcando l’attenzione sull’idea di “fabbrica di pensiero e laboratorio creativo”, vogliamo sviluppare il nucleo per progetti futuri, che serviranno ad arricchire il paesaggio e l’identità locale, rafforzando il potenziale di ricrescita. Due sono gli obbiettivi concreti di Operazione Arcevia 2.0: ispirare la ricerca, in quanto questo è un posto per trovare ispirazione e rinnovarsi; e di creare uno scambio interculturale, in quanto questo è un luogo aperto agli artisti per confrontare le proprie esperienze
Below you can find text description of the event and the first interventions: “LIVE Palace” is an event that involves all residents of the district of the City Of Arcevia and the community of Palazzo Di Arcevia, with the aim of presenting the interventions undertaken by the team Arcevia 2.0 Operation of the Private Reserve and Palazzo San Septimius. After the arrival of the participants in Reserve, where it will present the first series of installations and will be presented the day’s program and operation Arcevia 2.0, the event will proceed in transporting Panels Poetry from the Reserve to the palace, strolling and continuing to discuss the project . The panels tell a poem about Fraction and will then be ‘hidden’ around the Palace. Future as part of the event will be the focal point of the exploration Palace in search of the panels in the most beautiful places of the city. Upon arrival in the central square of the Palazzo will be introduced installation in its entirety: the panels and the Poetry and Words of Inspiration, words that will serve to strengthen the rediscovery of the fraction. Taking advantage of the chairs and tables provided by the Consortium will be laden lunch / reception with food provided by the Private Reserve San Septimius. The purpose of this symposium is to start comparing and imagining a new future for Palace Of Arcevia and surroundings, a future in which art and design become an integral part of the place, through Operation Arcevia 2.0. The proposals will then be collected and will be used to help the team to proceed with the subsequent development of Operation Arcevia 2.0, already engaged in the area. Operation Arcevia 2.0 ‘: 40 years ago Italo Bartoletti began operation Arcevia. The goal was to promote contemporary art and to create a place in the Marche region, in particular Arcevia, where art is born and you create: a “factory of thought and creative workshop” built by “aesthetic operators” time. + Unit is collaborating with artists who are free to work and invest in their passions for the construction of a new cultural and artistic in San Septimius Private Reserve, and surrounding areas. Through design interventions in the area we want to bring tourism and the economy and the arts in reserve and at the same time in the town in full. These interventions are symbolic representations of the Reserve and genuine that will provide the foundation for future ideas and programs. Echoing the work of Italo Bartoletti, marking attention to the idea of “factory of thought and creative laboratory,” we want to develop the core for future projects, which will enrich the landscape and local identity, strengthening the potential for regrowth. There are two concrete goals of Operation Arcevia 2.0: inspire research, as this is a place to find inspiration and renewal, and to create an intercultural exchange, as this is an open forum for artists to share their experiences and work. We believe that this project will encourage other creative-artists, architects, designers, writers, musicians, actors and others-to come and interact
e lavorare. Crediamo che questo progetto incoraggerà altri creativi-artisti, architetti,designer, scrittori,musicisti, attori ed altri-a venire e interagire con il sito. La collaborazione con questi altri “operatori estetici” è al centro della costruzione di Operazione Arcevia 2.0. Non è un progetto utilitaristico ad esclusione di altri. É piuttosto un invito aperto a collaborare, arricchire, discutere, progettare e creare insieme.
with the site. The collaboration with these other “beauticians” is central to the construction of Operation Arcevia 2.0. Is not a project utilitarian to the exclusion of others. It is rather an open invitation to collaborate, enrich, discuss, design and create together.
Unit+ e’:
Unit + and ‘a multidisciplinary group of experts and creative collaborator. The size of Unit + fluctuate depending on the needs and specific projects. At the center there is’ a group of designers based in London who believe that through the collaboration of experiences and analysis of ideas, the quality of the design can be enriched.
Unit+ e’ un gruppo multisciplinare di creative e di collaborator esperti. Le dimensione di Unit+ fluttuano a seconda dei bisogni e dei progetti specifici. Al centro c’e’ un gruppo di designer con base a Londra che credono che attraverso la collaborazione di esperienze e l’analisi di idee, la qualita del design puo essere arricchita. Per riferimenti ad altre sorgenti: www.operazionearcevia.org www.sansettimio.it http://www.primapaginanews.it/dettaglio_articolo. asp?id=107430&ctg=9 http://www.informazione.it/c/5AF550A0-4FD4-4D07-B45A65EE9E7C097A/Da-Londra-a-Palazzo-d-Arcevia-live-mapping-esurvey-interattivo-alla-Riserva-Privata-San-Settimio
Unit + and ‘:
For references to other sources: www.operazionearcevia.org www.sansettimio.it http://www.primapaginanews.it/dettaglio_articolo. asp?id=107430&ctg=9 Tonight, I am also sending posters pubblcitario for June! A Presto!
Stasera ti mando anche poster pubblcitario per Aprile!
15 March 2013 Matteo Blandford to Laura Coppa
A Presto!
Hello Laura,
15 March 2013 Matteo Blandford to Laura Coppa
Please find attached the final size of the panels for the carpenter. Are in 1:100 scale printed in A0.
Ciao Laura, allegato trovi le misure dei pannelli finali per il falegname. Sono in scala 1:100 stampate in A0. Spero siano utili e che tu possa inoltrarle al falegname altrimenti ci penso io quando ci risponde!
I hope they are useful and you can forward them to the carpenter otherwise I’ll do when we respond! I hope things proceed for the better See you soon!
Spero le cose procedano per il meglio
Matteo
A presto!
letters attached file update
Matteo
20 March 2013 Laura Coppa to Matteo Blandford
attached file letters update
20 March 2013 Laura Coppa to Matteo Blandford Ciao Matteo! Eccomi qui... non so se ho buone notizie o meno... Ti dico di seguito il preventivo del falegname 17 pannelli in compensato marino 250x122x1 cm (da 125 non c’è... ) vengono 600 euro (sono esclusi i costi della manodopera e il 21% d’iva) 17 pannelli in compensato marino 87x56x0,5 cm (io gli ho dato entrambe le misure... nell’incertezza) 85 euro (anche questo prezzo è relativo soltanto ai materiali, esclusi quindi manodopera e il 21% d’iva) Non so perché tutta questa differenza di prezzo fra le due misure... il falegname posso comunque assicurarti che è onesto... Ne ho parlato anche con Fiorenzo... ce n’è un altro di falegname, ma so per esperienza che è inaffidabile con i tempi (bravo, per carità!) e piuttosto caro... Che faccio? Procedo e chiedo la manodopera, o proviamo ad andare altrove? Magari avevate preventivato qualcosa di simile, ma io, avrei voluto darvi notizie migliori... Dimmi tu, ok? Buon lavoro!
22 March 2013 Matteo Blandford to Laura Coppa Ciao Laura,
Hello Matteo! Here I am ... I do not know if I have good news or not ... I’ll tell you below the estimate of the carpenter 17 panels of marine plywood 250x122x1 cm (125 there ...) are 600 € (excluding labor costs and 21% of VAT) 17 panels of marine plywood 87x56x0, 5 cm (I gave both measures of uncertainty ...) 85 € (even this price is for only the materials, excluding labor and therefore the 21% vat) I do not know why all the price difference between the two measurements ... the carpenter can I still make sure that it is honest ... I also spoke with Fiorenzo ... there’s another one as a carpenter, but I know from experience that it is unreliable with the times (good, for goodness sake!) and quite expensive ... What do I do? Proceed and ask for labor, or try to go anywhere else? Maybe you had planned something similar, but I, I wanted to give you better news ... You tell me, okay? Good work!
22 March 2013 Matteo Blandford to Laura Coppa Hello Laura, Sorry it took me so long to answer, as you can imagine, unfortunately, we can not proceed at that price. Previous to that as my email has anticipated we decided to change the size of the intervention. If you have time you could not inform you about the quote for panels measuring 13 cm by
Scusa se ci ho messo tanto a risponderti, come puoi immaginare purtroppo non possiamo procedere a quel prezzo. Al che come la mia precendente email ha anticipato abbiamo deciso di modificare le dimensioni dell’intervento. Se hai tempo non riusciresti a informarti sul preventivo per 13 pannelli delle dimensioni di 250x122x0.5 cm da tagliare a lettere. (come allegato) incluso di manod’opera e iva? Se il prezzo e’ attorno ai €200/300 riusciamo a farcela, altrimenti lasciamo stare. Allegato trovi anche poster pubblicitario! attached poster and letters update
23 March 2013 Laura Coppa to Matteo Blandford Ciao Matteo! Stavo pensando che potrei provare a sentire al brico... qualche lavoretto lo fanno... La mia unica paura è che il prezzo del materiale stesso sia all’incirca attorno a quella cifra, ma tentar non nuoce! Io ci provo! Ti faccio sapere a breve! ps. Martedì max andiamo con i bancali!!! Buona domenica!
25 March 2013 Matteo Blandford to Laura Coppa Ciao Laura, Grazie mille! Ti sono veramente grato di tutti i tuoi sforzi! Aspetto notizie,
4 April 2013 Matteo Blandford to Laura Coppa Ciao Laura, non so come ringraziarti per i tuoi sforzi negli ultimi mesi, grazie mille ancora! Domani arrivo a Palazzo D’Arcevia, alloggio al Rustico di Montefortino, e da lunedi mi spostero in Riserva Privata San Settimio. Vediamoci per ulteriori dettagli riguardo all’evento di Sabato 13. Io sono libero tutti i giorni, fammi sapere tu, sotto riportato c’e’ il mio numero di cellulare, altrimenti via mail (non avro sempre internet pero’). Spero tu stia bene, A presto, Matteo
5 April 2013 Laura Coppa to Matteo Blandford Ciao Matteo! Non mi devi ringraziare... non ho fatto nulla. Tra l’altro, non ti ho nemmeno più fatto sapere dei pannelli, ma i costi sono comunque troppo alti (due ragazzi con le mani d’oro, che mi aiutano con ARtCEVIA, l’avrebbero fatto a un costo minimo la sera dopo il lavoro, ma il costo del materiale è quello che ti dicevo... pare quindi sia impossibile scendere sotto le 1000 euro tutto incluso...), comunque, se tutto va bene, mercoledì pomeriggio (lunedì sono a bologna e martedì a milano...) vi passo a trovare a san Settimio, così ragioniamo un po’! Se nel frattempo c’è altro, ci sentiamo al telefono! A presto!
250x122x0.5 cut letters. (as an attachment) to manod’opera and VAT included? If the price ‘of around € 200/300 we can do it, otherwise leave it alone. See also Annex advertising poster! attached posters and letters update
23 March 2013 Laura Coppa to Matteo Blandford Hello Matteo! I was thinking that I could try to feel the DIY ... do some work ... My only fear is that the price of the material is approximately around that figure, but try not harmful! I’ll try! I’ll let you know soon! ps. Tuesday we go with the pallets max! Happy Sunday!
25 March 2013 Matteo Blandford to Laura Coppa Hello Laura, Thank you very much! We are truly grateful for all your efforts! Appearance news,
4 April 2013 Matteo Blandford to Laura Coppa Hello Laura, I do not know how to thank you for your efforts over the past few months, thank you very much again! Tomorrow arrival at Palazzo D’Arcevia, stay at the Rustic Montefortino, and by Monday I’ll move in San Septimius Private Reserve. Meet me for more details about the event on Saturday 13. I am free every day, you let me know, below there ‘my cell phone number, or via e-mail (I will not have internet but always’). I hope you are well, See you soon, Matteo
5 April 2013 Laura Coppa to Matteo Blandford Hello Matteo! I do not have to thank me ... I have not done anything. Among other things, I did not even know that most of the panels, but the costs are still too high (two guys with golden hands, who help me with ARtCEVIA, they would have at a minimum cost in the evening after work, but the cost of the material is what I said ... it seems so it is impossible to get under 1000 Euros all inclusive ...), however, if all goes well, on Wednesday afternoon (Monday and Tuesday are in bologna to milan. ..) you will find step by Septimius san, so we reason a bit ‘! If in the meantime there is another, we feel the phone! See you soon!
Email correspondance for the word installation with foreign factory
Email correspondance for the word installation with foreign factory
25 Febraury 2013 Matteo Blandford to Adolfo Melegoni
25 Febraury 2013 Matteo Blandford to Adolfo Melegoni
Buongiorno Sig. Menegoni,
Good morning Mr. Melegoni,
in seguito a una chiamata con Fabio Bruni Le mando dei disegni per dei pannelli di Laminato Marino. La prego di stamparLi e inoltrare la mail a Fabio.
following a call with Fabio Bruni I send the designs for the panels of laminate Marino. Please print and forward the email to Fabio.
Allegato trova pdf in A0 e disegno di AutoCAD 2013. Nel caso Lei necessiti di disegni CAD di una versione precedente non esiti a contattarmi.
Enclosed you will find in pdf A0 and AutoCAD drawing 2013. In case you need CAD drawings of an earlier version do not hesitate to contact me.
Buona giornata, cordialmente,
Have a nice day, cordially,
Matteo
Matteo
attached file letters
letters file attached
14 March 2013 Matteo Blandford to Fabio Bruni, Adolfo Menegoni
14 March 2013 Matteo Blandford to Fabio Bruni, Adolfo Menegoni
Buongiorno,
Good morning,
come discusso al telefono ecco i disegni, sempre da stampare in A0 con le modifiche. Il pdf e’ composto da quattro pagine:
as discussed on the phone here are the designs, always be printed in A0 with the changes. The pdf and ‘consists of four pages:
1- allocazione delle lettere nei pannelli (125cmx250cm) per il migliore utilizzo del materiale 2- composizione delle parole 3- lettere individuali 4- misure delle lettere individuali Allegato trovate pure il file di Autocad 2013 Aspetto vostra risposta per il preventivo per produrre tali lettere in compensato marino di 0.5cm spessore. se avete bisogno di qualsiasi tipo di informazione non esitate a contattarmi, Cordialmente, Matteo attached modified letter files
10 April 2013 Diego Sala to Matteo Blandford Ciao Matteo, mi ha chiesto di contattarti Fabio Bruni per la realizzazione dei tuoi pannelli. TI ho mandato un invito in skype, altrimenti il mio numero di tel è +39 366 3018214 Grazie -Diego Sala
10 April 2013 Diego Sala to Matteo Blandford Ciao Matteo, pare che si faccia fatica a leggere il file .dwg, che versione è?
1 - Allocation of letters in the panels (125cmx250cm) for the best use of the material 2 - composition of words 3 - individual letters 4 - measures of the individual letters Please find attached the file as well Autocad 2013 Appearance your answer for the budget to produce such letters in marine plywood thickness of 0.5cm. if you need any further information please do not hesitate to contact me, Sincerely, Matteo attached modified letter files
10 April 2013 Diego Sala to Matteo Blandford Hello Matteo, Fabio Bruni asked me to contact you for the realization of your panels. I sent an invitation in skype, otherwise my tel number is +39 366 3018214 thanks -Diego Sala
10 April 2013 Diego Sala to Matteo Blandford Hello Matteo,
Potresti mandarla in autocad 2012?
it seems that you face trouble reading the file. dwg, what version is it?
Grazie mille
You could send it in autocad 2012?
Diego
thank you very much
16 April 2013 Matteo Blandford to Diego Sala
16 April 2013 Matteo Blandford to Diego Sala
Buongiorno Diego,
Hello Diego,
mi scusi il ritardo dal previsto lunedi’ per darle la risposta. Come gia detto al telefono abbiamo avuto l’evento sabato 13, e’ stato un successo. Alla luce di cio direi di proseguire nella produzione delle lettere. Allegato trova il file di Autocad 2012. Altre compagnie hanno avuto problemi nella lettura del file essendo stato creato con una versine educativa di autocad ma dovrebbe andare bene se segue le istruzioni sullo schermo alla sa apertura.
I’m sorry the delay from the scheduled Monday ‘to give her the answer. As already said on the phone we had the event on Saturday 13, and ‘was a success. In the light of what would say to continue in the production of the letters. Enclosed you will find the file in Autocad 2012. Other airlines have had a problem reading the file being created with a sleepers educational autocad but should be fine if you follow the instructions on the screen to know opening.
Per i costi di produzione contatti pure Fabio Bruni che se ne sta occupando lui personalmente.
For production costs also contact Fabio Bruni who is taking care of him personally.
Le lettere sono 27 di varie misure come potra’ vedere, dovranno essere fatte di compensato marino di spessore 5mm e come indicazione generale sulle misure, tenga presente che le lettere piu grandi sono di 2.20metri. Una volta prodotte andranno spedite nelle marche. Mi faccia sapere se riesce a organizzare lei la spedizione altrimenti mi organizzo diversamente.
The letters are of various sizes 27 how can ‘see, must be made of marine plywood 5mm thick and as a general indication of the measures, keep in mind that the letters are larger 2.20metri. Once produced should be submitted in brands. Let me know if you can arrange the shipment otherwise I organize myself differently.
Non esiti a contattarmi per altre informazioni, tenga presente che al momento sono a Londra, quindi continuerei la comunicazione via mail invece che chiamare.
Do not hesitate to contact me for more information, keep in mind that at the moment are in London, so I would continue communication via email instead of calling.
Cordialmente
heartily
16 April 2013 Diego Sala to Matteo Blandford
16 April 2013 Diego Sala to Matteo Blandford
Ciao Matteo,
Hello Matteo,
mi fa piacere apprendere dell’inizio positivo della mostra.
I’m glad to hear positive start of the exhibition.
Entrando subito nel tecnico ti chiedo se ci sono particolari motivi nell’utilizzo del compensato marino al posto del forex?
Entering the technician will immediately wonder if there are particular reasons why the use of plywood instead of forex?
Ho parlato con Fabio per l’aspetto economico e mi è chiaro il concetto.
I spoke to Fabio for the economic aspect and I understand the concept.
Sarò più preciso nei prossimi giorni per la tempistica.
I will be more precise in the next few days to timing.
Cordialmente,
Sincerely,
Diego
Diego
16 April 2013 Matteo Blandford to Diego Sala
16 April 2013 Matteo Blandford to Diego Sala
Ciao Diego,
Hello Diego,
la scelta del compensato marino rispetto al forex e’ semplicemente per un aspetto estetico. Il resto dell’installazione e’ dello stesso materiale quindi volevo mantenere una linearita’ nei materiali utilizzati.
the choice of plywood compared to forex and ‘just for an aesthetic appearance. The rest of the installation and ‘the same material so I wanted to maintain linearity’ in the materials used.
Grazie mille per la risposta, aspetto aggiornamenti,
Thank you very much for your answer, appearance upgrades,
Cordialmente,
Sincerely,
Matteo
Matteo
17 April 2013 Diego Sala to Matteo Blandford
17 April 2013 Diego Sala to Matteo Blandford
Ciao Matteo,
Hello Matteo,
Il compensato marino presenta una serie di difficolta’ in più al forex perche’ deve essere tagliato con macchine meccaniche, mentre il forex si riuscirebbe a tagliare con il laser.
Marine plywood has a number of difficulties ‘in the forex more’ cause it must be cut with mechanical machines, while the forex you would be able to cut with the laser.
Ho bisogno pero’ della certezza che la superficie del forex possa andar bene per le eventuali altre lavorazioni che andrete a fare. Ti chiedo di procurarti un pezzo di forex e farmi sapere al più presto, grazie.
I need, however, ‘the certainty that the surface of the forex can be good for any other work which you are going to do. I ask you to get a piece of forex and let me know as soon as possible, thank you.
Diego
Diego
17 April 2013 Matteo Blandford to Diego Sala
17 April 2013 Matteo Blandford to Diego Sala
Ciao Diego,
Hello Diego,
Non faremo altre lavorazioni al materiale quindi un materiale bianco non va bene, inoltre e’ troppo leggero e non c’e’ un supporto adeguato al forex. Quali difficolta’ in piu’ presenta il conpensato? Sono sormontabili? se nell’eventualita’ in cui usare il compensato comporterebbe un esponenziale aumento dei costi e dei tempi, la soluzione allora potrebbe utilizzare un forex da 10mm rosso. Sempre pero’ come soluzione alternativa pero’, sarebbe molto meglio il compensato.
We will not do other work to the material then a white material is not good, and also ‘too light and there is no’ correct media for the forex. What difficulties ‘more’ presents the conpensato? Are surmountable? In the event in which to use the laminate it would result in an exponential increase in cost and time, the solution could then use a forex 10mm red. Increasingly, however, ‘as an alternative solution, however,’ would be much better plywood.
Spero che si trovi un modo pe utilizzare il compensato, aspetto aggiornamenti, Cordialmente, Matteo
17 April 2013 Diego Sala to Matteo Blandford Ricordo che doveva essere verniciato, mi sbaglio? Le difficolta’ sono alla fine economiche. Il laser sarebbe una lavorazione più veloce, una lama avrebbe bisogno di una serie di accorgimenti che non sto a spiegare ma che complicano la cosa. Da cio’ che ho in mano risulta che il forex con taglio laser e’ la soluzione meno dispendiosa sia economicamente sia in tempi. Abbiamo quindi dei vincoli sul colore dei pannelli di che colore devono essere?
I hope you find a way to use eg plywood, appearance upgrades, Sincerely, Matteo
17 April 2013 Diego Sala to Matteo Blandford I remember it had to be painted, am I wrong? The difficulties’ are ultimately economic. The laser would be a faster process, a blade would need a series of measures that I will not explain but which complicate the thing. From what ‘I have in hand is that forex with laser cutting and’ the least costly both economically and in time. We then constraints on the color of the panels what color should it be? Diego
Diego
17 April 2013 Matteo Blandford to Diego Sala
17 April 2013 Matteo Blandford to Diego Sala
Let’s go with forex then.
Andiamo con il forex allora.
I enclose photos of the rest of the installation as a reference of the colors used.
Le allego delle foto del resto dell’installazione come riferimento dei colori utilizzati. Io dipingingerei i pannelli di un rosso acceso. Eviterei il nero e il bianco. Se il rosso non e’ possibile anche un blu o un giallo simili a quelli nelle foto. I pannelli e’ possibile farli di uno spesso in grado di reggere il proprio peso (che non so fletta o si rompa)?
I dipingingerei panels of bright red. I would avoid the black and the white. If red is not ‘can also be a blue or a yellow similar to those in the photos. The panels and ‘can make them one often able to support its own weight (which I do not know flex or break)? Sincerely,
Cordialmente,
Matteo
matteo
attached photos of event
attached photos of event
17 April 2013 Diego Sala to Matteo Blandford
17 April 2013 Diego Sala to Matteo Blandford
Hello Matteo,
Ciao Matteo,
you have the possibility to connect with Skype to define all aspects of what?
hai la possibilità di connetterti in skype per poter definire tutti gli aspetti della cosa?
thanks
Grazie
my contact is diegomariosala
il mio contatto è diegomariosala
thanks
Grazie
17 April 2013 Matteo Blandford to Diego Sala
17 April 2013 Matteo Blandford to Diego Sala
Hello Diego,
Ciao Diego,
I connect you immediately username: matteoblandford
si mi connetto subito, username: matteoblandford
Matteo
Matteo
MISURE IN MILLIM
1250mm
MISURE IN MILLIMETRI SCALA 1:100
16
16. Positioning and size of individual letters
18 17
19
17. Coat of Arms for Palazzo 18. Coat of Arms of a family in Palazzo 19. Shrines on the territory
20
21
20. Panels for installations versions 21. CNC file for panels
22
23
22-23. Mockups of panels on the road
Email correspondance with MetWorks for sponsorship over production of panels for April’s installation 31 January 2013 Matteo Blandford to Marcus Bowerman Hi Marcus, Hope this finds you well. I’m writing to you in the hope that Metworks would consider providing materials for my final major project. I’m currently a third year architecture student and also a member of Unit+, a collaborative practice established last year and supported by tutors Sandra Denicke-Polcher and Torange Khonsari. My project looks into providing a regeneration strategy for shrinking cities, and will take place specifically at Palazzo D’Arcevia, Ancona, Italy. An intervention of the strategy is in the form of installations: one is a series of laser cut and painted posters of 860x570 mm and the other is a series of big and small words from CNC sheets of plywood of 10mm thickness (from 50mm to 2000mm in height) to be mounted on the walls of buildings around the city. Should you be able to to discuss this project further in person, I’d really appreciate it. In the interim, do let me know if you think it would be at all possible for Metworks to provide the required materials. I look forward to hearing from you. Best, Matteo 3 February 2013 Marcus Bowerman to Matteo Blandford Hi Matteo Thank you for your e-mail. The project sounds interesting and it would be helpful to know the full scope of the project in terms of the materials and machining that you would want Met/CASSWORKS support for. As well as an estimate of the total number of sheets of (2440mm x 1220mm x 9mm) Birch Ply the project would require. Given the financial pressures that I have to work with, before we set up a meeting it would a great help to know the number of sheets. (Full sheets are £25.51 each in 9mm) Kind Regards and I look forward to your e-mail. Marcus 4 February 2013 Matteo Blandford Hi Marcus, Thank you for the prompt reply. For more specific information and in light of recent tutorials, I’ll only be able to provide the exact quantity after I will visit the site in Italy from the 13th to the 17th of february. This will shed light on exact measurements and amount of interventions in the town. Right now I can estimate that the amount of sheets I’ll need could be up to a maximum of 50 sheets (2440mmx1220mmx9mm), divided as follows: 3 for the 15 posters (860mmx570mm) and the remaining for the letters to compose the text around the city. Attached there is a pdf with the proposals so far. As you will see the letters are almost human scale and being the intervention very site specific I’ll need a more detailed survey of the site before having all the required data. May I remark upon the fact that this is only an estimate at the moment, and I will most likely require less sheets. I hope this is still an amount that you can work with.
Kind regards,
(Cc Matteo Blandford)
Matteo
Approved! Sandra
4 February 2013 Matteo Blandford to Marcus Bowerman
20 February 2013 Matteo Blandford to Marcus Bowerman
Hi Marcus,
Hi Marcus,
Here is the attachment mentioned in the previous email.
I hope this email finds you well.
Looking forward to your reply,
I just came back from the site visit in Italy and managed to gather all the information required to get the project manufactured. As you mentioned before, you won’t be able to provide the material in its totality, in light of this I have been looking for sponsorship elsewhere and some interest has been sparked in a few organisations in Italy. This to say that, unless we find funding in London, the imagined work load for the production (in metworks) will be less as we will be making them in Italy.
Kind regards, Matteo 4 February 2013 Sandra Denicke-Polcher to Matteo Blandford Hi Matteo, Are you also intending to laser cut the letters put up in village? How do you want to fix both? I should see you tomorrow afternoon for tutorial! Best, Sandra 5 February 2013 Marcus Bowerman to Matteo Blandford Hi Matteo Many thanks for the e-mail and further clarification. I should say that any contribution we could make would be very limited and you should seek significant additional sponsorship. I hope the trip to Italy goes well and look forward to progress on the project. Kind Regards Marcus 7 February 2013 Matteo Blandford to Marcus Bowerman Hi Marcus, Thank you for letting me know. I am already seeking additional sponsorship elsewhere but no luck so far. In the case in which I find the material, will Met Works be able to provide the use of the machinery (CNC) ? 7 Febraury 2013 Marcus Bowerman to Matteo Blandford Hi Matteo Yes in principal that aspect is fine. The things we will have to consider are: 1) The amount of work involved (number of hours of machining) 2) Making sure that there is sufficient time 3) Scheduling in your work and allowing for other students to have their work done as well. I’m sure that it will be fine, we will need to have a properly prepared set of CAD drawings, know the quantities and the time frames. I guess that Torange and Sandra have approved this as a part of your studies? If you have all this information then we can arrange for you to meet Stuart to set the work up. Kind Regards Marcus 7 February 2013 Sandra Denicke-Polcher to Marcus Bowerman
I am writing to you to further understand how much you’d be able to provide, in terms of the discussed panels. I’m hoping that Metworks would be able to provide 5 panels and the production of such, I understand if this is too much, and I’ll gladly accept any quantities. About the production: all the CAD drawings are ready. I just need to know what specifications the cnc machine needs. I could possibly meet with Stuart for ore information in the matter. Looking forward for your email, have a good day. 20 February 2013 Marcus Bowerman to Matteo Blandford Hi Matteo Many thanks for the e-mail. Stuart has scheduled consultations for students on Tuesdays, Wednesdays and Thursdays between 10:00 and 11:00 in the commercial Road building room CR1-08 (his office) So if you could make your way to him on one of these days it would be a great help. The key file preparation information is as attached. On the materials, keep me posted and I’ll see what I can do for you. Kind Regards Marcus 27 February 2013 Matteo Blandford to Marcus Bowerman Hi Marcus, for your information I’ll be heading down to see Stuart tomorrow. Here are the final drawings for the installation that I am planning to do in April. I am hoping that Metworks can provide the three panels required for part of the intervention (i.e. “Panels DIM.pdf” attached). In the fortunate event in which you can provide more, any support will be greatly appreciated. Thank you again for the help and support, Looking forward to your reply,
1
OPERAZIONE ARCEVIA 2.0 presenta in collaborazione con Riserva Privata San Settimio
LIVE PALAZZO VIVIAMO PALAZZO
un’installazione alla riscoperta di Palazzo.
Trovate le parole evidenziate
della poesia sotto riportata e nel mentre riscoprite, godete e innamoratevi di Palazzo.
Caricate la vostra foto su twitter e facebook con tag #OA20!
DICHIARAZIONE DI PRINCIPIO di Angelo Verdini
Palazzo deserves the poetry 24
24. Final version of panel design
PALAZZO SI MERITA LA POESIA perché Palazzo é capace di corrispondere agli stati dello sguardo di chi l'ammira, perché chi guarda Palazzo ci ritrova lo SPECCHIO DI TUTTE LE SFUMATURE DEL PROPRIO SENTIRE. Basta posizionarsi sulla strada di fronte, quella che viene da Arcevia, e subito PALAZZO APPARE BEN PIANTATO NELLA ROCCIA SOLIDO, INDISTRUTTIBILE, RESISTENTE e chi lo guarda ne riceve sicurezza, radicamento, affidabilità, fiducia. Se chi guarda fa qualche passo avanti su quella strada Palazzo cambia atteggiamento, ORA ESSO SEMBRA FELICEMENTE AGGRAPPATO AL MONTE su cui sorge, CHI AVEVA PAURA di perdersi NON SI PERDE PIÙ, chi aveva paura di smarrirsi NON SI SMARRISCE PIÙ, chi aveva paura di sprofondare NON SPROFONDA PIÙ. Palazzo é lì pronto a proteggere, pronto a salvare, disponibile a interrompere i sogni angoscianti a consolare i risvegli increduli. Se chi guarda percorre un altro pezzettino di quella strada Palazzo ALL'IMPROVVISO SI LIBRA NELL'ARIA, perde consistenza, SI MISCHIA SOLO CON IL CIELO, CON LE NUVOLE, CON IL VENTO, diventa leggero, leggerissimo, si innalza e vola nella luce e invita chi guarda a volare con lui, a immaginare con lui, a inventare con lui. SE CHI PERCORRE QUELLA STRADA SI ATTARDA IN ATTESA DELLA NOTTE PALAZZO SI TRASFORMA IN UN PRESEPIO BRULICANTE DI LUCI e ombre, di forme e di contorni e ti restituisce la vita intera e misteriosa il coraggio, la felicità e la beatitudine.
SEGUITECI: Twitter: @ItaloBartoletti Facebook: Operazione Arcevia www.operazionearcevia.org
25. Final version of shrine design 26. Shrine size
25
x2 34.5cm
DICHIARAZIONE DI PRINCIPIO
56cm
di Angelo Verdini Palazzo si merita la poesia perché’ Palazzo e’ capace di corrispondere agli stati dello sguardo di chi l’ammira, perche chi guarda Palazzo ci ritrova lo specchio di tutte le sfumature del proprio sentire. Basta posizionarsi sulla strada di fronte, quella che viene da Arcevia, e subito Palazzo appare ben piantato nella roccia solido, indistruttibile, resistente e chi lo guarda ne riceve sicurezza, radicamento, affidabilità, fiducia. Se chi guarda fa qualche passo avanti su quella strada Palazzo cambia atteggiamento, ora esso sembra felicemente aggrappato al monte su cui sorge, chi aveva paura di perdersi non si perde più, chi aveva paura di smarrirsi non si smarrisce più, chi aveva paura di sprofondare non sprofonda più. Palazzo e’ li pronto a proteggere, pronto a salvare, disponibile a interrompere i sogni angoscianti a consolare i risvegli increduli. Se chi guarda percorre un altro pezzettino di quella strada Palazzo all’improvviso si libra nell’aria, perde consistenza, si mischia solo con il cielo, con le nuvole, con il vento, diventa leggero, leggerissimo, si innalza e vola nella luce e invita chi guarda a volare con lui, a immaginare con lui, a inventare con lui. Se chi percorre quella strada si attarda in attesa della notte Palazzo si trasforma in un presepio brulicante di luci e ombre, di forme e di contorni e ti restituisce la vita intera e misteriosa il coraggio, la felicita’ e la beatitudine.
x2
160cm
56cm
x2
180cm
160cm
56cm 26
DICHIARAZIONE DI PRINCIPIO di Angelo Verdini Palazzo deserves poetry because Palazzo is able to match the states of the gaze of those who admire it because the viewer Palazzo find there the mirror of all the nuances of one’s feelings. Just go on the road in front, that which comes from Arcevia, and now Palazzo is firmly planted in the rock solid, indestructible, resistant and the viewer receives security, grounding, reliability and trust. If the viewer takes a step forward on the road Palazzo’s attitude change, now it seems happily clinging to the mountain on which it stands, who was afraid of losing you will not lose anymore, who was afraid of getting lost does not stray anymore, who was afraid of sinking does not sink anymore. Palazzo is ready to protect them, ready to save, available to stop the distressing dreams to console awakenings disbelief. If the viewer along another piece of that road Palace suddenly hovers in the air, loses consistency, is mixed with only the sky with clouds, the wind, becomes light, very light, it rises and flies into the light and invites the viewer to fly with him, imagine with him, to invent him. If those who follow that road lingers waiting for the night Palazzo turns into a crib teeming with lights and shadows, shapes and contours and gives you back the whole life and mysterious courage, happiness and bliss.
The panel installation is composed of 15 panels with parts of the poetry (on the left) and a panel with “Operazione Arcevia 2.0” written on. The panels are hidden in the twon according to their poetry. The principle behind the installation is to make the tourist move around the town without stopping simply at the main square. The panels symbolize the present of Palazzo. The author is the president of the local bar and main organizer of events in Palazzo.
E E E S ORN; THE R THE
N
27
28
PALAZZO OA2.0 SHRINE
ENJOY
1
14 6 2 9 11 12
OA2.
PLAY
CREATE
4 15 6
13 3 4 78 5
10 .0
AY
29 27. Installation map 1 28. Installation map 2 29. Final installation map
UNIT+ Pavillion for Riserva Privata San Settimio
1
The pavillion structure designed by UNIT+ at large is inteded to be a panoramic view and study room for the tourists of the reserve. It will be place where the Studio was supposed to be according to Nicolo Spina’s studies (see p.6). It will all be constructed by dismanteled pallets.
1. First renders of Pavillion 2. Sketches of Pavillion 3. Sketch model of Pavillion
2
2
3
2
Email correspondance for pallets sponsorship by Council
Email correspondance for pallets sponsorship by Council
15 February 2013 Fiorenzo Quajani to Matteo Blandford
15 February 2013 Fiorenzo Quajani to Matteo Blandford
Ti comunico che ho contattato il responsabile spedizioni di una azienda locale, il quale mi conferma la disponibilità del materiale che mi hai chiesto,almeno in parte, ora contatto anche un'altra azienda per la parte mancante. Ho provveduto ad informare Laura Coppa. A presto.
I tell you that I contacted Chief shipments from a local company, who told me confirms the availability of the material that you asked me, at least in part, now also contact another company for the missing part. I proceeded to inform Laura Coppa. See you soon.
Fiorenzo Quajani - assessore Comune di Arcevia
Fiorenzo Quajani - Councillor for the City of Arcevia
15 Febraury 2013 Matteo Blandford to FIorenzo Quajani (Cc Massimo Dorigo)
15 Febraury 2013 Matteo Blandford to FIorenzo Quajani (Cc Massimo Dorigo)
Ciao Fiorenzo,
Hello Fiorenzo,
Grazie mille! Ho consultato i responsabili del progetto dei bancali e dai 100 che ti ho annunciato, il numero piu' esatto di bancali (per l'intero progetto) sarebbe di 400. Mi rendo conto che e' un numero grande ma teniamoci aggiornati su quanti riesci a recuperarne. Metto in copia anche Massimo, che se ne sta occupando da Londra.
Thank you very much! I have consulted with the project managers and the pallets from the 100 that I have announced, the number more ‘exact trays (for the whole project) would be € 400. I realize that and ‘a big number but let’s keep up to date on how you can recover. I put a copy also Massimo Dorigo, who is taking care of London.
A presto!
See you soon!
15 February 2013 Fiorenzo Quajani to Matteo Blandford
15 February 2013 Fiorenzo Quajani to Matteo Blandford
Ok, al lavoro! Ciao
Ok, at work! Ciao
15 February 2013 Massimo Dorigo to Fiorenzo Quajani (Cc Matteo Blandford, Nicolo Spina)
15 February 2013 Massimo Dorigo to Fiorenzo Quajani (Cc Matteo Blandford, Nicolo Spina)
Buongiorno Fiorenzo,
Hello Fiorenzo,
sono Massimo, uno dei designer responsabili del progetto in Riserva e Palazzo.
I’m Massimo, one of the designers responsible for the project in the Reserve and Palazzo.
Come giustamente le anticipa Matteo nella precedente mail, il numero totale di bancali è piuttosto elevato. Volevo solo precisare che quella sarebbe la quantità ideale di materiale per l'intero progetto, ma che ogni aiuto, piccolo o grande che sia, è più che bene accetto.
As rightly anticipates from Matteo in the previous email, the total number of pallets is quite high. I just wanted to point out that 400 pallets would be the ideal amount of material for the entire project, but that any aid, whether large or small, is more than welcome.
Grazie infinite per il sostegno, spero ci incontreremo al più presto.
Thank you very much for the support, I hope we will meet soon.
Arrivederci, Massimo Dorigo
goodbye, maximum Dorigo
15 February 2013 Fiorenzo Quajani to Matteo Blandford (Cc Massimo Dorigo)
15 February 2013 Fiorenzo Quajani to Matteo Blandford (Cc Massimo Dorigo)
Mi sono messo subito in contatto con due aziende locali ed a breve saprò darti notizie precise. Per una azienda é importante sapere l'uso degli stessi onde evitare che il legname venga usato come legna da ardere. Possibile nel caso avere una dichiarazione che ne attesti il fine? A presto
I immediately put in contact with two local companies and I’ll know soon give you precise information. For a company it is important to know the use of the same in order to ensure that timber is used as firewood. Possible in the case have a statement attesting to the end? See you soon
Fiorenzo Quajani
Fiorenzo Quajani
34726894
34726894
15 February 2013 Massimo Dorigo to Fiorenzo Quajani (Cc Matteo Blandford, Nicolo Spina)
15 February 2013 Massimo Dorigo to Fiorenzo Quajani (Cc Matteo Blandford, Nicolo Spina)
Nessun problema al riguardo, anzi, al più presto le faremo avere una dichiarazione firmata, riguardante l'utilizzo dei materiali.
No problem with that, in fact, soon we’ll have a signed declaration, concerning the use of the materials.
A questo proposito, sarebbe utile sapere i nomi delle aziende coinvolte.
Grazie, Massimo Dorigo
15 February 2013 Fiorenzo Quajani to Matteo Blandford (Cc Massimo Dorigo) A tal proposito mi riservo di comunicarle i nominativi nei primi giorni della settimana. Vorrei parlate personalmente con i responsabili spedizione delle aziende dopo il veloce contatto telefonico di oggi. Cordialmente Fiorenzo Quajani
18 February 2013 Fiorenzo Quajani to Matteo Blandford (Cc Massimo Dorigo) Domani ho appuntamento con il Direttore di uno stabilimento industriale locale, poi Vi forniró tutti le informazioni utili al progetto. A presto. F.Quajani
18 February 2013 Massimo Dorigo to Fiorenzo Quajani (Cc Matteo Blandford, Nicolo Spina) Buongiorno Fiorenzo, la ringrazio ancora per il prezioso aiuto che ci sta offrendo. Attendo i nomi delle aziende disposte a fornirci del materiale, così da includerle nel documento che le invieremo.
In this regard, it would be useful to know the names of the companies involved.
Thank you, Massimo Dorigo
15 February 2013 Fiorenzo Quajani to Matteo Blandford (Cc Massimo Dorigo) In this regard, I intend to communicate the names in the first days of the week. I would like to speak personally with the leaders of the shipping companies after the quick contact by telephone today. heartily Fiorenzo Quajani
18 February 2013 Fiorenzo Quajani to Matteo Blandford (Cc Massimo Dorigo) Tomorrow I have an appointment with the Director of a local industrial plant, then I will give you all the information useful to the project. See you soon. F.Quajani
18 February 2013 Massimo Dorigo to Fiorenzo Quajani (Cc Matteo Blandford, Nicolo Spina) Hello Fiorenzo, Thank you again for the invaluable help they are offering. I await the names of companies willing to provide us with the material, so as to include them in the document that we send.
Potrebbe già informare le ditte coinvolte che, sempre sia di loro gradimento, saranno citate in articoli, siti e riviste dove appariremo, quali filantropi/sponsor del nostro progetto.
You may already inform the companies involved, which is always to their liking, they will be mentioned in articles, websites and magazines where we will appear, such philanthropists / sponsors of our project.
Arrivederci a presto,
See you soon,
Massimo Dorigo
Massimo Dorigo
UNIT+
UNIT +
18 February 2013 Massimo Dorigo to Fiorenzo Quajani (Cc Matteo Blandford, Nicolo Spina)
18 February 2013 Massimo Dorigo to Fiorenzo Quajani (Cc Matteo Blandford, Nicolo Spina)
Domani vi invierò nomi e mail delle aziende interessate. Cordialmente F.Quajani
Tomorrow I will send you names and emails of interested companies. heartily F.Quajani
19 February 2013 Fiorenzo Quajani to Massimo Dorigo (Cc Matteo Blandford, Laura Coppa, Nicolo Spina)
19 February 2013 Fiorenzo Quajani to Massimo Dorigo (Cc Matteo Blandford, Laura Coppa, Nicolo Spina)
Carissimi, vi comunico i nomi delle Aziende che ho contattato riguardo i palletts da voi richiesti.
Dear friends, I can tell you the names of the companies that I contacted regarding the pallets that you have requested.
LINEA MARCHE S.P.A. http://www.lineamarche.it/ Responsabile Spedizioni Sig. Massimo Gelsi massimo.gelsi@lineamarche.it
LINEA MARCHE S.P.A. http://www.lineamarche.it/ Responsabile Spedizioni Sig. Massimo Gelsi massimo.gelsi@lineamarche.it
THERMOWATT S.P.A. http://www.thermowatt.com/ Direttore Ing. Cristiano Zannoni cristiano.zannoni@thermowatt.it
THERMOWATT S.P.A. http://www.thermowatt.com/ Direttore Ing. Cristiano Zannoni cristiano.zannoni@thermowatt.it
Spero di esservi stato d'aiuto...un saluto, a presto
I hope to be of help ... a greeting, see you soon
Fiorenzo Quajani
Fiorenzo Quajani
19 Febraury 2013 Matteo Blandford to Fiorenzo Quajani (Cc Massimo Dorigo, Nicolo Spina, Laura Coppa)
19 Febraury 2013 Matteo Blandford to Fiorenzo Quajani (Cc Massimo Dorigo, Nicolo Spina, Laura Coppa)
Buonasera,
Good evening,
Grazie mille veramente per la tua disponibilita'!
Thank you very much for your truly availability ‘!
Prossimi aggiornamenti a breve!
Upcoming Updates soon!
A presto!
See you soon!
21 Febraury 2013 Carolina Bernasconi to Matteo Blandford (Cc Nicolo Spina) bene per i bancali!! siamo sicuri che abbiano capito che sono per la riserva e non per palazzo, che strano che abbiano fatto cosi' veloce per recuperarli...cmq meglio cosi'... adesso per materiale palazzo che avete pensato?ci danno una mano sempre loro a trovarli? baci
21 February 2013 Nicolo Spina to Carolina Bernasconi (Cc Matteo Blandford) Ciao Carolina !! Evidentemente devono essere ben interessati a ciò che facciamo per trovarci il materiale in due giorni ! Cmq spero lo abbiano capito che sono da usare in riserva... Per il materiale per palazzo alcune cose teoricamente c'è le sponsorizza l'università ( i piccoli cartelli in legno che partono dalla riserva fino a palazzo)altre siamo alla ricerca di sponsor ! Ci riusciamo a sentire questo sabato via Skype ? Kind Regards Nicolò Spina
21 February 2013 Matteo Blandford to Carolina Bernasconi (Cc Nicolo Spina) Si SI credo proprio di si era abbastanza evidente a cosa servissero, spero, nella mia spiegazione. Per la questione a Palazzo mi sto organizzando tra qua e l'italia per farlo in due posti a seconda di dove ci sono le tecnologie per farlo bene. Una parte verra fatta sicuramente qui (modello
21 Febraury 2013 Carolina Bernasconi to Matteo Blandford (Cc Nicolo Spina) good for pallets! we are sure that they understand that they are for the reserve and not for building, that’s strange that they did so ‘to recover fast ... cmq better this way’ ... Now for building material that you have thought? give us a hand getting them to find them? kisses
21 February 2013 Nicolo Spina to Carolina Bernasconi (Cc Matteo Blandford) Hello Carolina! Evidently must be well interested in what we do to find the material in two days! Anyway I hope you have realized that they are to be used in reserve ... For the material for building some things theoretically is the sponsor of the university (the small wooden signs that depart from the reserve until the building) other we are looking for sponsors! There we can feel this Saturday via Skype? Kind Regards Nicolo Spina
21 February 2013 Matteo Blandford to Carolina Bernasconi (Cc Nicolo Spina) Yes yes I think so it was pretty obvious what they were for, I hope, in my explanation. To the question I am now planning to Palace between here and Italy to do it in two places depending on where there are
e installazione sulla strada da riserva a palazzo) per la piazza di palazzo sto cercando fondi perche e' l'unica cosa che manca. TI teniamo aggiornata su procedimenti, ma al momento sfortunatamente niente. A presto!
21 February 2013 Carolina Bernasconi to Nicolo Spina (Cc Matteo Blandford) Ok ragazzi andiamo avanti,tenetemi aggiornata. Si nico ci sentiamo sabato,mandami tu sms quando ci sei.. Bacio
21 Febraury 2013 Matteo Blandford to Laura Coppa (Cc Nicolo Spina) Ciao Laura, Spero questa mail ti trovi bene! TI scrivo per ringraziarti ancora di tutti i cataloghi che mi hai regalato, e di avermi incontrato. Sono tornato a Londra al momento ma la visita ad Arcevia e Palazzo e' stata assolutamente un successo! Ti terremo aggiornata su svolgimenti e avvenimenti e saremmo molto interessati a seguire anche ArtCevia! Ci vedremo sicuramente presto, fino ad allora spero tutto procedera' per il meglio! A presto, Matteo
21 Febraury 2013 Laura Coppa to Matteo Blandford Ciao Matteo! Mi fa davvero piacere che tutto sia andato per il meglio! La tua, la vostra presenza in questa terra porta davvero una ventata di freschezza! Ci teniamo in contatto con tutte le novità... intanto ti dico che stiamo organizzando le nuove proposte e collaborazioni per il festival: magari trovate qualche aggancio in più con il vostro progetto da inserire nel festival... sfruttateci! :)
technologies to do it right. One part will be done definitely here (model and installation on the road reserve to the palace) to the square of the palace’m trying funds because it is’ the only thing missing. We will keep you updated about debt, but at the moment unfortunately nothing. See you soon!
21 February 2013 Carolina Bernasconi to Nicolo Spina (Cc Matteo Blandford) Ok guys go ahead, keep me updated. Yes Nico let’s talk Saturday, send me sms when you’re there .. kiss
21 Febraury 2013 Matteo Blandford to Laura Coppa (Cc Nicolo Spina) Hello Laura, I hope this mail you feel comfortable! I am writing to thank you again for all the catalogs that you gave me, and meeting me. I’m back in London at the moment but a visit to Arcevia and Palace ‘was definitely a success! We will keep you updated on events and svolgimenti and we would be very interested in following also ArtCevia! We’ll see you again soon, until then I hope everything will proceed ‘for the better! See you soon, Matteo
21 Febraury 2013 Laura Coppa to Matteo Blandford Hello Matteo! I’m really glad it all worked out for the best! Your, your presence in this land really brings a breath of fresh air! We keep in touch with all the news ... Meanwhile, I tell you that we are organizing the new proposals and collaborations for the festival: maybe find some more engagement with your project to be included in the festival ... sfruttateci! :)
Dimenticavo! Dovrebbe averti già scritto Fiorenzo Quajani (l'assessore alto, alto): per i bancali è tutto ok! Mi occupo io del trasporto... devi solo dirmi per quando li vuoi cominciare a reperire e se vanno a Palazzo o altrove! Buon lavoro e a risentirci presto
I forgot! It should have you already written Fiorenzo Quajani (Councillor high, high) for the pallets is all ok! I’ll take care of the transport ... you just tell me when you want them to begin to find and if they go to Palace or elsewhere! Good work and to hear from you soon
Laura
Laura
21 February 2013 Matteo Blandford to Laura Coppa (Cc Fiorenzo Quajani, Massimo Dorigo, Carolina Bernasconi)
21 February 2013 Matteo Blandford to Laura Coppa (Cc Fiorenzo Quajani, Massimo Dorigo, Carolina Bernasconi)
Ciao Laura,
Hello Laura,
A perfetto grazie mille! Per i bancali quando sei libera di trasportarli a Palazzo (in Riserva Privata San Settimio) dopo il 22 Marzo, data nella quale riapre la Riserva, contatta pure o me o Carolina o Massimo (in Copia nella mail) per dettagli di dove e quando!
A perfect thank you very much! For the pallets when you are free to carry Palace (Private Reserve in San Septimius) after March 22, the date on which reopens the Reserve, feel free to contact me or Carolina or Maximum (Copy in the email) for details of where and when!
Ti facciamo sapere assolutamente! a presto!
You do know absolutely! see you soon!
Matteo
Matteo
23 Febraury 2013 Fiorenzo Quajani to Matteo Blandford
23 Febraury 2013 Fiorenzo Quajani to Matteo Blandford
Ciao Matteo, ci sono problemi con le aziende che ti ho segnalato? nella speranza che tutto vada x il meglio, attendo tue notizie. ciao
Hello Matteo, there are problems with the companies that I have reported? in the hope that everything goes the best, expect to hear from you. hello
12 March 2013 Matteo Blandford to Laura Coppa (Cc Carolina Bernasconi, Massimo Dorigo)
12 March 2013 Matteo Blandford to Laura Coppa (Cc Carolina Bernasconi, Massimo Dorigo)
Ciao Laura,
Hello Laura,
a proposito dei bancali ti metto in copia Massimo, che se ne sta occupando da Londra e Carolina Bernasconi, proprietaria della Riserva Privata San Settimio per accordarvi su consegna.
about the pallets I have put a copy of Massimo Dorigo, who is taking care of from London and Carolina Bernasconi, owner of the Private Reserve of San Settimio to arrange delivery.
Grazie mille, a presto!
Thanks a lot, see you soon!
12 March 2013 Carolina Bernasconi to Laura Coppa (Cc Matteo Blandford, Massimo Dorigo)
12 March 2013 Carolina Bernasconi to Laura Coppa (Cc Matteo Blandford, Massimo Dorigo)
Ciao Laura, io sono a san settimio,quando vuoi.. Ti lascio il mio cell 3356303230 Grazie
Hello Laura, I’m at St. settimio, when you want .. I’ll give you my cell 3356303230 thanks
Carolina
Carolina
12 March 2013 Nicolo Spina to Carolina Bernasconi
12 March 2013 Nicolo Spina to Carolina Bernasconi
Ciao , ormai ti stiamo bombardando di e mail, scusa. Stiamo modificando cambiando un attimo il design delle costruzioni( ho pensato che te lo terrò segreto fino alla fine )
Hello, now you are bombing, e mail, sorry. We’re changing changing a moment the design of the buildings (I thought that I will keep secret until the end)
ma volevo chiederti se per caso avresti l'opportunità di fornici colore bianco e nero da pittura e utensili vari da costruzione tipo martelli trapani cacciaviti etc. ( la lista precisa te la mando a fine settimana)
but I wanted to ask if by any chance you would have the opportunity of tubes black and white color by painting and various construction tools like hammers, screwdrivers, drills etc. (I’ll send a detailed list at the end of week)
grazie mille e un super saluto a te e roberto.
thank you very much and a super greetings to you and roberto.
p.s. spero che per oggi le mail siano finite :) e per il poster lo rivediamo un attimo oggi e domani mattina e per il tardo pomeriggio ti mandiamo la locandina finita
12 March 2013 Carolina Bernasconi to Nicolo Spina, Matteo Blandford Nessun problema nico! Ok per attrezzi e ok per pittura,quanta?che tipo?per quando? Fammi sapere Per il poster proviamo a fare altre modifiche,per non ripetere palazzo d'arcevia la seconda volta si puo' anche mettere solo palazzo e per non ripetere due volte rpss si puo' mettere la seconda volta in Riserva..poi il quadrato in mezzo che non so mai come si chiama non possiamo metterlo in piccolo in basso? Un'ultima cosa:allora il rinfresco e' di sabato?!vedremo come organizzarci per cibo veloce senza cameriere... A domani Baci
5 April 2013 Laura Coppa to Matteo Blandford Matteo! Spero di essere ancora in tempo! Per i bancali mancanti chiedono di sapere di quali dimensioni occorrono, vorrebbero che qualcuno passasse a vederli. Io, non sapendo, è inutile che vada... riesci a passare oggi appena arrivi? (oggi entro le 17, o lunedì mattina, il prima possibile... considera che dalle 7 è pronto il camion!). La ditta è la tecnowind, sulla destra in direzione arcevia (venendo da Conce), di fronte a Giacometti rivenditore edilizio... non dovresti sbagliare. Lì chiedi del sig. Luigi Zucca Ciao!!!
P.S. I hope that the emails are over for today :) and for the poster we see it again for a moment today and tomorrow morning and the late afternoon we send you the flyer over
12 March 2013 Carolina Bernasconi to Nicolo Spina, Matteo Blandford No problem nico! Ok for tools and ok for painting, how much? What kind? For when? Let me know To the poster try to make other changes, not to repeat building arcevia the second time you can ‘put only the building and not to repeat twice RPSS you can’ put the second time in reserve .. then the square in the middle that I never know what it’s called, we can not put it in small low? One more thing and then refresh ‘on Saturday?!’ll See how to organize for fast food without waiter ... See you tomorrow kisses
5 April 2013 Laura Coppa to Matteo Blandford Matthew! I hope to still be on time! For the missing pallets are demanding to know what size is needed, someone who would like to see them pass. I, not knowing, it is useless to go ... you can switch to it today when you arrive? (within the 17 today, or Monday morning, as soon as possible ... considering that the truck is ready from 7am!). The company is the tecnowind, on the right in the direction arcevia (coming from Conce), in front of Giacometti retailer building ... you should not miss it. There ask Mr. Luigi Zucca Hello!
FSE Foundry Site Visit
History FSE Group was established in its present form in January 2001 when Enfield Foundry Holdings Ltd merged its commercial foundry (Enfield Foundry) and pattern shop (Crockett-Orwin Patterns) with the Essex-based Finch Seaman Foundry, Nautilus Fine Art Foundry and AATi Ltd makers of metal stairway products. Enfield Foundry was moved from Waltham Cross where it had been since 1932, to Braintree, in a more modern factory suitable for a progressive foundry-based engineering firm. From 2002 to 2006 further re-structuring of FSE Group companies took place with Nautilus Fine Art Foundry absorbing Burleighfield Fine Arts (High Wycombe) and Morris Singer (Hampshire), calling itself Morris Singer Art Founders Limited. Glyn Elshaw, Mervyn George and Enfield Holdings now own FSE Group, which in turn holds 10% of the Morris Singer Art Foundry. Finch Seaman Enfield Group (FSEG) now has a unique concentration of cast metal product facilities and skills on one site at Braintree in Essex, near to the Stansted International Airport Terminal. Future plans now include; - the development of the commercial casting service (FSE Foundry) with an even wider range of metals produced at Braintree, associated with bulk supplies from our Chinese foundry partners, - the widening of markets for the AATi anti-slip stairway product range, and the introduction of new products, - support of the independent team at MS Art Founders in their ongoing expansion and plans to become one of the premier European art foundries.
(Resistance/Induction) melting furnaces and heat treatment facilities and can produce Patterns, prototypes and fully machined production batches. The sales and office staff are equipped to provide carefully considered technical quotations followed by fully traceable castings to your required technical specification at a competitive market price. Target delivery lead times for castings are 3-4 weeks maximum. During the site visit the manager brought use round the factory explaining the processes and the stories behind all of what they produced. He explained the process that afects the metal and the process for the moulds they utilize, either wooden carved by CNC routers, sand moulds, and wax moulds. The factory it self has been active for a long time but since 2001 it expanded after a merge. The guy taking us around had lots of stories regarding all of the querky pieces he ever made. What was most impressive was the love he had for metals and his factory. A true love for his work.
Where FSE foundry, based in Braintree in Essex and close to London’s Stansted Airport, is one of the best known suppliers of short run and prototype Iron and NonFerrous in the South of England. Because of its strategic location and history of producing specialist copper alloys FSE Foundry also supplies throughout the UK and Internationally. FSE are able to cast up to 500kg in Ferrous castings (Cast Iron, SG Iron, Alloyed Irons), 500kg in Non-Ferrous Alloys and High Conductivity Copper and Alloys, and 100kg in Aluminium Alloys. The foundry has fully electric
1. Images from site visit: -Manager -Examples -Moulds -Sand into moulds -Finishes of moulds -Cleaning of mould -Wood mould -liquid metas
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Organization of April 2013
Email correspondance for Council Patronage requests
Email correspondance for Council Patronage requests
6 March 2013 Matteo Blandford to Massimo Bergamo (Cc Nicolo Spina)
6 March 2013 Matteo Blandford to Massimo Bergamo (Cc Nicolo Spina)
Buongiorno Sig. Bergamo,
Good morning Mr. Bergamo,
le scrivo per chiederle nuovamente dei permessi necessari per l’evento e installazione ad Aprile. Se riesce a farmi sapere appena possibile cosa devo compilare e per quando le sarei molto grato. Tutte le informazioni necessarie sono pronte, devo solo sapere quali le sono necessarie per le procedure democratiche.
I am writing to ask again the necessary permits for the event and installation in April. If you can make me know asap what should I fill out and when I would be most grateful. All necessary information is ready, I just need to know which are necessary for democratic procedures.
Mi scuso per il disturbo, Cordialmente, Matteo
6 March 2013 Matteo Blandford to Laura Coppa (Cc Nicolo Spina) Ciao Laura, spero questa mail ti trovi bene. Ti scrivo per chiederti quale sorta di permessi hai richiesto in comune per le installazioni/ mostre nelle frazioni? grazie mille per l’informazione, a presto Matteo
6 March 2013 Matteo Blandford to Laura Coppa Ciao Matteo! Scusami per il silenzio, ma ho dei giorni interminabili... A dire la verità, mi sono informata per i falegnami (più economici e veloci), ma per i permessi, in tutta sincerità, credo sia più comodo per Fiorenzo... in comune d’altra parte, ci sta! Ma detto questo, penso sia necessario capire bene che tipo di permessi ti occorrono... occupazione di suolo pubblico? Affissioni? Noi di solito ci muoviamo diversamente... ti spiego: essendo un progetto che il Comune approva (avete qualcosa di scritto?) potresti fare una lettera con indicate date e eventi dettagliate (luoghi, orari o periodi, modalità di svolgiamento, ecc.) da mandare al Sindaco di modo che lo passi al protocollo e lo faccia approvare in giunta... è molto più semplice secondo me, dato che si tratta di un evento non limitato a un solo giorno. Scusami se non mi è venuto in mente prima di dirtelo... parlane con Fiorenzo, riportando anche quello che ti ho scritto qui... secondo me è la maniera più semplice per procedere, poi dipende... se dovete mettere in orbita uno shuttle... magari un permessino a parte vi tocca farlo ^_^ Fai una cosa: manda sia a me che a Fiorenzo una scheda tecnica di svolgimento, al limite, dato che la settimana prossima vedo Andrea, intanto glie lo accenno (e lo ricordo a Fiorenzo!). A breve con news! ps. i pannelli vanno tagliati a forma di lettera, giusto? Il progetto che mi hai inviato purtroppo non è leggibile... riesci a
I apologize for the inconvenience, Sincerely, Matteo
6 March 2013 Matteo Blandford to Laura Coppa (Cc Nicolo Spina) Hello Laura, I hope this mail finds you well. I am writing to ask what kind of permissions you have requested in common for installations / exhibitions in the villages? thank you very much for the information, see you soon Matteo
6 March 2013 Matteo Blandford to Laura Coppa Hello Matteo! Sorry for the silence, but I have endless days ... To tell you the truth, I was informed by the carpenters (cheaper and faster), but for the permits, in all honesty, I think it is more comfortable to Fiorenzo ... in common on the other hand, there is! But having said that, I think it’s necessary to understand what kind of permissions you need ... occupation of public land? Billboards? We usually move differently ... I’ll explain: as a project that the City Council approve (something you have written?) you could do a letter indicating dates and event details (places, times or periods, mode svolgiamento, etc..) to be sent to the Mayor so that the distance approve the protocol and do it in the bargain ... it is much easier to me, given that it is an event not limited to one day. Excuse me if I do not come to mind first to tell you ... talk to Fiorenzo and also lists what I’ve written here ... I think it’s the easiest way to proceed, then it depends ... if you have to put into orbit a shuttle ... maybe a permessino apart touches you do it ^ _ ^ Do one thing: send both to me and to Fiorenzo a technical course, at best, given that next week I see Andrea, meanwhile mention it to him (and remember to Fiorenzo!). Shortly with news! ps. Panels should be cut in the shape of a letter, right? The project you sent me, unfortunately, is not readable ... unable to send at two (the letter biggest and the smallest letter, so that we stay on an average established between the minimum and maximum) and with the size in cm?
mandarne due (la lettera più grande e la lettera più piccola, di modo che restiamo su una media stabilita fra il minimo e il massimo) e con le dimensioni in cm?
6 March 2013 Matteo Blandford to Laura Coppa (Cc Fiorenzo Quajani, Nicolo Spina, Massimo Dorigo) Ciao Laura, grazie mille per la pronta risposta. Ti allego nuovamente il file potrebbe essere che sia corrotto. Le lettere sono di dimensioni variabili: le piu’ grandi alte 220cm e larghe 125cm; mentre le piu’ piccole sono alte 100cm e larghe 50cm (queste sono dimensioni totali) oltre alle lettere ci sono i vari “punti” e “apostrofi” o “punti esclamativi” piu’ piccoli. Nel file ci sono riportate le misure in mm. Fammi sapere cosa trovi che ho anche io una compagnia da cui sto aspettando risposta quindi bisogna valutare quale e se i costi sono troppo elevati dobbiamo cambiare direzione e quindi richiedere permessi diversi. Ti ringrazio veramente per il tuo aiuto. Inoltre abbiamo trovato dei fondi (350€) per la creazione del tutto (se e’ necessario spenderli). Fiorenzo ti ho allegato alla mail per chiedere direttamente a te le procedure per i permessi. Sotto riportata c’e’ la conversazione finora con Laura. Ero finora in contatto con il Sig. Massimo Bergamo ma dalla mia visita a Febbraio non ha risposto a nessuna mail. Se riesci a darmi una mano in questo sarebbe grandioso. Come ho gia’ detto a Laura, abbiamo tutto pronto per materiale e organizzazione, stavamo solo aspettando una dettagliata lista per sapere cosa inoltrarvi. Aspetto notizie, A presto,
6 March 2013 Fiorenzo Quajani to Matteo Blandford (Cc Laura Coppa, Nicolo Spina, Massimo Dorigo) Concordo con Laura, inviate una lettera con progetto al Sindaco chiedendo la concessione del Patrocinio, riguardo al falegname credo che sia Laura che Massimo Bergamo possano indirizzarvi al meglio. Massimo Bergamo l’ho aggiunto alla mail e ci sta leggendo. saluti Fiorenzo
7 March 2013 Massimo Bergamo to Matteo Blandford (Cc Mayor Andrea Bomprezzi) Salve Matteo, innanzitutto mi scuso per non avere risposto alla precedente mail, ma sono ad Arcevia solo due giorni alla settimana e non c’è sempre la possibilità di fare tutto in tempi brevi!! So dall’assessore Quajani che avete avuto uno scambio di comunicazioni anche con Laura Coppa, e che si è parlato del patrocinio del Comune. E’ la stessa cosa che avevo pensato di suggerire io, in quanto in questo caso la questione dei permessi è molto agevolata (praticamente non servono, almeno quelli burocratici). Si tratta quindi di scrivere al Sindaco chiedendo il patrocinio per la manifestazione (ovviamente indicando nome dell’evento, date e modalità di svolgimento, chi la organizza); con la delibera di Giunta che assegna il patrocinio si autorizza anche quanto serve per realizzare l’evento. Bisognerà invece chiedere il permesso dei privati per l’utilizzo delle pareti dei fabbricati (ma anche in questo caso il Sindaco può fare da tramite). Mi sembra che sia tutto qui, a presto ed i migliori auguri per il vostro impegno Massimo Bergamo
7 March 2013 Mayor Andrea Bomprezzi to Massimo Bergamo (Cc Matteo Blandford)
6 March 2013 Matteo Blandford to Laura Coppa (Cc Fiorenzo Quajani, Nicolo Spina, Massimo Dorigo) Hello Laura, thank you very much for your prompt reply. I attach the file again it could be that it is corrupt. The letters vary in size: the most ‘large 220cm wide and 125cm high, while the most’ small is 100cm high and 50cm wide (these are total size) in addition to the letters there are the various “points” and “apostrophes” or “exclamation marks ‘most’ children. In the file there are shows dimensions in mm. Let me know what you find that I also have a company from which I am waiting for reply so you have to evaluate what and if the costs are too high we have to change direction and therefore require different permissions. I really thank you for your help. We also found the funds (€ 350) for the creation of all (if ‘necessary to spend it). Fiorenzo I attached to the email directly to you to ask the permission procedures. Below there is’ the conversation so far with Laura. I was previously in contact with Mr. Massimo Bergamo but from my visit in February has not responded to any emails. If you can give me a hand on this would be great. As I ‘said Laura, we have everything ready for the material and organization, we were just waiting for a detailed list to know what to venture further. waiting for news, See you soon,
6 March 2013 Fiorenzo Quajani to Matteo Blandford (Cc Laura Coppa, Nicolo Spina, Massimo Dorigo) I agree with Laura, sent a letter to the Mayor asking project with the granting of patronage, I think it’s about the carpenter that Massimo Laura Bergamo can direct you to the fullest. Massimo Bergamo I added it to the email and there is reading. greetings Fiorenzo
7 March 2013 Massimo Bergamo to Matteo Blandford (Cc Mayor Andrea Bomprezzi) Hi Matteo, first of all I apologize for not having responded to the previous email, but are in Arcevia only two days a week and there is always the option to do everything in a short time! So the Councillor Quajani you have had an exchange of communications with Laura Cup, and there was talk of the patronage of the Municipality. It ‘s the same thing that I had thought to suggest, as in this case, the issue of permits is much facilitated (practically not necessary, at least those bureaucratic). It is therefore to write to the Mayor asking for sponsorship for the event (obviously indicating the event name, dates and methods of implementation, those who organize) with the Council resolution that assigns the patronage it also permits that is needed to realize the ‘event. We must instead ask the permission of the private use of the walls of buildings (but even in this case, the auditor can act as a bridge). It seems to me that it is all here soon and best wishes for your commitment Massimo Bergamo
7 March 2013 Mayor Andrea Bomprezzi to Massimo Bergamo (Cc Matteo Blandford) Dear Matteo, I agree with Massimo. Appearance your
Caro Matteo, sono d’accordo con Massimo. Aspetto tua richiesta di patrocinio anche via mail. Ciao
7 March 2013 Matteo Blandford to Mayor Andrea Bomprezzi, Massimo Bergamo, Fiorenzo Quajani, Nicolo Spina, Massimo Dorigo Buongiorno, Grazie mille per le informazioni mi e’ ora tutto piu’ chiaro. Vi manderemo la lettera di richiesta in giornata o al piu’ tardi domani in mattinata. Se dovesse cambiare qualcosa fateci sapere al piu’ presto cosi’ da fare in modo di agevolare anche a voi il lavoro! Tutto procede al meglio qui, grazie mille per gli auguri! Buona continuazione, cordialmente, Matteo
11 March 2013 Matteo Blandford to Carolina Bernasconi, Nicolo Spina, Massimo Dorigo Ciao a tutti! Allegate ci sono le due richieste da mandare al comune, sono la prima, la richiesta di Patrocinio per Palazzo, la seconda la richiesta per coinvolgere le scuole. Fatemi sapere cosa c’e’ da cambiare e mando tutto!
application for legal aid also via mail. Hello
7 March 2013 Matteo Blandford to Mayor Andrea Bomprezzi, Massimo Bergamo, Fiorenzo Quajani, Nicolo Spina, Massimo Dorigo Good morning, Thank you very much for the information and I ‘now all more’ clear. We will send the letter requesting day or more ‘late tomorrow morning. If you were to change something to let us know more ‘so soon’ to do so to facilitate to you the job! Everything is going to better here, thank you very much for your good wishes! Good going, cordially, Matteo
11 March 2013 Matteo Blandford to Carolina Bernasconi, Nicolo Spina, Massimo Dorigo Hello to all! Attached are the two requests to be sent to the municipality, are the first, the demand for patronage Palace, the second the request to involve the schools. Let me know what there ‘to change and send it all! See you soon,
A presto,
Matteo
Matteo
11 March 2013 Carolina Bernasconi to Matteo Blandford, Nicolo Spina, Massimo Dorigo
11 March 2013 Carolina Bernasconi to Matteo Blandford, Nicolo Spina, Massimo Dorigo Matte sono in viaggio per san set non riesxo a scaricare posta adesso...
11 March 2013 Carolina Bernasconi to Matteo Blandford, Nicolo Spina, Massimo Dorigo
Matte are traveling to san set is not can not download mail now ...
11 March 2013 Carolina Bernasconi to Matteo Blandford, Nicolo Spina, Massimo Dorigo
Ok. Non ho capito i ragazzi verrebbero il sabato dalle 10 slle 16 ad aiutare sia in giro per san set sia per palazzo? Rinfresco a palazzo o san set?dove e’ piu’ comodo per noi,essendo un sabato per me un po’ sbatti portare cibo li.. Boh magari capiamo quanti sarebbero i ragazzi poi decidiamo. Fatto cmq dare doc per suolo..
Ok. I did not understand the boys would be on Saturday from 16 to 10 to help both around St. Set character set is for building? Refreshments at the Palazzo or san set?I’d say Where is more comfortable for us, being a Saturday for me a little annoying to them bring food .. Dunno maybe understand how many are the kids and we would then decide. Done anyway document to give public ground ..
11 March 2013 Matteo Blandford to Carolina Bernasconi, Nicolo Spina, Massimo Dorigo
11 March 2013 Matteo Blandford to Carolina Bernasconi, Nicolo Spina, Massimo Dorigo
Ciao,
Hello,
I ragazzi verrebbero durante la settimana, aggiungo chiarificazione. Per il pranzo durante l’evento sarebbe meglio a Palazzo, l’idea e’ andare da San Settimio a Palazzo e rimanere giu.
The boys would be during the week, I add clarification. For lunch during the event would be better at the Palazzo and the idea is to go and stay at Palazzo
non ho capito: per il “doc per suolo”, cosa intendi?
11 March 2013 Nicolo Spina to Carolina Bernasconi, Matteo Blandford, Massimo Dorigo Ciao Carolina . Tutto bene? Allora per I ragazzini ho sentito il sindaco e adesso stiamo scrivendo una lettera didattica con le motivazioni per cui dovrebbero venire da noi, questo verrà fatto durante la settimana. Per la richiesta del patrocinio pensi c’è riusciamo a sentirci questa sera su Skype ? così ci ti faccio vedere anche le prime idee per la costruzione con i pallet e vediamo come organizzare il sabato con l’evento..
11 March 2013 Nicolo Spina to Carolina Bernasconi, Matteo Blandford, Massimo Dorigo Hello Carolina. Are you okay? Then for the kids I heard the mayor and now we’re writing a letter with teaching the reasons why they should come to us, this will be done during the week. To request the patronage think there are able to feel tonight on Skype? so we’ll show even the first ideas for building with pallets and see how to organize on Saturday with the event .. Have a nice day Kind Regards Nicolò Spina
11 March 2013 Carolina Bernasconi to Matteo Blandford, Nicolo Spina, Massimo Dorigo
Buona giornata Kind Regards Nicolò Spina
Allowed public land ...
11 March 2013 Carolina Bernasconi to Matteo Blandford, Nicolo Spina, Massimo Dorigo
In week better ok and ok for lunch type focaccia pizza palace or outside the theater we see .. we also see how many join ... I’m in the car world can not write well ..
Permesso suolo publico...
11 March 2013 Matteo Blandford to Carolina Bernasconi, Nicolo Spina, Massimo Dorigo
In settimana ok meglio e ok per pranzo tipo focaccia pizza a palazzo o fuori dal teatro vediamo..vediamo anche in quanti aderiscono... Sono in macchina mon riesco a scrivere bene..
Ok perfect,
11 March 2013 Matteo Blandford to Carolina Bernasconi, Nicolo Spina, Massimo Dorigo
we feel better when you arrive to St. settimio for details regarding lunch. However, for the allowed public land they said that it ‘s easier to do it after having had the patronage.
Ok perfetto,
Shall I send the request?
ci sentiamo meglio al tuo arrivo a san settimio per dettagli riguardanti pranzo. Comunque il permesso suolo pubblico hanno detto che e’ piu’ semplice farlo dopo aver avuto il patrocinio.
11 March 2013 Carolina Bernasconi to Matteo Blandford, Nicolo Spina, Massimo Dorigo Yes! Put it to let you know at least 5 days before the number of boys. We hope then for insurance etc. that there is no need to understand how to mslenessuno does not drop on us the responsibility ‘... I guess they are also the masters ..
Mando?
11 March 2013 Carolina Bernasconi to Matteo Blandford, Nicolo Spina, Massimo Dorigo Si! Metterei di far sapere slmeno 5 giorni prima il numero dei ragazzi. Speriamo poi per assicurazioni etc che non si facvia mslenessuno bisogna cspire come di fa anim far cadere su di noi la responsabilita’... Immagino chevengano anche deimaestri..
Comune di Arcevia Corso Giuseppe Mazzini, 64 60011 Arcevia
Comune di Arcevia Corso G. Mazzini, 64 60011 Arcevia
Londra, 08.03.2013 Oggetto: Collaborazione Didattica Gentile Sindaco del Comune di Arcevia, Con la presente siamo a richiedere la Collaborazione del Settore Politiche Giovanili del Comune di Arcevia per l’iniziativa di cui oggetto, che si svolgerà nella Riserva Privata San Settimio, organizzata da Unit+ Collective ltd. Avremmo il piacere di invitare gli studenti del Comune di Arcevia nella Riserva Privata San Settimio durante la settimana dal 8 al 12 Aprile per poter coinvolgerli nel progetto Operazione Arcevia 2.0, nel compito di rivitalizzazione Palazzo Di Arcevia e il circondario attraverso lo sviluppo di interventi di design sul territorio.
Londra, 08.03.2013 Oggetto: “LIVE Palazzo” Gentile Sindaco del Comune di Arcevia, Con la presente siamo a richiedere il Patrocinio del Comune di Arcevia e la Collaborazione del Settore Politiche Giovanili e del Settore Turismo del Comune di Arcevia per l’iniziativa di cui oggetto, che si svolgerà nella città di Palazzo Di Arcevia organizzata da Unit+ Collective ltd. “LIVE Palazzo” è un evento che coinvolge tutti i residenti del circondario del Comune Di Arcevia e della comunità di Palazzo Di Arcevia, con lo scopo di presentare gli interventi attuati dal team di Operazione Arcevia 2.0 nella Riserva Privata San Settimio e in Palazzo. Dopo l’arrivo dei partecipanti in Riserva, dove sarà presente la prima serie di installazioni e verrà presentato il programma della giornata e Operazione Arcevia 2.0, l’evento procederà nel trasportare Pannelli Di Poesia dalla Riserva a Palazzo, passeggiando e continuando a discutere del progetto. I Pannelli raccontano una poesia sulla Frazione e saranno poi ‘nascosti’ in giro per Palazzo. Futura parte dell’evento avrà come punto focale l’esplorazione di Palazzo alla ricerca dei Pannelli posti negli angoli più suggestivi della citta. All’arrivo nella piazza centrale di Palazzo sarà introdotta l’installazione nei suoi elementi: i Pannelli di Poesia e le e Parole d’Ispirazione, parole che serviranno a rafforzare la riscoperta della Frazione. Usufruendo delle sedie e dei tavoli messi a disposizione dal Consorzio sarà imbandito un pranzo/rinfresco con vivande offerte dalla Riserva Privata San Settimio. Lo scopo di questo simposio è di iniziare a confrontarsi e immaginare un nuovo futuro per Palazzo Di Arcevia e circondario, un futuro nel quale arte e design diventino parte integrante del luogo, tramite Operazione Arcevia 2.0. Le proposte saranno poi raccolte e serviranno ad aiutare il Team a procedere con i successivi sviluppi di Operazione Arcevia 2.0, già impegnata sul territorio.
Riteniamo che sia un’esperienza formativa per studenti e giovani generazioni per comprendere cosa sia possibile fare nella loro zona intraprendendo un’iniziativa personale e costruendo con materiali di riciclo sviluppare idee di design. Lo scopo di questa collaborazione inoltre è riuscire a coinvolgerli il più possibile poiché saranno loro il futuro del progetto Operazione Arcevia 2.0. La fascia di età e il numero degli studenti partecipanti determineranno in quale dei nostri interventi potranno essere coinvolti. Sotto riportate ci sono le linee guida dei lavori che potranno intraprendere. Classi con studenti più giovani aiuteranno a dipingere con stencil pannelli con citazioni di una poesia locale. Questi pannelli saranno in seguito appesi nel paese di Palazzo e potranno essere visti una volta che il progetto è completo. Studenti tra i 16/18 anni saranno coinvolti nella costruzione di un piccolo padiglione all'interno della riserva e/o nello sviluppare il design all'interno di Palazzo.
Vorremmo inoltre richiedere una specifica richiesta per l’occupazione del suolo pubblico, per il giorno Sabato 13 Aprile 2013, in Piazza a Palazzo Di Arcevia, all’ufficio di competenza.
Ci auguriamo che queste attività permetteranno agli studenti di rendersi conto che sono in grado di influenzare il loro ambiente e di mostrarli l'importanza e le potenzialità di collaborare tra di loro. In aggiunta lavoreranno, durante l’esperienza, con giovani designer per la maggior parte di madrelingua Inglese.
La superficie richiesta è allestita dalle Parole e dai tavoli per il rinfresco, dalle ore 10.00 alle ore 16.00 nel giorno sopra citato. Nei giorni previ all’evento sarebbe utilizzato per la costruzione delle Parole.
1
2 1. Patronage request 2. School collaboration request
As part of the marketing for the event I created a poster to put up locally. The poster had a massive success as most people present came because of it.
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2
1. Precedent of Poster for event in Palazzo D’Arcevia 2. Inspiration for Poster Design
Email correspondance for Event LIVE PALAZZO poster
Email correspondance for Event LIVE PALAZZO poster
12 March 2013 Matteo Blandford to Carolina Bernasconi (Cc Nicolo Spina, Massimo Dorigo)
12 March 2013 Matteo Blandford to Carolina Bernasconi (Cc Nicolo Spina, Massimo Dorigo)
Ciao a tutti,
Hello to all,
questa e’ la prima bozza per il poster pubblicitario per l’evento a Palazzo D’Arcevia. Fatemi sapere se devo cambiare qualcosa!
this and ‘the first draft for the poster for the event in Palazzo D’Arcevia. Let me know if I need to change something!
12 March 2013 Carolina Bernasconi to Matteo Blandford (Cc Nicolo Spina, Massimo Dorigo) Molto bello!!! Vogliamo inserire anche il sito si san set sotto insieme agli altri?
12 March 2013 Matteo Blandford to Carolina Bernasconi (Cc Nicolo Spina, Massimo Dorigo) Si scusa mi sono scordato, adesso la aggiungo per il resto nico dice di togliere il testo sotto e sul lato destro cambiare da “un’installazione alla riscoperta di Palazzo” a “un’installazione alla riscoperta della frazione” e per le troppe volte ripetute “Palazzo”... secondo te teniamo la traduzione “viviamo palazzo”? per il resto perfetto! te la mando piu’ tardi i serata!
12 March 2013 Carolina Bernasconi to Matteo Blandford (Cc Nicolo Spina, Massimo Dorigo) Robi l’ha visto dice che la traduzione del live palazzo potrebbe essere diamo un respiro a palazzo come c’e’ anche nella nostra brochure.. Poi proviamo al posto del giallo a mettere un verdone pantone 449u?
12 March 2013 Nicolo Spina to Carolina Bernasconi (Cc Matteo Blandford, Massimo Dorigo) eccomi, scusate per il ritardo, secondo me concordo con carolina e in più lo alleggerirei un pochetto.
16 March 2013 Matteo Blandford to Carolina Bernasconi (Cc Nicolo Spina) Ciao Carolina, Come stai? spero il weekend sia cominciato bene! Ti mando in allegato il poster con le modifiche, personalmente pensiamo possa funzionare e’ molto piu’ alleggerito, abbiamo provato con il verde pantone ma non abbiamo trovato una soluzione che funzionasse. Facci sapere cose ne pensi, A prestissimo, ormai! Matteo e Nico
16 March 2013 Carolina Bernasconi to Matteo Blandford (Cc Nicolo Spina) mi piace. vogliamo fare ultima prova con la foto virata ad un rosso o qc per dare poiu’ risalto?
16 March 2013 Matteo Blandford to Carolina Bernasconi (Cc Nicolo Spina) Photos in red
12 March 2013 Carolina Bernasconi to Matteo Blandford (Cc Nicolo Spina, Massimo Dorigo) Very nice! Shall we also enter the site under St. setttimio with the others?
12 March 2013 Matteo Blandford to Carolina Bernasconi (Cc Nicolo Spina, Massimo Dorigo) Sorry I forgot, adding now for the rest nico says to remove the text below and on the right side to change from “an installation at the rediscovery of Palazzo” to “an installation at the rediscovery of the fraction” and the repeated too many times “Palazzo” ... do you keep the translation “living Palazzo”? all the rest is perfect, I’ll send it in the evening
12 March 2013 Carolina Bernasconi to Matteo Blandford (Cc Nicolo Spina, Massimo Dorigo) Robi has seen it says that the translation of the building might be let’s live in the palace like a breath there ‘s also in our brochure .. Then we try to put in place of a yellow a green Pantone 449u?
12 March 2013 Nicolo Spina to Carolina Bernasconi (Cc Matteo Blandford, Massimo Dorigo) I am, sorry for the delay, I agree with carolina and I’d lighten it a little bit more.
16 March 2013 Matteo Blandford to Carolina Bernasconi (Cc Nicolo Spina) Hello Carolina, How are you? I hope the weekend was a good start! I send you attached the poster with the changes, I personally think it might work and ‘much more’ lightened, we tried with the green pantone but we have not found a solution that worked. Let us know things do you think, See you soon, now! Matteo and Nico
16 March 2013 Carolina Bernasconi to Matteo Blandford (Cc Nicolo Spina) I love it. we want to make the ultimate test with the photos turn to a red or something to give more ‘prominence?
16 March 2013 Matteo Blandford to Carolina Bernasconi (Cc Nicolo Spina) Photos in red
RISE R VA
P R I VATA
SAN SETTIMIO
PALAZZO
13 APRILE 2013 Ritrovo ore 10.00 Patrocinio:
Contribuenti:
Comune di Arcevia
Circolo ANSPI
OPER AZIONE ARCE 2.0 VIA Diamo un respiro a Palazzo
R ISER VA
OPER AZIONE ARCE 2.0 VIA
P R IVATA
SAN SETTIMIO
presenta
PALAZZO
13 APRILE 2013 Ritrovo ore 10.00
Ritrovo in Riserva Privata San Settimio seguito da passeggiata verso Palazzo D’Arcevia accompagnati dallo storico Virginio Villani, autore di “Palazzo-Castrum Palatii ”. Rinfresco a seguire.
Seguiteci per piu’ informazioni! www.operazionearcevia.org www.sansettimio.it Facebook: Operazione Arcevia Twitter: @ItaloBartoletti Email: infounitplus@gmail.com
Diamo un respiro a Palazzo
Patrocinio:
Contribuenti:
Comune di Arcevia
Circolo ANSPI
presenta
Ritrovo in Riserva Privata San Settimio seguito da passeggiata verso Palazzo D’Arcevia accompagnati dallo storico Virginio Villani, autore di “Palazzo-Castrum Palatii ”. Rinfresco a seguire.
Seguiteci per piu’ informazioni! www.operazionearcevia.org www.sansettimio.it Facebook: Operazione Arcevia Twitter: @ItaloBartoletti Email: infounitplus@gmail.com
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3. Poster versions 4. Final poster design
16 March 2013 Carolina Bernasconi to Matteo Blandford (Cc Nicolo Spina)
16 March 2013 Carolina Bernasconi to Matteo Blandford (Cc Nicolo Spina)
oddio no, mi sembra una cosa di profondo rosso.... niente, lasciamolo com’era...volevo dare una sensazione un po’ antica della forto ma meglio la prima scelta iniziale.. che dite?
oh no, it seems to me a thing of deep red .... nothing, let’s leave it as it was ... I wanted to give you a feel a bit ‘of ancient forto but better than the first initial choice .. what do you say?
16 March 2013 Matteo Blandford to Carolina Bernasconi (Cc Nicolo Spina)
16 March 2013 Matteo Blandford to Carolina Bernasconi (Cc Nicolo Spina)
bhe allora facciamo magari cosi?
Shall we do it like this
16 March 2013 Carolina Bernasconi to Matteo Blandford (Cc Nicolo Spina)
attached final version
Perfetto cosi’!!!!
16 March 2013 Carolina Bernasconi to Matteo Blandford (Cc Nicolo Spina) perfect like this!!!
R I S E R VA
P R I VATA
SAN SETTIMIO
PALAZZO
13 APRILE 2013 Ritrovo ore 10.00 Patrocinio:
Contribuenti:
Comune di Arcevia
Circolo ANSPI
OPER AZIONE ARCE 2.0 VIA Diamo un respiro a Palazzo
presenta
Ritrovo in Riserva Privata San Settimio seguito da passeggiata verso Palazzo D’Arcevia accompagnati dallo storico Virginio Villani, autore di “Palazzo-Castrum Palatii ”. Rinfresco a seguire.
Seguiteci per piu’ informazioni! www.operazionearcevia.org www.sansettimio.it Facebook: Operazione Arcevia Twitter: @ItaloBartoletti Email: infounitplus@gmail.com
4
Operazione Arcevia 2.0 and LIVE Palazzo
In order to provide as much coverage for the event on the 13th of April, Riserva Privata San Settimio had a press release made and was distributed to local and some national news papers.
Email correspondance for Press Release
Email correspondance for Press Release
28 March 2013 Carolina Bernasconi to Matteo Blandford, Nicolo Spina
28 March 2013 Carolina Bernasconi to Matteo Blandford, Nicolo Spina
speriamo che esca ovunque!!!
hope it comes out everywhere!
attached the press release
attached the press release
4 April 2013 Carolina Bernasconi to Mayor Andrea Bomprezzi, Laura Coppa, Matteo Blandford, Nicolo Spina
4 April 2013 Carolina Bernasconi to Mayor Andrea Bomprezzi, Laura Coppa, Matteo Blandford, Nicolo Spina
Buon Pomeriggio a tutti,
Good afternoon to all,
vi allego il comunicato stampa che il mio ufficio stampa ha fatto da far girare localmente e sul territorio nazionale. Ha scritto che ci sara’ la presenza della scuola il sabato 13 non avendo ancora avuto risposta certa ma comunque lo lascerei cosi’ essendo sabato la giornata conclusiva con presentazione del progetto a Palazzo e con piccolo rinfresco da noi offerto. Se lo voleste utilizzare, nessun problema, Grazie, a presto, Carolina
I am attaching the press release that my press office has to be run locally and nationwide. He wrote that there will be ‘the presence of the school on Saturday 13 not having yet had definite answer but I leave it so’ being Saturday, the final day with a presentation of the project at the Palazzo and refreshments offered by us. If you would like to use, no problem, Thank you, see you soon, Carolina
attached the press release
attached the press release
5 April 2013 Carolina Bernasconi to Mayor Andrea Bomprezzi, Laura Coppa, Matteo Blandford, Nicolo Spina
5 April 2013 Carolina Bernasconi to Mayor Andrea Bomprezzi, Laura Coppa, Matteo Blandford, Nicolo Spina
Scusatemi, riallego il comunicato leggermente modificato! grazie, Carolina
Excuse me, re attaching the press release slightly modified! thanks, Carolina
PRESS RELEASE (translated) From London to Palazzo D’Arcevia: Riseva Privata San Settimio and UNIT+ Collective give a new life to Palazzo D’Arcevia and to Operazione Arcevia 2.0. Arcevia Council gives the patronage to the project Live Palazzo (Diamo un Respiro a Palazzo) which will see the involvement of the local schools on Saturday 13th of April. From the 8th to the 16th of April 2013 UNIT+ Collective, a young design practice from London, founded by students of architecture from London Metropolitan University, return to Riserva Privata San Settimio of Palazzo D’Arcevia (AN) to begin the selfinitiated project Operazione Arcevia 2.0. Operazione Arcevia 2.0 is a continuation of the original Operazione Arcevia project ideated by Italo Bartoletti more than 40 years ago which had the goal to promote contemporary art and to create in the Marche region, particularly Arcevia, a thought factory; a creative lab where artists can stay, meet, discover, exchange experiences, work and create. The ambitious project united artists of international fame, amongst them were Burri, Cesar, Mannucci, Del Pezzo, Ceroli, Balderi, Antonioni and Restany and Crispolti as art critics. Upon Italo Bartoletti’s death his daughter Francesca Romana took on his intellectual inheritance and with his niece Carolina, they managed to transform the 400 acres of hunting reserve into a fascinating luxury hotel and they saw in the members of UNIT+ Collective the opportunity to resuscitate the ambitious project renaming it Operazione Arcevia 2.0. The first part of the project is a series of installations, design interventions in the reserve and in Palazzo D’Arcevia. The goal of the project: creating an artistic and cultural hub in Riserva Privata San Settimio and surroundings where artists, writers and musicians around the world can meet, accompanied by seminars, workshops and art exhibitions, in an array of ideas and creativity in order to develop future projects that will enrich the landscape, strengthening the potential of regrowth of these almost empty places. It is in this perspective of revitalizing the landscape that the Council of Arcevia wanted to give patronage to this project, with which Riserva Privata San Settimio is running an initiative that involves the schools of the Council: Saturday 13th of April the students of the schools will be accompanied by the historian Virginio Villani in a walk from Riserva PRivata San Settimio to end in Palazzo D’Arcevia.
il caffè 34
CULTURA E SPETTACOLI
IL GIORNO - il Resto del Carlino - LA NAZIONE
Torna l’archivio di Luigi Crocenzi Le Marche raccontate in bianco e nero Pioniere della fotografia, il suo materiale sarà conservato a Fermo Angelica Malvatani · FERMO
IN BREVE
GRADARA, LA CONTESA MALATESTIANA GRADARA ospita oggi la terza edizione della Contesa Malatestiana, circa 120 arcieri provenienti da tutta Italia si ritroveranno nel borgo medioevale sfidandosi all’ultima freccia. I partecipanti saranno tutti rigorosamente in abito storico.
LA FOTOGRAFIA che racconta la vita e ne rappresenta le pieghe più vere e umane. Una fotografia nel bianco e nero più crudo che ti mostra anche le emozioni, le paure, il pianto, la speranza. Un fotografo che ha segnato la storia del ‘900 Luigi Crocenzi, una figura di primo piano, da accostare a quella di Mario Giacomelli con cui pure ha lavorato e collaborato. E’ tornato a casa, nelle Marche, nel territorio fermano in cui Crocenzi ha vissuto gli ultimi anni, l’archivio di un artista vero, la parte marchigiana del fotografo è stata riprodotta in file che sono a disposizione alla Fototeca provinciale che ha sede ad Altidona ed è guidato da Pacifico D’Ercoli. Ieri la presentazione ufficiale del progetto, a Fermo, con l’assessore provinciale alla Cultura Giuseppe Buondonno che ha fortemente voluto questo ritorno a casa, in qualche modo, per Crocenzi: «E’ stato riacquisito, dopo 30 anni, il diritto d’uso
Sabato 13 aprile 2013
XV
SENIGALLIA
Online www.corriereadriatico.it
µ
DOMENICA 14 APRILE 2013
GIOCHI, BRICIOLE E FAVOLE
La convenzione scade il 30, allarme anche per la casa protetta Nilde Cerri. Volpini: “L’Asur si muova”
A rischio chiusura il Centro Alzehimer TUTTO PRONTO a Tolentino per «Giochi, briciole e favole», una festa che prevede diversi giochi, laboratori e una «Staffetta delle 3 età». L’appuntamento è alle 15 in piazza della Libertà.
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brizio Volpini - che come ammi- ziata insieme alla Fondazione nistrazione abbiamo contribui- Città di Senigallia, il servizio di to ad aprire ed in parte finanzia- Psichiatria di Senigallia, la CooMuta ed i volontari. la casa protetta Nilde Cerri sono re negli ultimi anni, per rispon- perativa HI ‘RUE ROYAL’ dei files del Fondo Crocenzi relatiSULla PALCO DEL FUGAdella mancanza chiusura. A lanciare dere alle esigenze dei malati di Ebbene per vi alle Marche.aE’rischio un importante risultato, che conclude un percorAlzheimer e delle loro famiglie, firma dell'Asur – spiega l’assesl’allarme per le due strutture è so avviato all’inizio del 2011 quando si sono svolte sia le mostre sul- ai servizi sociali che di malati psichici e dei loro con- sore ai Servizi alla persona - c'è il l’assessore lo stesso Crocenzi a Fermo e a giunti, mi riferisco alle strutture forte rischio di interruzione del Montegranaro,dal sia quella su Gia- potrebbe dover so1° maggio comelli dal fondo di Crocenzi in spendere l’attività, rivolta ai ma- del Centro Diurno Alzheimer servizio, con conseguenze che Friuli, patrocinata anche dalla Provincia di Fermo. Non si tratta LUIGI CROCENZI Il alto un autoritratto del fotografo nato a Montegranaro nel 1923 e morto a Fermo nel collocato insopra locali messi dispo- dellascio 1984, diede vita al Centro per la Cultura della Fotografia; due momenti dellaapresentanzione progetto immaginare”. di Alzheimer e persone con di un ritorno alati casa dell’archivio, SERATA di grandi nè poteva esserlo, ma di una conIl bilancio comunale, con le disturbi psichici. Tutto questo sizione della Fondazione Opera emozioni al «Fuga creta possibilità di utilizzo pubbli- lore. E proprio Loreto dovrebbe era molto legato alle Marche, è fi- grafie realizzate da Crocenzi riMusic Room»di Ascoli. co dello stesso per da parteuna delle istitugestito dalla scarse a disposizione, di lavoro risorse gura rilevante nella storia dellaCooperativa fo- guardano i suoiilprogetti centro di un futuro profirmaessere cheal l’Asur tarda a Pia, zioni pubbliche, delle associazio- getto con il centro di Ricerca e Ar- tografia per l’intuizione e l’inno- e la sua vita familiare. Sono 2.538 A partire dalle 20, con dimostrala partecipazione non può farsi carico dilaentrambi ni, degli studiosi e degli appassiomettere su una convenzione chedi Granaio, le fotografie dei grandi fotografi vazione che ha sempre infatti, si esibirà celebre chiviazione della Fotografia nati di fotografia». Spilimbergo, grazie al quale l’ar- to nelle sue opere. Il suo archivio che hanno collaborato con lui o di band dei «Rue volontari e libri, la ri-supervisione le strutture. “Con il Royale» processo di va avanti da anni che porta co-an- di cui ha organizzato le esposizioni. è composto da documenti, chivio e Crocenzi è disponibile (nella foto). L’ingresso CI SONO le fotografie che raccon- che nelle Marche. In programma viste e fotografie. La parte fotogra- Tra questi nomi importanti come è gratuito del sistema – divisone Neurologia, la Mario centralizzazione scadenza il 30 aprile. tano i paesaggime marchigiani, le im- una Piergiorgio Branzi, Giacofica del fondo conta 2.957di positivi mostra dedicata a“Sono Crocenzi e della magini da Loreto che parlano di Giacomelli, melli eanche Nino Migliori.aggiunge L’archivio e diverseProtetta centinai di negativi, piùCerri, in collaborazione con Casa Nilde l’assessore – su tutto seriamente preoccupato per spiritualità, di un luogo di alto va- l’Osservatore Romano. Crocenzi alcune pellicole 16 mm. Le foto- fu acquistato dal Craf nel 1995. una serie di servizi – sbotta Fa- questa aperta ed in parte finan- decide direttamente ‘PICENO OPEN l’Asur. STAGE’ La PROGETTO PER IL FUTURO Senigallia Circa tremila immagini oltre ai negativi, presto Centro diurno di Alzheimer e una mostraIl con Giacomelli
Operazione Arcevia 2.0, rinasce la “Riserva” dell’arte
PER BAND EMERGENTI
convenzione scade il 30 aprile e se non arrivano le firme, dal 1° maggio dovremo sospendere i servizi. Non si capisce il motivo di questo ritardo ed è comprensibile l’agitazione che si è creata tra i familiari delle persone che usufruiscono di entrambe le strutture. Per aprirle ci siamo battuti – ricorda Volpini - e adesso ci batteremo per tenerle aperte”. Il rischio è che i due servizi finiscano nel tritacarne dei tagli, che ha già toccato i disabili come denuncia il Movimento Cinque Stelle. “Il Comune comunica il
taglio di due settimane per i servizi erogati dai centri riabilitativi/educativi dei disabili – lamentano i grillini -. La decisione è stata presa senza alcun preventivo confronto con le famiglie. La proposta del Comune di portare la durata del servizio da 50 a 48 ore settimanali è scaturita dalla decisione di una migliore razionalizzazione del servizio, da un adeguamento organizzativo di altre strutture del territorio, ma sostanzialmente, come ben si intuisce, si traduce in una secca diminuzione di costi pari a circa 21 mila euro”.
Un assegno per chi è in difficoltà · ARCEVIA (Ancona)
CREARE un nuovo polo artistico e culturale nella Riserva Privata San Settimio, un crocevia di idee e creatività, per sviluppare progetti futuri che porteranno ad arricchire il paesaggio, rafforzando il potenziale di ricrescita di questi luoghi ormai disabitati. E’ questo l’obiettivo di Operazione Arcevia 2.0, l’iniziativa nata dalla collaborazione tra la Riserva Privata San Settimio e Unit+, giovane
design practice di Londra fondata da studenti di architettura della London Metropolitan University, con il patrocinio del Comune di Arcevia che ha voluto partecipare a questo progetto al quale la Riserva ha affiancato un’iniziativa, presentata ieri, che coinvolgerà anche le scuole comunali e chiamata “Live Palazzo” (diamo un respiro a Palazzo). L’iniziativa vuole riproporre le idee del progetto originale Operazione Arcevia ideato da Italo Barto-
letti negli anni ‘70 con lo scopo di promuovere l’arte contemporanea e creare nelle Marche una vera e propria officina di pensiero, un laboratorio di creatività dove gli artisti potessero soggiornare, incontrarsi, conoscersi, confrontare le proprie esperienze e quindi, lavorare e creare. Il progetto ambizioso, allora, unì artisti dell’epoca di fama internazionale, come Burri, César, Mannucci, Del Pezzo, Ceroli, Balderi, Antonioni e Restany e Crispolti come critici d’arte.
NOTIZIE FLASH I romani e la morte Conferenza lunedì Senigallia Si svolgerà lunedì l’ultimo incontro dell’associazione culturale Il Salotto sul tema “La civiltà dei romani”. L’appuntamento si terrà alle 16,30 all’Auditorium San Rocco ed è aperto a tutti. L’archeologo Leandro Sperduti parlerà su “Il culto dei morti. Le abitudini funerarie dei romani”. Nel’occasione sarà anche possibile iscriversi alla gita a Viterbo organizzata per il weekend del 4 e 5 maggio, posti ancora liberi permettendo.
APPUNTAMENTO da non perdere, stasera alle 20.30, nella nuova «Casa della Gioventù» di Ascoli. Andrà in scena, infatti, il «Piceno Open Stage», kermesse dedicata alle band giovanili.
Home Care Premium, 600 mila euro destinati a 200 non autosufficienti 1
SOSTEGNO AI DISABILI
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Senigallia
Arriva un importante sostegno finanziario per i disabili
Al Panzini ha preso il via una serie di incontri tra i “giovani di allora”ed i “giovani di oggi”per costruire un ponte tra generazioni. Interessante ed emozionante l’incontro con la signora Wilma Durpetti della Associazione amici del molo, una “ragazza di allora”di 85 anni portati benissimo, che ha saputo incantare le ragazze e i ragazzi delle seconde e terze del corso turistico.
territorio dei Comuni di Senigallia, Arcevia, Barbara, Castel Colonna, Castelleone di Suasa, Corinaldo, Monterado, Ostra, Ostra Vetere, Ripe e Serra de' Conti potranno ricevere gli aiuti. Il criterio sarà determinato dalla “fragilità” dei soggetti, che riceveranno prestazioni del valore dai 250 ai 3.200 euro a se-
caso di minori. Vi saranno fondi per finanziare la rete di assistenza o di accompagnamento e trasporto fino all’eventuale consegna di pasti a domicilio. Sono previsti anche stanziamenti per l’acquisto di ausili o strumenti tecnologici che allevino il grado di sofferenza. Altri 200.000 euro saranno
MARIO MARIA MOLINARI .............................................................................
Senigallia Il malessere sociale cresce settimana dopo settimana. Il welfare tradizionale che aveva rappresentato un punto di riferimento irrinunciabile per i cittadini nella nostra regione sembra ormai insufficiente ad attutire le conseguenze della crisi economica più grave dal dopoguerra. Gli 11 Comuni dell’Ambito sociale 8 hanno ricevuto un finanziamento di 600.000 euro dall’Inps per il progetto Home Care Premium. Duecento soggetti, che siano dipendenti pubblici, pensionati pubblici o loro familiari di primo grado, non autosufficienti, residenti nel µ
Al Panzini l’incontro fra generazioni
conda della gravità della situazione e del reddito. I servizi erogati saranno l’ intervento socio assistenziale, specialistico, a domicilio, o l’inserimento in un centro diurno per l’eventuale fabbisogno di aggregazione sociale, per fronteggiare il livello di non autosufficienza o potenziare le abilità, per esempio nel
destinati all’assistenza familiare, con assegni di sostegno dai 100 ai 1.300 euro, mensili per coniugare l’offerta dei servizi esistenti con la capacità dei nuclei familiari di far fronte ai propri compiti di cura, anche mediante una formazione specifica. “In questo momento di grave difficoltà per i Comuni nel garantire i servizi essenziali del settore sociale, i fondi dell’Inps rappresentano una risorsa importante da destinare ai soggetti fragili residenti nel nostro territorio” ha dichiarato il sindaco di Senigallia Maurizio Mangialardi. Le domande andranno presentate a partire dal 2 maggio, i servizi erogati hanno la durata di dodici mesi, a partire dal 1° giugno. Per informarsi ci si può rivolgere, da subito, agli uffici dei servizi sociali di ognuno degli 11 Comuni interessati. “Tali risorse potranno non solo aiutare concretamente i beneficiari, ma anche liberare risorse da destinare ad altre persone disagiate” ha concluso il sindaco di Ostra, Massimo Olivetti.
Al via il progetto che vuole fare della riserva privata di San Settimio un luogo di seminari e mostre
Arte e cultura, ecco “Operazione Arcevia 2.0” ..............................................................................
Arcevia Creare un nuovo polo artistico e culturale nella riserva privata San Settimio. Un punto di incontro in mezzo all'Appennino dove artisti, scrittori, architetti e musicisti di tutto il mondo si possano incontrare con seminari, convegni e mostre d’arte in un crocevia di idee e creatività, per sviluppare progetti futuri che porteranno ad arricchire il paesaggio, rafforzando il potenziale di ricrescita di questi luoghi ormai disabitati. È questo l'obietµ
tivo di Operazione Arcevia 2.0, l'iniziativa nata dalla collaborazione tra la riserva privata San Settimio e Unit +, giovane design practice di Londra fondata da studenti di architettura della London Metropolitan University, con il patrocinio del Comune di Arcevia che ha voluto partecipare a questo progetto al quale la riserva privata San Settimio ha affiancato un’iniziativa che coinvolgerà anche le scuole comunali e chiamata Live Palazzo (diamo un respiro a Palazzo). Gli eventi si svolgeranno fino al 16
Il sindaco protegge il decoro urbano
Pugno duro con gli spot Corinaldo senza volantini SILVIA ARGENTATI .............................................................................
Corinaldo Inasprimento dei divieti a tutela del decoro urbano. Chi trasgredisce i precetti imposti è soggetto a una sanzione amministrativa di 50 euro, oltre che al risarcimento dell’eventuale danno prodotto. Per cercare di contrastare alcuni comportamenti che provocano il degrado dell’ambiente urbano e del decoro, il sindaco di Corinaldo Matteo Principi ha vietato con
un’ordinanza urgente di effettuare la consegna di materiale pubblicitario al di fuori delle cassette per la posta o quando queste sono piene e incapaci di contenere ulteriore materiale. ...................................
“Le attività promozionali imbrattano e danneggiano gli arredi” MATTEO PRINCIPI
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aprile a Palazzo d’Arcevia presso la riserva privata di San Settimio. La presentazione del progetto, invece, avrà luogo stamttina alle 10 presso la riserva privata San Settimio, per poi proseguire con una passeggiata che terminerà dentro il paese di Palazzo d’Arcevia accompagnati ...................................
Stamattina ci sarà la presentazione con passeggiata nel paese guidata dallo storico Villani
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Il sindaco di Corinaldo ha inoltre vietato l’affissione di manifesti e avvisi al di fuori degli spazi destinati alle affissioni, nonché il volantinaggio sulle auto in sosta, il lancio di materiale pubblicitario e la sua distribuzione a mano agli automobilisti in transito. “Sono tutte attività promozionali, anche non di natura strettamente commerciale, che escludono un diretto destinatario che si possa prendere cura del materiale pubblicitario consegnato – spiega Prinicpi – o che provoca, con la loro disordinata affissione, l’imbrattamento e il danneggiamento degli arredi, o in generale, del patrimonio pubblico e privato. Inoltre, se effettuate sulle strade, distraggono i conducenti con pericolo per la sicurezza della circolazione”.
dallo storico Virginio Villani e alla presenza del sindaco di Arcevia Andrea Bomprezzi e dei ragazzi dello studio Unit + che spiegheranno e illustreranno idee, scopi e iniziative del progetto. L'iniziativa vuole riproporre le idee del progetto originale Operazione Arcevia ideato da Italo Bartoletti negli anni ‘70 con lo scopo di promuovere l’arte contemporanea e creare nelle Marche una vera e propria officina di pensiero, un laboratorio di creatività dove gli artisti potessero soggiornare, inconµ
trarsi, conoscersi, confrontare le proprie esperienze e quindi, lavorare e creare. Il progetto ambizioso, allora, unì artisti dell’epoca di fama internazionale, come Burri, César, Mannucci, Del Pezzo, Ceroli, Balderi, Antonioni e Restany e Crispolti come critici d’arte. Ogni artista avrebbe progettato un pezzo della città. L'incontro con i ragazzi di Unit+ è stata, poi, l’occasione per far rivivere quell’ambizioso progetto, ribattezzandolo con il nome di Operazione Arcevia 2.0.
La rassegna al teatro di Ostra
“La Vittoria” fa 150 anni In scena l’Opera Buffa .........................................................................
Ostra Quest’anno il teatro comunale “La Vittoria” celebra i suoi 150 anni dalla posa della prima pietra e sottolinea l’evento con un’opera impegnativa e un organico particolarmente ricco. Stasera alle 21 e 15, andrà in scena, con la regia di Gianluca Ricciotti, “I pazzi per progetto” di Donizetti. Si tratta della quarta edizione della rassegna dedicata all’Opera Buffa che, nel corso degli anni, ha con-
sentito di attingere al vasto repertorio di operine comiche di facile fruizione; ottimo veicolo per avvicinare il pubblico alla musica lirica. “L’iniziativa è partita nel 2010 grazie alla collaborazione tra l’assessorato alla Cultura, il maestro Roberto Ripesi, il maestro Luigi Marinelli e l’associazione Laboratorio Ostrae – spiega l’assessore alla Cultura Federica Fanesi - in quattro anni, nel teatro sono state allestite numerose opere”. s.a.
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Il picchetto dei centri sociali di Senigallia e Pergola
Sfratto esecutivo bloccato da un blitz Monterado Una delegazione di attivisti dell’Arvultùra di Senigallia e del centro sociale “Squola”di Pergola ha bloccato uno sfratto esecutivo a Monterado. Il picchetto si è reso necessario per impedire che una famiglia finisse in strada. Si tratta di due italiani che da un anno e mezzo hanno perso il lavoro, trovandosi, così, nell’impossibilità di pagare l’affitto. L’iniziativa ha permesso di ottenere un mese di proroga e l’apertura di un tavolo di trattativa tra attivisti e amministrazione comunale.
E’ la Giornata del Baratto Barbara Si tiene oggi dalle 16 alle 18.30 la “Giornata del baratto”, iniziativa promossa dall’amministrazione comunale e rivolta a privilegiare il valore del riutilizzo di ciò che non serve più ma potrebbe servire a qualche altro. Il baratto è proprio questo: scambiarsi degli oggetti anche per contribuire a creare meno rifiuti. Chi è interessato a partecipare può portare le proprie cose direttamente nel luogo dell’appuntamento. La “Giornata”si terrà a Palazzo Mattei in corso Vittorio Emanuele II. Saranno esclusi dallo scambio gli animali, i beni preziosi, gli oggetti di dubbia provenienza, i generi alimentari o comunque deperibili. Non è ammessa alcuna forma di pagamento in denaro.
Le farmacie oggi aperte per turno SENIGALLIA COMUNALE 2 Piazzale Michelangelo 10 071.6610116 BARBARA COMUNALE C. Mazzini, 54 0731.9105 OSTRA BIGNARDI Corso Mazzini 51 071.68065 3
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1. “Il Resto Del Carlino” Newspaper article about Operazione Arcevia 2.0 2. “L’Altro Giornale” Newspaper article about Operazione Arcevia 2.0 3.”Corriere Adriatico” Newspaper article about Operazione Arcevia 2.0 4. “Viaggiare Oggi” Online Newspaper article about Operazione Arcevia 2.0 5. “Vivere Senigallia” Online Newspaper article about Operazione Arcevia 2.0 6. “Senigallia Notizie” Online
Newspaper article about Operazione Arcevia 2.0 7. “Marche Notizie” Online Newspaper article about Operazione Arcevia 2.0 8. “Valmisa” Online Newspaper article about Operazione Arcevia 2.0
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I arrived in Italy on the 1st of April (in Milan) I started cutting and painting the exagonal panels for the installation. on the 5ft of April I travelled down to Riserva Privata San Settimio in order to continue my work from there. On the 8th of April the other 9 members of UNIT_ arrived in Riserva Privata San Settimio and the work continued.
9. Front Page of web site operazionearcevia.org
Operazione Arcevia 2.0 daily from website day 1 From London to Palazzo d’Arcevia. Today we arrived on site at San Settimio where we were greeted by Carolina, the owner of the Reserve. We have three ongoing projects to be completed by the end of the week. We’ll be designing and building a pavilion entirely out of reclaimed palettes, which have been donated to the project from the local council and AR[t]CEVIA International Art Festival. Preparation began on our tree mapping navigation system. It’s common for people to become lost in the vastness of the Reserve. This navigation system uses coloured ribbons of fabric wrapped around trees to identify particular routes which people can follow. ‘Live Palazzo’ is an extension of Operazione Arcevia. We hope to boost tourism to the area by promoting local identity. We’ll also be hosting an event on Saturday 13th. All are welcome! Join us as we take you back in time to explain the origins of this project and to initiate ideas inspired by our dynamic engagement with the Reserve and the local community.
day 2 Work began bright and early this morning as everyone got involved with dismantling the palettes. Later in the day we visited the studio of Carolina’s partner, Roberto Coda Zabetta, in Loretello, a neighbouring town to Palazzo. Roberto attended the Art Institute of Rome and has participated in numerous exhibitions and competitions both in Italy and abroad. After long periods in New York and Berlin, his work became increasingly focused on character and action.
day 3 Most of the route from the restaurant to the spa has been mapped. As well as a navigation system, this project is also an art installation. The precise linear positioning of all the ribbons makes them really stand out amongst the surroundings.
day 4 Work began constructing the frames for the pavilion. The idea is to create a viewpoint of the lake and valley by providing a tunnel perspective.
day 5 The first set of frames for the pavilion were put up today. Everyone helped out cutting wood, ensuring measurements were correct and putting the frames together.
day 6 Another beautiful morning at San Settimio! Today we are hosting an event to present the work that we have been doing this week.
Event From London to Palazzo di Arcevia: In 1976, Italo Bartoletti, Ico Parisi, Alberto Burri, Paul Restany, Mario Ceroli, and many, many other artists of the era, saw in this land the idea to create a community for artists. Join us on Saturday April 13th, as we take you back in time to explain the origins of this project and to suggest a real future.
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11 11. Second day pictures
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12 12. Third day pictures
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13 13. Fourth day pictures
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14 14. Fift day pictures
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15 15. Sixth day pictures
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16 16. LIVE Palazzo pictures
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Operazione Arcevia 2.0 Completed projects
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EXPENSES Hotel for February visit...€100 Car petrol for February visit...€200 Printing documents for February visit...£200 Hotel for April visit...€115 Car petrol for April visit...€200 Printing of Stencils and vynil transfer + VAT...€96.8 Wood and paint (brushes and paint) + VAT...€181.5 Nails + VAT...€8 TOTAL: €901.3 + £200
17. LIVE Palazzo process of construction 18. Pavillion process of construction 19. Tree Mapping process of construction 20. Exhibition Operazione Arcevia 2.0 process of construction
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Building Scale LIVE Palazzo HQ
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1. Planimetry of Palazzo D’Arcevia with highlighted the chisen site
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2. Drawings for laser cut model of Palazzo D’Arcevia 3. Model 1:500 Palazzo D’Arcevia
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4. Section through Palazzo D’Arcevia’s square and throught the street
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4-5-6. Plans, Elevations and sections of existing building
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The building was a school built by Italo Bartoletti in the 1970s. It is now inaccessible due to extensive damage to the inner walls and the land is now for sale. The building must be demolished in any case as the laws for earthwuake security changed and it is not legal anymore. Not having acquired “historical status” the building has to be demolished. The asking price for the building is €180000. The idea is to keep it a council proerty (which it is already) make it LIVE Palazzo
HQ and keep it alive until 2050a.d. At which point the building should be demolished/transfered to a different location. This action is made in order to valorize the town 1500a.d. counduary walls and the 1800a.d. tower theat the school hides.
7. View from street of exschool 8. View of ex-school backyard
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9. Inspiration for design of building
LIVE Palazzo HQ design came from the designs of local structures, precedents of european origin and the modern interpretation of rock and timber.
10. Initial Sketches for building design
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10. Initial Sketches for building design
Sketchbook
The following sketches come from an extensive study on precedents and local trades and LIVE Palazzo principles.
Valorizing the two first, secondly transfer the value to the HQ.
LIVE Palazzo Event in Sketches
Trades in Palazzo D’Arcevia
Openings of the original building
Street from above of the building. Feelings on approach
Materiality in the town and of the building
Inspiring local and non-local structures. Iconic buildings
Towers in the vicinities
Principle of the building
Principle in the design
Doors in Palazzo D’Arcevia
Principle of passing time
Program of the building
Ground floor proposal 1
First floor proposal 1
Ideas for the structure
Sustainability ideas
Brutalism and towers
Introducing typography in the design
Views of the backyard
Structure ideas
Tower studies
Tower studies and entrance
Structure for roof
Main points that led to the final design
The page above is of great importance as it gave the priject a big stir towards its completion. From simply shape and volume sketches, this page gathered importance as it came out from a discussion with a local architect Cecilia Verdini via Skype
Study of patterns
Mantaining the brick facade
Studies for the facade
Design studies
Facade studies
Volume studies
Tower studies
Circulation and facade studies
Facade studies
Facade studies
EX L O O O H T C IN -S
E C Y A R Y P E R S L L O K A T R G O RA W ABO E R T L A E TH AFÈ C 11
The program of the building was informed by the initial Operazione Arcevia 2.0 LAB proposal. Essentially the program is the same but the Laboratory space becomes a space for local trades to nourish again with courses (possibly funded by the EU). The Gallery is for Operazione Arcevia 2.0_SCHOOL exhibitions, the cafe’ becomes the centre of tourism and the theatre is there to compensate and to give back the town to the kids; the theatre will mainly organize events for kids. The work space becomes the HQ for the LIVE Palazzo Agency and for UNIT+ on their visits to Palazzo D’Arcevia.
11. Program for building
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From the extensive sketch studies and the study of precedents the building designed for LIVE Palazzo is finalized in its aesthetics and feelings. The interior spaces are almost left completely free for the interchangeable uses it may have with the continous changing of laboratory in its core space.
12. Impression of design on the territory 13. Axonometric views of proposal
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14-15. Elevations and plans of proposal
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12. Impression of design on the territory 13. Axonometric views of proposal
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16. Sections of proposal
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The choice of the steel frame structure came from the idea of utilizing factory structures as design elements for the construction. It will also facilitate the removal of the building in order to give the town more importance once the strategy LIVE Palazzo is executed.
17. Frame structure holding the building 18. Details of the frame structure
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L O O O H T C IN
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E C Y A R Y P E R S L L O K A T R G O RA W ABO E R T L A E H T AFĂˆ C 19
19. Factory Program for building
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20. Local artisans
For LIVE Palazzo HQ I found in a cross crit examination in November a girl which is currently studying for a Master in Design at the London Metropolitan University, whose project is set in the Marche region and looks at re-valueating the leather industry in the Marche region providing services for local companies in the areas of marketing and digital marketing. Her involvement in local company brought her to design her own pair of shoes. MADE IN MARCHE will be a strategy that will take place anyy, LIVE Palazzo simply provides the facilities to get the project started.
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21. Case study for use of the proposal
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21. Case study for use of the proposal
Town Scale LIVE Palazzo Agency
In the LIVE Palazzo Event I pitched the setting up of an agency which dealt with the use of empty buildings through out the town of Palazzo D’Arcevia. The agency would work in sorting out and managing the use and destination of all the emopty buildings in periods of the year when they are not in use by their owners (mainly holiday homes). The primary use of empty buildings would be the one to give the soace to emerging artists to have the opportunity to work freely. This opportunity is given for a period of time and in some cases it would be “a space in exchange for ideas” in other cases, in more run down homes, the refurbishment of the house for the possibility to use it. The latter works also splitting the ownership of the given property if the work is well done. Ultimately the agency’s duty is to find permanent residents in the emerging artist community. There is an attitude in emerging artists to join together in a community to favour the constant production. This does not mean the kicking out of the former residents of Palazzo but an integration of the two separate but equal realities.
TODAY
2025
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2050 -EXISTING RESIDENTS OCCUPIED PROPERTIES -PUBLIC OFFICE BUILDINGS -INTERIM USE BUILDINGS: 2 MONTHS -OWNER-TENANT AGREEMENT: LOW RENT FOR REFURBISHING, PART OWNERSHIP. -BUILDING PROPOSAL
1. Plan for LIVE Palazzo Agency in time
-UN-DESIGNED EMPTY PROPERTIES
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2. Properties in Palazzo D’Arcevia with Owners of the properties listed in the map
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3. Images of Palazzo D’Arcevia before the decline
The drawings in the following page illustrate the system with which the house would be pitched. Not knowing the property but knowing the typology of the house will be the way of choosing the property for the emerging artist. This is to improve the knowledge of the local architecture.
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4. Typologies of houses in Palazzo D’Arcevia and vicinities