Torino. Sustainable strategies by Michele Bonino

ლ‫׉‬ኮ࿿ǖփཞᇀᅜྫ‫׊ڦ‬ᇺ੗‫׼‬Ⴤఇ๕ NOTHING SPECIAL: A DIFFERENT AND LONG-TERM MODEL OF SUSTAINABILITY ௝਻ટ·ձ౅౷/Michele Bonino ชৌ ᅳ/Translated by SHANG Jin

൩ၙၡᅃူǈ‫୿ړ‬ፒ · ೄჱ౷ሞ 1998 ౎೵૧ጦਖ਼

ࣅ‫ڦ‬າྼ֍ࣷණ੗ժੲ‫ྜٷ‬ඇᅜႠీྺ‫ڞ‬ၠĂᅜरຍ

ঃଶঃዂًਸ๔้ǈ‫׬‬ጲमྺٗ๚๘হฉ‫ڦ઻ܾࠟڼ‬

ၳ୲ࢅবీྺए‫ڦإ‬੗‫׼‬ჄႠăఃᅜഥ૛‫ڦ‬๟ᅃ߲߸

ࣅ‫ڦ‬๮܎ࣷॻࣅࢅܴ዆ਃ௷‫ڦ‬ዷ‫ۯ‬Ⴀă ௬‫ܔ‬ኄዖं୺‫ڦ‬ጒ઄ǈ࿢்޿ሹ஺ӸǛᄺႹு๊

ኰᄽܸጲࡸ‫ڦ‬ఫᅃਗ਼Ǆ໱‫ݤܔ‬ჱ༬ଠ߭ྂ߾‫߀ڦ׍‬ሰ

‫ࣥڦٷ‬ጱ ǖ዇ࣱ‫׭‬๨ăኄ߲Đྤీሃ‫׽‬đӯ‫َڦ‬ሞአ

஺༬՚‫ ڦ‬ǖԨ೺໯ቛ๖‫ॺڦ‬ዾ༵‫ڦב‬๟ᅃӯႜྺǄሞ

ၜణ๟Ԩ೺‫ڦ‬ਸೊኮፕǅǈ‫࠵ڦူׇ‬ዚ๟‫ܠ‬஺ᖿᖾă໱

ਜ਼‫ڦ‬ᄇຫࢅጆᄽੜ‫ײ‬՗ዐ୭९փးă໲ཞᄣᅜरຍྺ

੗ీ‫ڦ‬൧઄ူ‫ॺܔ‬ዾ৊ႜም૧ᆩǈ‫๋ڦںړ׺‬࿿ǈᇑ

ໜनਸ๔঴๥ǈටૌ‫ڼڦ‬ᅃ߲ኰᄽ๟ლቴ๋࿿ăথူ

ዘ‫ۅ‬ǈၟ๟ᅅዎઓඡ࿢்‫׭‬๨‫ڦ‬ዮ‫ྙܠ‬द‫ڦ‬ଳ‫௴چ‬ᄱă

໱ටࠌၛࡗ‫ݝڦٷ‬क़ǅăփࡗǈසࡕీඟ๘ටକ঴ժ

ઠǈॺሰᅃ‫ت‬࿡ಱĂܸփ๟ԥ‫ںۯ‬থ๴‫ٷ‬ጲ඗ّᇎ‫ڦ‬

ሞĖ࿐Ԓėৎන‫ڦ‬ᅃೊ࿔ቤዐǈெࡔዸఁมࣷბॆ૙

ेᅜኝ૙ǈఫ஺ǈኄၵາၙ৽੗ᅜႚ‫ׯ‬փཞᇀᅜྫ‫ڦ‬

೼တ‫ں‬ǈ࢔੺৽‫ׯ‬କටૌิऄዐ዁࠲ዘᄲ‫ڦ‬ᅃ߲‫ݛ‬௬ă

ֱ‫ · ڤ‬෧౅༬ǄRichard Sennettǅ኱ჾփࣺǈĐፐන‫ڦ‬

‫׊‬ᇺ੗‫׼‬Ⴤఇ๕ ǖᅜ࿢்‫ڦ‬න‫׉‬ႜྺྺߵएǈܸփ๟

ྺକํ၄໲ǈ৽ᄲ৑੗ీ؊‫ںݴ‬૧ᆩᆶ၌‫ڦ‬ጨᇸăኄ

዇ࣱ‫׭‬๨৽๟ৃන‫ڦ‬፨௔đăٗ 1930 ౎‫پ‬ү૛ਖ਼ · ந

ᅈႠీ৊ႜ༨༁ Ǘศ෇੗‫׼‬ჄႠ૙౒‫ߵڦ‬ᇸǈࠞ૤੗

৽๟ॺዾ‫ڦ‬ዷᄲణՔኮᅃă኱዁ৃනǈ‫౎ܠ‬ઠႚ‫ڦׯ‬

‫ڤޟ‬ǄEric Mumfordǅ಼ಒ‫ڦ‬঍ཚࢅ‫׭‬๨ࠀీĐ੔ბ

ᅜփ܏ዘް‫ڦ‬ႜྺă෧౅༬ሞ໱‫ڦ‬࿔ቤĐுටဠ࣌໿

‫ࢅໍޅ‬रേ‫ۼ‬ᆇኤକᅃ‫ ۅ‬ǖࡻ‫ॺڦ‬ዾᆦᇺ๟੗‫׼‬Ⴤ‫ڦ‬ă

ࡀࣄđǈ‫ࡔࡣڟ‬຿‫ۼ‬๨ৈᆯᅃ໼ऺ໙ऐ੦዆‫ڦ‬णዐࠃ౱ǈ

ٓ௽‫׭ڦ‬๨đǄᅃ߲ടසഄ‫ڦݴ‬༶ణǅዐ՗๖ ǖ Đࡗඁ

෧౅༬ණྺኄၵ዇ࣱఇ๕ጀۨᄲ฿ӨăഄߛၳĂጹࢇ

10 ౎‫ٷڦ‬ଉჺ৯՗௽ǈփஃ๟௕ச࣏๟እेߣǈᅃ‫ڋ‬

௽ӣକኄᅃ‫ۅ‬ǈ৽փవੂ‫؜‬ǈሞৃཀǈኻᆶฆᄽ Just think for one moment how embarrassed

With this in mind, only commercial reasons

centralised heating in the city of Songdo (South

the public must have been when Renzo Piano (his

now justify the exaggerated emphasis on a totally

Korea), controlled by just one computer, Sennett

renovation project for the Fiat Lingotto opens this

performance-oriented sustainability, based on

believes that these smart models are doomed to

issue), at the beginning of his acceptance speech for

technological efficiency and energy saving. What

failure. Their efficient comprehensive embrace

the 1998 Pritzker Prize, explained how honoured he

derails this topic even further are the smoke-screen

tends to deaden and stupefy the initiatives of their

was to practice the world's second oldest profession.

slogans ǉ present as much in speeches by politicians

inhabitants.

Quickly clarifying that man's ﬁrst profession was the

as in the curricula of professionals ǉ associated

Faced with this mess, what should we

search for food, he went on to add that the need

with the passepartout term, smart city: a universal

do? Probably nothing special: the architecture

to build a shelter instead of passively accepting the

antidote which, again with a chieﬂy technological

illustrated in this issue hosts and promotes normal

refuges offered by nature rapidly became a crucial

emphasis, promises to solve the many problems

behaviour (re-use a structure when available, eat

aspect of human life: to be achieved as efﬁciently

afflicting our cities. In a recent article in "The

what's local, share a room with others if it's too

as possible with the resources available. This is

Guardian", the famous American sociologist Richard

big). However, if they're aware and organised, then

one of the main goals of construction. And up until

Sennett simply recalls that "yesterday's smart

these ideas can define a different and long-term

recently, the customs and skills which have evolved

cities [are] today's nightmare": from the "scientiﬁc

model of sustainability: rooted in our everyday

over the years were such that good architecture was

planning" of transport and urban functions,

actions rather than worn out by performance,

always sustainable.

condemned by Eric Mumford in the Thirties, to

capable of getting to the bottom of the concept

ፕኁ०঻ǖ௝਻ટ·ձ౅౷ሞ‫ۼ‬ଳ૙߾‫ٷ‬ბঞ๲ॺዾბࢅ‫׭‬๨ย ऺੜ‫ײ‬ǈణമ๟ൣࣀ‫ٷ‬ბ‫ݡڦ‬࿚ঞ๲ă໱‫؜‬Ӳକ4ևጆዸǈժሞ ࡔाሗኾฉ݀՗ࡗ‫ܠ‬ೊஃ࿔ă໱ᇑడਖ਼ञࠌཞঢ়ᆐएᇀ‫ۼ‬ଳ‫ڦ‬ MARCॺዾ߾ፕ๪ă໱ᄺ๟Ԩ೺Ė๘হॺዾė‫ڦ‬ਜ਼ፗՊडă Michele Bonino is teaching architecture and urban design at Politecnico di Torino. He is currently a Visiting Professor

at Tsinghua University in Beijing. He is the author of four monographs and several papers in international magazines. Together with S. Mukerjee runs MARC, an architectural studio based in Torino. He is guest-editor of this issue of "World Architecture". ๭ߡන೺ǖ2013-04-20

๘হॺዾ 2013/05

‫׭‬๨‫ڦ‬ए‫إ‬ยแ‫ڟ‬࿋ǈට்৽փࣷምӝၳ୲‫ݣ‬ሞ‫ڼ‬ᅃ

1980 ౎‫پ‬ǈഛ‫߾כ‬ᄽᅃ኱๟ኄፗ‫׭‬๨ঢ়षᇑ๨௷ิऄ

࿋ĊĊ໱்Ⴔᄲ‫ڦ‬๟ิऄ‫ڦ‬೗ዊăđ

‫ݛ‬๕ԝࢫ‫ڦ‬ൻ‫ۯ‬૰ ǖ‫ݤ‬ჱ༬ࠅິᆛᆶ޿๨ፌዘᄲ‫ڦ‬Ԓ

‫ీ݆ݛ‬ඟට૴ၙ‫ૃڟ‬ఫ · ӬభఛǄReyner Banhamǅă

ኽĂ‫ۥ‬ॖ‫ڦ‬ፁ൰ਓૂևǈᅜतፌዘᄲ‫ڦ‬࿔ࣅࢅঢ়षऄ

໱ሞ 1971 ౎ਸ‫ظ‬Ⴀ‫ں‬௮ຎ஍෶ᬨॺዾ‫ڦ‬ዸፕዐǈߵ ਍๨௷௬‫׭ܔ‬๨ဣཥ‫ڦ‬ዷᄲ༬ኙ้‫ڦ‬՗၄൶‫ݴ‬କ 4 ዖ

Ԩ೺ጆडᅜ‫ۼ‬ଳྺዷ༶ઠ༑༪ኄዖ੗‫׼‬ჄႠ‫ݔ‬

ኄᅃ൵๞๟ॽ‫ۼ‬ଳ჋ፕჺ৯ӄ૩‫ڦ‬ᇱᅺă࿢்‫ڦ‬

๕‫ڦ‬ഐᇸࢅᇱᅺǈ‫ڍ‬ኄዖఇ๕࿮ᅑሞᅪ‫ٷ‬૧‫ڦ‬ഄ໱‫׭‬

‫ۯ‬ĊĊᆯُ໒ሰ‫؜‬૦๏ฉĐࠅິኮ‫׭‬đ‫ڦ‬ႚၡăሞঢ়

๨ࢅ൶ᇘ๟‫׉ݥ‬೵Փ‫ڦ‬ĊĊኄሞࢫ௬୔ਸ਼ · ఎ૧భ૛

૦କഛ‫߾כ‬ᄽ‫ڦ‬ड़వླऐኮࢫǈ໲Ⴔᄲᅃ߲ႎ‫ڦ‬ణՔă

ิༀă‫ۼ‬ଳፌৎ 5 ౎‫ॺڦ‬ዾएԨฉᄺ๟ᅜཞᄣ‫ݛڦ‬๕

ǄLuca Molinariǅ‫ڦ‬࿔ቤዐ৽ీੂ‫ڟ‬ăփࡗሞ‫ۼ‬ଳǈ‫ظ‬

1990 ౎‫پ‬఍ǈ‫ۼ‬ଳ๟ᅪ‫ٷ‬૧๯ፗํႜႎ႗቟୼ࡀࣄ‫ڦ‬

৊ႜ༑༪‫ڦ‬ǈनጕ൱੗‫׼‬Ⴤ‫ิڦ‬ༀăഄዐᆶၵ๟ᇑ൶

ႎႠ‫ڦ‬ยऺඪခࢅᆨᇀথ๴ժํ၄໲்‫ॺڦ‬ዾ฾ኮक़

‫׭‬๨ǈᇅஃᆅ‫ڞ‬ኁࢅਦ֧ኁ‫ۼ‬ණྺǈ໲ኻᆶ֑ᆩႎ‫ڦ‬

ᇘ؅‫܈‬ᆶ࠲‫ڦ‬ă‫ۼ‬ଳ‫ڦ‬૦๏ᇑഄ໱౹ዞ‫׭‬๨‫׉ݥ‬၎ຼǈ

‫ڦ‬঳ࢇᇑഄ໱‫׭‬๨၎Բ߸ྺ৆௢ăৃཀǈ࿢்੗ᅜሞ

ิऄ‫ݛ‬๕ࢅ߾ፕఇ๕֍ీํ၄ް႗ăሞኄᅃ઀ॐူǈ

኱‫ڟ‬փ৳മධሞሺ‫׊‬ă߾ᄽླऐ‫ټ‬ઠ‫ڦ‬਎‫ٷ‬੣‫ں‬ঢ়‫׉‬

ॺ‫ॺڦׯ‬ዾമ༪ஃኄᅃఇ๕ǈժᆩ໲ॠᄓᇨ೺ࢅ‫ࡕׯ‬ă

ኻᆶ௅ᅃ߲ට‫ۼ‬ᅪ๎‫ڟ‬ጨᇸ๟ᆶ၌‫ڦ‬ǈ֍ీइ‫׭ڥ‬๨

‫؜‬၄ሞ‫׭‬๨‫ڦ‬ዐ႐ă‫ܔ‬ഄ৊ႜް႗๟૧ᆩ၄ᆶॺዾ‫ڦ‬

‫ۼ‬ଳ‫ڦ‬ऄ‫ۯ‬၂඗ٝ‫ׯ‬କణമኄᅃ൵๞‫ڦ‬ႚ‫ׯ‬ĊĊਸ਼஍

‫ڦ‬೗ዊࢅঢ়ष৪ኛ૰ ǖณᅃၵጨূĂณᅃၵ৽ᄽǈᄺ

௽዇ኮਉǈ‫߸ڍ‬ዘᄲ‫ڦ‬๟ǈ໲ཚࡗ३ณ੣क़Ă้क़ࢅ

· ӎܻఎǄCarlo Olmoǅሞ໱‫ڦ‬࿔ዐᆶዘ‫ۅ‬ஃຎă኱‫ڟ‬

৽ณᅃၵ߲ටዷᅭǈณᅃၵષ‫ݯ‬ă1ǅ

ీᇸ‫ڦ‬ၩࡼ๑‫׭‬๨߸े৆ٙ 1ǅăଠ߭ྂ߾‫׍‬Ă‫ܠ‬ઙࠅ agreed that the city could only relaunch if it adopted

of sustainability and encouraging behaviour which

them: today we can discuss this model in front of

can be repeated again and again. In his article,

completed architectures, that we can use to verify

new lifestyles and work models. In this framework,

entitled quite appropriately, No-one likes a city

expectations and results. Events in Torino have

urban quality and economic competitiveness could

that's too smart , Sennett goes on to say: "a great deal of research during the last decade, in cities as different as Mumbai or Chicago, suggests that once basic services are in place people don't value efficiency above all; they want quality of life". This issue is dedicated to Torino, where we explore the origins and reasons for this paradigm of sustainability, undoubtedly common to other cities and regions in Italy ǉ as documented in the essay by Luca Molinari a few pages further on. However in Torino, more than in other cities, there has been a convergence between innovative briefs and architects ready to adopt and implement

certainly helped to create the current situation,

be achieved only if everyone realised that resources

a situation highlighted by Carlo Olmo in his essay.

were limited: less money, less employment, but also

Up until the Eighties the car industry was the

less individualism and less waste1ǅ.

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‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

driving force behind the economics of the city and

This situation was the reason why Torino was

the lifestyle of its citizens: amongst other things

chosen as a case study. Our method implicitly

FIAT owns the city's most important newspaper, its

recalls Reyner Banham who, when describing the

leading football club, and most important cultural

architecture of Los Angeles in his ground-breaking

and economic activities ǉ fuelling in the recent

book in 1971, defined four ecologies based on how

past the image of a "one company town". After the

citizens behaved vis-à-vis the main characteristics

difficult crisis in the car industry, the city really

of the urban system. The last-five-years architecture

needed another goal. In the late Nineties when

in Torino has been explored in much the same way,

Torino was the first Italian city to adopt a promising

in search of sustainable ecologies. Some of them

Strategic Plan, opinion leaders and decision-makers

are related to a territorial dimension. With a history

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ᇴࢅਸ਼ૃభጇ‫׍‬๟ኄᅃາྼఇ๕‫ڦ‬၄ํ঳ࡕǈ੗փ႞

ዘᄲၜణă1964 ౎‫ׯ‬૬‫ ڦ‬Ser.Mi.G. ࿋ᇀᅃፗ৹࿴ഗ

‫ڦ‬๟ǈኄኻ๟࡛֟ᅃ໐ăཞ้ǈሞ 1980 ౎‫ۼپ‬ଳ႗ഐ

‫׍‬Ǆ‫ۼ‬ଳਬ߾‫׍‬ǅǈሞ‫݋‬ႎࢅકॺኮࢫे෇କ޹ৎ‫ॺڦ‬

‫ڦ‬Đ஥๋đሏ‫ࠀׯۯ‬ኮࢫǈ߳ዖऄ‫ڞۯ‬ၠକཞᄣರղ

ዾǈႚ‫ׯ‬କᅜ๾๢ࢅ‫ྺࣆܔ‬ዷ‫ྲڦ‬႙‫׭‬๨ă

‫ټ‬ઠକႎ‫׭ڦ‬๨੣क़ፇኯࢅิऄ‫ݛ‬๕ă ᆶுᆶ੗ీॽణമৈሞबፗॺዾฉ๬ᄓࡗ‫ڦ‬ኄၵ੗ ‫׼‬ჄႠఇ๕ᆩ‫׭ڟ‬๨ฉǛසࡕ࿢்ኈ‫཭ၙڦ‬೦Đरຍ੗‫׼‬

ժਏᆶ࿔ࣅᅪᅭ‫ڦ‬ಭᜧೠஃǈ‫ܔ‬ၡ๟ྼ‫ิ׼‬࿿‫ܠ‬ᄣႠ

‫ ྂ · ڤ ྼ ٳ‬க ໭ · ‫ ݯ‬ન ‫ܠ‬ǄDavide Tommaso

ჄႠ / ዇ࣱ‫׭‬๨đኄᅃມዘ߁౒‫ڦ‬໯ᆶሀຐǈኄ๟ᅃ߲࠲

‫ڦ‬ᆐᄢఇ๕ ǖᇸጲ‫ۼ‬ଳ‫ڦ‬ඇ൰ Eataly ఇ๕Ⴧჾኟ๟޿

Ferrandoǅ‫ ڦ‬5 ೊ‫܌‬࿔঻ถକฉຎፕ೗ĊĊ໱ྺԨ೺

॰࿚༶ă‫׭‬๨‫ڦ‬ᄇՎႴᄲ้क़ǈ࢔‫้ڦ׊‬क़ Ǘ໯ᅜ၄ሞ࢔

૙౒‫ڦ‬գ෷ᅃঙă

࿔ቤ‫ڦ‬ጉ࿔ምْሰ‫ݡ‬କኄၵၜణă

వ࣮‫ٴ‬ኄ߲࿚༶ă৑࠶සُǈᆶၵगၡ๟Ⴔᄲ༪ஃ‫ڦ‬ă ሞࡗඁ‫ ڦ‬15 ౎૛ǈ‫ۼ‬ଳ৽ၟ࢔‫ܠ‬ᅪ‫ٷ‬૧‫׭‬๨ᅃᄣǈ

ႎ‫ڦ‬૧໱ႜྺԈઔ‫ݴ‬ၛਃዿ੣क़ࢅ‫ظ‬ሰႎӸ݆ၹ

୿ፒ · ೄჱ౷ĂԵ‫ · ڥ‬ઙ‫ࢅو‬ഄ໱ब࿋ઠጲ‫ۼ‬ଳ

ۙॆབྷิऄࢅ߾ፕăᅃၵፌఱටლ࿆‫ڦ‬ཞዿĂཞ߾ఇ

‫ॺڦ‬ዾ฾๟ኄၵፕ೗ԝࢫ‫ڦ‬ยऺኁă໲்‫ۼ‬๟੗‫׼‬Ⴤ

ሞ‫׭‬๨ዐ႐ഽࣅକࠅࠌ൶ᇘă‫ڍ‬໲‫ڦ‬ዘ‫ۅ‬๟ኄᅃ੣क़

๕ኟሞ‫ۼ‬ଳํ၄ ǖ Đெৠđมࣷዿ቎ࢅĐ߾ਏၒđ๟ଇ

‫ڦ‬०‫׊ܸڇ‬ᇺ‫ิڦ‬ऄ‫ݛ‬๕‫ڦ‬ᐱ๥ăኄၵยऺሞᇑఱ႐Ă

ဣཥࢅৎᇀ‫ݥ‬࿿ዊ‫ڦ‬࿔ࣅဣཥኮक़‫૴ڦ‬ဣǄ૩සǈሞ

߲ዘᄲ‫ڦ‬ፇኯࢅॺዾํ૩ăଷᅃ߲‫ظ‬ᅪ๟ӻዺ๨௷঴

ਸ௽‫ڦ‬ᄽዷࠏཚ‫ڦ‬ए‫إ‬ฉǈ੗ᅜණྺ๟ᅃዖደօ‫ׯ‬ႚ

‫׭‬๨ዐ႐օႜ‫ྷݔ‬ኮా‫ۅں߲ܠڦ‬ਉӸ‫ڦ‬ఁྺĐ௷ዷ

ਦන‫ิ׉‬ऄዐాሞ؋཭‫߾ڦ‬ፕǉิऄೝ࢚ዐ႐‫ݛ‬ӄă

‫ڦ‬ጹࢇႠ้‫پ‬ᄲ൱‫ڦ‬Đ֒ಇđǈժሞ 2009 ౎ূබླऐ

ມ౎ቛđ‫ڦ‬ऄ‫ۯ‬ǅăኄ߲‫ظ‬ᅪᄺሞ‫ۼ‬ଳ‫ٷ‬ბ‫ڦ‬჋኷֧୼

ᅜࢫ‫ཫڟڥ‬၂ăኄᅃ‫گ‬௚้೺‫ܔ‬ට்‫ิڦ‬ऄᆖၚศᇺ ǖ

ዐဌ๭ժ݀ᄙă‫౎ܠ‬ઠǈ‫ٷ‬ბᅃ኱ሞჺ৯ٗ৹‫׭‬ዐ႐

‫ۼ‬ଳᅃ኱ᆶዖഽଜ‫ཷڦ‬঳ߌǈփஃ๟ጸঞ࣏๟ഄ ໱‫ݛ‬௬ăኄᆅ݀କၟҮԞટၭፇǄGruppo AbeleǅĂժ

௅ཀฉူӬୟ‫ײ‬ᇺ໯‫ټ‬ઠ‫ڦ‬ঢ়षઓవ Ǘ౎ൟ‫ۼ޺ސ‬ᄲ

‫ڦ‬ၯ‫׊‬Ӹࠅ๪૦๏൶ჽฦ዁‫׭‬ԛ‫ڦ‬Đ‫ݴ‬ොၯᇴđ߁౒ǈ

৊มǄCamminare Insiemeǅࢅፌৎ‫ ڦ‬CasaOz ኄᄣ‫ڦ‬

ᆶඇኰ߾ፕǈܸுᆶፁࠕ‫้ڦ‬क़ಥ࡚ጱ‫ڪ‬ăኄၵ࿚༶

ॽბิ๕‫ࢅྷݳڦ‬ႎ‫ڦ‬ऄ૰Ǆᅜतঢ়षǅጀ෇၄ᆶ‫ڦ‬

very similar to other European cities, in the recent

architectural examples. Another innovative idea is

Sufﬁce it to recall some of the more direct effects

past Torino continued to grow while the industrial

the proposed Città della Conciliazione (Work-life

of this downturn: the economic difﬁculties of long

crisis led to huge empty spaces, often in the heart

Balance Center) to help citizens manage the conﬂicts

daily journeys from home to work; the need for a

of the city. Regenerating them is an intelligent way

inherent in their everyday lives.

full-time job for both members of younger couples

to use available structures, but above all it's making

Torino has always had a strong sense of

and the ensuing problem of not having enough time

the city more compact by reducing the consumption

solidarity, religious or otherwise, and this has

to be with their children, etc. These are problems

of space, time, and energy1ǅ. The Lingotto , the

triggered important projects such as Gruppo Abele ,

which are leading to new widespread forms of living

Parco Dora , and the Fornace Carena , are the tangible but unfortunately sporadic results of this mindset. In the meantime, after the success of the Đslow foodđmovement which emerged in the Torino region in the Eighties, several initiatives led to a review of the gastronomic aspects, but energetic and cultural as well, of a nutritional model focused on maintaining biodiversity: the worldwide statement of the Eataly model, fanning out from its original location in Torino (featured here), is the tip of the iceberg of this philosophy. New altruistic behaviour involves sharing living spaces as well as inventing new solutions to reconcile family life and work. Some of the most interesting examples of cohousing and coworking are being implemented in Torino: Buena Vista Social Housing and Toolbox are two important organisational and

Camminare Insieme and, more recently, CasaOz . The Ser.Mi.G. , founded in 1964, is located in a former weapons factory (the Arsenal in Torino) which was renovated and enlarged to include nearby buildings, creating a micro-city dedicated to hospitality and dialogue. Five short essays by Davide Tommaso Ferrando introduce the selected works which he personally visited again for this publication. Renzo Piano, Peter Latz, and several architects f r o m To r i n o a r e t h e d e s i g n e r s b e hi n d t h e s e architectures, all interpretations of a sustainable, simple, and long-term lifestyle. Enhanced by their discussions with attentive and informed clients, their designs can be considered as a "dress rehearsal" for an approach which is becoming a comprehensive imperative, especially since the 2009 ﬁnancial crisis.

and organising urban spaces.

Will it be possible to apply these new models of sustainability, so far tested only in a few select buildings, to the city? It's a key question, especially if we want to truly overcome all the limits of the dual concept "technological sustainability/smart city". Urban transformation takes time, lots of time, and it's difﬁcult to answer the question now. However, some signs deserve to be discussed. In the last fifteen years Torino has enhanced public areas in the city centre, like many other Italian cities. But it has focused on the link between this physical system and a much less tangible cultural system (for example, the event entitled "Democracy Biennial", held in dozens of venues in the city centre, all walking-distance). This idea was adopted and developed also by the location strategies of the

๘হॺዾ 2013/05

‫׭‬๨क૙ăሞణമ࣠ॆக৷ǄCavallerizza Realeǅ‫ت‬

ᇎႎॺዾࢅ‫ٷ‬႙ࠅࠌ੣क़ᅃዖૂ࠵‫ڦ‬႑ඪăُྔǈ‫׭‬

ኄ໚඗ሞᅪ‫ٷ‬૧๟ᅃ߲ႎ๚࿿ǈሞࢁનࢅ‫ࡔڤ‬ඐๆ‫ݴ‬

ॺሰ‫ٷڦ‬ཐമ‫ݛ‬ǈՓք‫׭‬๨‫ڦ‬ၯᇴৠၡٗ‫ݔ‬ए૧ჱ൶

๨‫ڦ‬ዷᄲՎࣅࢅए‫إ‬ยแ‫ॺڦ‬ยǄස‫ں‬ཎ 1 ࡽ၍ǅԈ

೵Փă๨አު኱থॽ‫؜੷ں‬๳ߴॆབྷ ǖኄඟ๨௷ႚ‫ׯ‬

ǄVanchigliaǅᅃ኱ჽฦ‫ڦׯॺߑڟ‬ᅉ౷‫ڼ‬ၯ൶ǄLuigi Einaudiǈᆯ౷த · ‫ޟ‬ຯ༬ࢅब࿋‫ॺںړ‬ዾ฾ยऺǅǈ

ઔࠅခऐ࠲‫࠶ڦڅ׶‬૙ࢅঢ়षሴඪă ‫ۼ‬ଳ‫׭‬๨࠶૙ऐࠓࢅሞ 2012 ౎ᆔ‫ڥ‬ĐՎ༹ 200đ

ᅜԛ‫ྺׯॽ܋‬ਃዿ / ‫ٷ‬ბ൶‫ڦ‬ჶ֥‫׍‬ǄManifattura

ཨՔ‫ڦ‬ᅪ‫ٷ‬૧ǉࢁનၭፇĐToMakeđ‫ڦ‬ႎ֧୼ǈ๟ᅜ

Tabacchiǅྺዕ‫ۅ‬ă

ଇ‫ٷ‬മ༵ྺए‫إ‬ǈྺ࿄ઠ‫ ڦ‬20 ǉ 25 ౎༵ࠃ੗‫׼‬Ⴤ‫ڦ‬

ၭፇǄᄺ๟๴ཱི‫ں‬໯ᆶ዆ԍቱ‫څׂںݝڦ‬ԍഔ݀ǅઠ ยऺ໱்߳ጲ‫ڦ‬ዿ቎ժॺ૬ཷ༹ፇኯࢅႎ‫ิڦ‬ऄ‫ݛ‬๕ă ‫׊‬೺‫׭ڦ‬๨Վࣅᇑኝ߲੗‫׼‬ჄႠາၙԝࢫ‫ڦ‬૙౒Ă नఱ৳Ⴀኮक़‫ڦ‬၎ຼႠ๟঴๥ᅃൎ‫ڦ‬ሃ‫ ׽‬ǖዊᅑ࿢்

‫ݛ‬ӄă၄ᆶ‫׭ڦ‬๨ምْԥ๫ྺᅃ߲ए‫إ‬ጨᇸǈᅃၜփ

‫׭‬๨‫ڦ‬࿄ઠǈ‫ڍ‬ፌዘᄲ‫ڦ‬๟ᅪ๎‫ڟ‬࿢்၄ሞ‫ڦ‬າՐ࢔

ཚࡗ‫ۼ‬ଳጺ༹ࡀࣄዐ‫ڦ‬ĐՎ༹ 200đǄVariante 200ǅ

੗ષ‫ۨࠦڦݯ‬ጨԨ ǖഄ੣क़ࢅมࣷയ૰ᆌ‫ړ‬৊ႜ؊‫ݴ‬

੺৽ࣷԥᅃዖႎ‫ڦ‬೵Փ࠵‫ۅ‬໯ൽ‫پ‬ǈनቧ૧ሞԨ೺ፌ

ၜణă໲࿋ᇀ৹‫׭‬ዐ႐ᅜԛ‫ڦ‬൶ᇘǈ๟ূබླऐኮࢫ

‫ྌڦ‬ਢժᆩઠघ݀‫׭‬๨ም႗ăُྔǈࠅࠌጨূ‫ڦ‬փፁ

ࢫᅃೊ࿔ቤዐ༵‫ڦڟ‬Đ෉Ⴀ੗‫׼‬ჄႠđăŕ

‫ڼڦ‬ᅃ߲‫ٷ‬႙‫׭‬๨߾‫ײ‬ăᅺُǈሞࡗඁপ඗փཞ‫ڦ‬

ሶᄲ൱߸‫ڦܠ‬ຳට֖ᇑă

ణമǈኄᅃ൶ᇘ޹ৎኟሞᅜްሗĂ‫ݛܠ‬࿋‫ײڦ‬Ⴞ

ጀ๥ ǖ

૦๏้೺዆ۨ‫ڦ‬ጺ༹ࡀࣄዐ‫ڦ‬గၵएԨᇱሶႴᄲ৊ႜ

ႎ‫ڢڦ‬ୟྪ๟ॺ૬ሞᇱᆶक૙ฉ‫ڦ‬ǈ໲ྺ‫ڿ‬ሺ๕

ۙኝăࡀࣄሞ 1995 ౎ཚࡗኮࢫǈᆯ߭ૃߛ‫ڻ‬๚ခ໯

‫׭ڦ‬๨݀ቛ༵ࠃକए‫إ‬ǈᄺඟට้ਗ਼ᅪ๎‫ڟ‬ዚ‫ܠ‬ຳට

1ǅኄዖॽም૧ᆩǄतഄ‫ڞ‬ዂ‫ڦ‬໫३ǅፕྺ੗‫׼‬ჄႠ‫ڦ‬

ǄGregotti Associatesǈሼยऺฉ࡛೶۫ႎ‫׭‬ǅ৊ႜยऺă

ሏᆐኁ‫ڦ‬փཞ༬Ⴀăᅃዖీࠕघ݀Ԩ೺ዐ໯ቛ๖‫ڦ‬Ⴙ

ᅃዖႚ๕‫੊ڦ‬୯ǈᇸᇀ MARC ߾ፕ๪ྺ 2010 ౎ྰ౅ຯ

‫ݛ‬ӄยၙକൣ‫ٷأ‬ଉ‫ݭ‬ച߾ᄽॺዾኮࢫ‫ڦ‬൧઄ǈժߴ

‫ܠ‬ၜణԨዊ‫ظڦ‬ᅪ๟ॺ૬ሞ‫ࢇׂںݝ‬ፕ֧୼ኮฉ‫ڦ‬ă

ມ౎ቛᅪ‫ٷ‬૧࠷໯ፔ‫ݛڦ‬ӄĐၭᅪ‫ٷ‬૧ĊĊณయՂႷđă

Università di Torino, which for several years had been working on the concept of a "diffuse campus" stretching from the historical seat of the Rettorato (Rector's Ofﬁce) in the heart of the old city, to the north of the city, injecting a student-like atmosphere and new energy (and economics) into the exiting urban fabric. Beyond the Main Hall currently under construction at the Cavallerizza Reale (Royal Stables), the vision of a city-wide campus runs through the Vanchiglia district to the recently completed Luigi Einaudi Campus (designed by Normal Foster and several local architects), and ends further north at the Manifattura Tabacchi , earmarked to be a future residential/university district. Close to this area, a complex and multifaceted process is currently underway to approve Variante 200 of the Torino Master Plan, which involve the area just north of the old city centre. It is the ﬁrst large-scale urban project after the financial crisis and requires a revision of certain basic principles in the Master Plan, developed during a very different period in history. Approved in 1995, it was designed by Gregotti Associates (known in China as the designers of the Pujiang New Town, Shanghai); it

envisioned the elimination of most of the abandoned

essence of some of the projects illustrated in this

industrial buildings and optimistically trusted in the

issue is based on a cooperative real estate strategy,

construction of many new buildings and big public

novel in Italy but widespread in The Netherlands

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

spaces. Furthermore, the main changes to the city

and Germany. The municipal administration sells

and the construction of the infrastructures (e.g.,

off lots directly to families: this prompts small

Line 1 of the metro system) include management

groups of citizens (also inspired by the real estate

and economical coverage by public authorities.

guarantee ensured by land ownership) to personally

The new strategy of the Torino City Administration (Divisione Urbanistica) and the Italo-Dutch group

design their own housing initiative and create new organisational groups and life-styles.

ToMake, which in 2012 won the tender for Variante

The similarities between the long period of

200 , was to provide a sustainable scenario for the next twenty to twenty-five years, based on two main premises. The existing city is once again considered a fundamental resource, a ﬁxed capital not be wasted: its physical and social potential should be fully exploited and used to spark regeneration. Furthermore, the lack of public funding prompted the search for more involvement of the private sector. The new road network was based on the layout of the existing fabric, creating the groundwork for an incremental urban development and bearing in mind the heterogeneous nature of the many private operators. An initiative capable of inspiring the very

urban transformation and the concept behind the whole notion of sustainability ǉ durability ǉ is an important interpretative key: to question the future of our cities, but above all to understand if our current rhetoric will soon be replaced by widespread talk of what Zhang Li, in the last essay in this issue, calls "soft sustainability". ŕ Note: 1ǅThe considerations regarding re-use (and its associated corollary of reduction) as a form of sustainability were inspired by the MARC studio proposal for the 2010 Biennale di Venezia (the Italian Pavilion, project Little Italy. Or less is a must).

঄ຎ‫ۼ‬ଳ NARRATING TORINO ਸ਼஍·ӎܻఎ/Carlo Olmo Ⴘኪન ᅳ/Translated by XU Zhilan ᄲඟሞᅃፗ‫׭‬๨ዐิऄࢅ߾ፕ‫ڦ‬ට்௮ຎ‫׭‬๨‫ڦ‬

සࡕᆴਜ਼ሞ‫ۼ‬ଳԛև௚କୟǈໜࢫ‫ו‬ձ஍౅ჱন

‫پړڦ֥ڠ‬๚ॲǄӎଠ೅ਖ਼ሏ‫ࣷۯ‬ǅăᆶၵॺዾৈৈ๟

߳‫ۅںت‬ǈᆼփీ֑ᆩԲᇝࢅၡኙ๮݆ǈጺ๟‫׉ݥ‬ઓ

ጽඁǈ໱ࣷ݀၄ኄᅃ‫ں‬൶ᆶ߳ዖ‫ו‬ၠփࡀሶ‫ڦ‬ন‫ڢ‬Ǆ‫ۼ‬

‫ܔ‬பణሺे‫׭‬๨௢‫ڦ܈‬౹ዞఇ႙Ǆස‫ٷ‬ေĂ‫ڇ‬ᅃࠀీ

వ‫ڦ‬๚ăܸසࡕԥ௮ຎ‫׭ڦ‬๨๟‫ۼ‬ଳǈᆼႴᄲ঄ຎ໲

ଳሞ 19 ๘ु้࿕ఁᡜᡉ‫ڦ‬ୟྪ঳ࠓራᅙၩ฿‫ٽ‬৑ǅǈ

൶‫ڪ‬ǅ‫ްڦ‬዆ǈๆ‫࿆݄ۙڇݴ‬ăራሞĐփᄲ๋֗ႎ੣क़đ

ሞᅃ܎้೺ా‫݀ڦ‬ቛࡗ‫ײ‬ǈఫ஺ǈᄲྜ‫ׯ‬ᅃ܎न๑०

ܸࡗඁሼঢ়ॏ߭‫ڦ૸گ‬ዿ൶၄ሞᄺᅙঢ়ࡗਗଜ‫߸ڦ‬

‫ڦ‬੨ࡽฺႜኮമ࢔৳ǈഄ໱ন൶৽ঢ়૦କᆶ჋ስႠ‫ں‬

୒ඐᆼՂႷྜኝཥᅃ‫ڦ‬Ⴜຎ৽߸ेઓవዘዘăႼຎኁ

ႎĊĊణമǈ໲்๟‫ۼ‬ଳፌዘᄲࢅፌਏਦۨႠ཈቟‫ڦ‬

ሺे‫׭‬๨௢‫ײࡗڦ܈‬Ǆසക౷ · ፄആ /Cino Zucchi ย

ැၙփ๴‫َר‬રۙ‫ڦ‬ᆻउǈጺ၂‫ڥ‬ᆶၵጲ༪੮‫׺‬ăሞ

‫ۅں‬ăኄ‫ڢ‬ᆯ߾ට঩पዾഐ‫ڦ‬Մૉኟ঄ຎጣ‫౒ुݥ‬Ⴀ

ऺ‫ڦ‬ઙྑුਵ‫ິࠅݦ‬ጺևǈᅜत࿄ઠनॽ৊ጂ‫ݯڦ‬ଚ

ኄዖ൧઄ူǈᆶ๊஺‫׃‬๥‫ࣆڦ‬ᇕీԲĐဠሇኮ࠴đǄፌ

ॺዾ‫ࠤڦ‬๚ǈ঄ຎጣඐධ඗՗၄‫ཷ؜‬঳ᅃዂ‫ڦ‬࿀‫ٷ‬ጩ

ஆࠅິ‫ڪ‬ǈᅜतኝ߲ձ஍౅ჱনǅă

ৎ‫݋‬ႎ‫׭ڦ‬๨ዜྷ‫ුڦ‬࿦ჱ࣠๪ॆፃዿ቎ǅ߸ସටߌ

ༀ‫ڦ‬ኄ૛‫ڦ‬ਃ௷ Ǘ໲ᄺ঄ຎጣට்ሞُྺኮ౮૰޲‫؜‬

‫ۼ‬ଳ‫ܔ‬ඪࢆၙᄲጽக࠵ࢾܸփ๟ဒ႐೗࿆‫ڦ‬ටܸ

‫ڟ‬ႌ࿏఼Ǜᆶ๊஺՗‫ݛٳ‬๕ీԲᅃፗᅜĐ‫ݤ‬ჱ༬đፕ

‫ڦ‬ዘॺၜణփৈৈ๟ᅃፗၟᄣ‫ڦ‬๨‫ׇ‬ǈ߸๟มࣷཷ঳

ჾǈ‫ࣷۼ‬Վ‫׉ݥڥ‬ସට௚उă໲‫ޮہ‬କ໯ᆶ‫ڦ‬ႎ৹ห

ྺጲमՔኾ‫׭ڦ‬๨ǈᅃፗǄణമৈև‫ںݴ‬ǅධ๟ᇨ९

ᇑႎ߾ᄽࣅ৊‫ڦײ‬ၡኙăምྫമबӥ௝‫ڦ‬ন൶૛ǈሼ

ࣆǈ༵ࠃକᅃዖ๘ໍิऄ‫ڦ‬മৠतഄ߳ዖՎ༹ Ǘ໲ၟ

ᅪ‫ٷ‬૧ዘ‫ٷ‬๚ॲ‫ڦ‬භୗ‫׭‬๨ǈᅜतፌࢫǈᅃፗཚࡗް

ঢ়‫ݴ‬քጣ߳ዖփස‫ݤ‬ჱ༬࿕ఁᡜᡉ‫׍߾ڦ‬Ǆසුྼ૧

഍‫ڝ‬࿔ᅃᄣᙕᙕփႩǈີࡹփସටߌ‫ڟ‬ႌ࿏ǈᄺ࿮݆

႗ࠟ‫پ‬หࣆઠ௮ຎഄገ႙ᇑዘิ‫׭ڦ‬๨߸੗੍Ǜኄၵ

ჱ౷ईྼ໴૧‫ڪ‬ǅǈܸ၄ሞǈ‫ۼ‬ଳኟሞኄ૛ዘႎ݀ਢ໲

३ൟඪࢆᆯ୫ႜม‫࠽ླྀڦ‬ऄ‫׭ߴۯ‬๨‫ټ‬ઠ‫څ޶ڦ‬ĊĊ

‫݋‬ᅳ‫پ‬ஓփৈ‫ܔ‬Ⴜຎኁܸჾ‫׉ݥ‬੗੍ǈ‫ܔ‬ԥ௮ຎ‫ܔڦ‬

ሞ‫پړ‬ᅝຍํᄓ‫ݛ‬௬‫ڦ‬ཀޯǈժྺට்༵ࠃ‫֒ܠ޷ݿ‬

࿮ஃ๟ᇨଙኮዐ‫ڦ‬ǈ࣏๟ၙၡዐ‫ڦ‬ăᆴਜ਼੗ీࣷ݀၄

ၡᄺཞᄣසُăฯ዁ 2006 ౎‫۬ڦ‬लӎሏࣷ‫ۼ‬੗ᅜಽฉ

‫ڦ‬ᅁิऄǈፕྺ‫߾ࢫܔ‬ᄽ‫׭‬๨࿮੗Ն௨‫ڦ‬ӥ࿮଎ડጒ

ᅃፗձ࿿࠷Ǆࡔ૬‫ۉ‬ᆖᅝຍձ࿿࠷ /CinemaǅĊĊ

ኄ௬ӷᆈႧዷᅭ‫ٷڦ‬ഌăኟස௅ևᆫႯ‫ڦ‬૦๏ၭຫ‫ۼ‬

ༀ‫ڦ‬ց‫׋‬ă

໲ᆶၵସටహआ‫ں‬৊ጂକ‫׭‬๨ዐፌዸఁĂᄺፌ࿮ํ ᆩॏኵ‫౒ुڦ‬ႠॺዾዐǄҾ۫ా૛ॖ໴ /the Mole

ሼ༵‫ڦࡗڟ‬ǈ‫ۼ‬ଳ๨փ೺ܸ඗‫ں‬ԥླྀฉକ૦๏ฉ‫ڦ‬గ

ኄᅃ‫ں‬൶՗၄‫߳ڦ؜‬ዖல‫ܜ‬႑ࡽ՗‫ٳ‬କႹ‫ܠ‬๚࿿

߲࿋ዃǈ৆ໜഄࢫ‫ڦ‬๟࿮݆ᆌ‫ڦܔ‬཈቟Ăबࢭփ੗ీ

ኮक़‫࠲ڦ‬ဣ‫ۼ‬ฯྺ৭೨ǈփৈ๟փཞ‫ׇ‬໯‫ڦ‬ण༹ऻᅬ

AntonellianaǅĊĊ๟සࢆླྀ‫ۯ‬ႚ‫ׯ‬କᅃ߲‫ظ‬ሰႠ‫ྪڦ‬

ኙ‫ڲڦޜ‬ටǈፌࢫඐ‫ࢭ؜‬ᅪଙ‫ں‬ᆓઠକ࣌ဠ‫ٷڦ‬঳ਆă

ኮक़ǈᄺԈઔփཞ‫ڦ‬มࣷॏኵኮक़ǄසਓૂևĂ঎൶

ஏăኄ߲ྪஏփৈና႗କձ࿿࠷ዜՉ‫ׂںڦ‬ǈฯ዁࣏

৑࠶ኄፗ‫׭‬๨‫ڦ‬૦๏Ăৠ‫ࢅۅ‬ਃ௷‫ڦ‬ᆈႧഘ߁‫୼ۼ‬၂

ߤਗᇾǈᅜतࡗඁሞ࿔ࣅ‫ڇ‬ᅃ‫׭ڦ‬๨ዐኈኟਏᆶ೦࣋

‫ۯټ‬କ‫ܠ‬ઙࢋ‫ܔ‬ӂ‫ں‬൶‫݀ڦ‬ቛăᄂጣ๨൶‫ࢋڦ‬ӂ஦օǈ

փፁǈඐ๟߸ޯ඀࿆‫ڦ‬Ⴜຎ‫ܔ‬ၡă

૰‫ڦ‬ᅁጺࣷ‫ڪ‬ǅǈฯ዁ภतగዖ໿ඹᅟԥට்‫ړ‬ፔ৸ం

ేॽࣷੂ‫ڟ‬ᆫଆ‫ิڦ‬ऄ೗ዊසࢆሞ߲߳‫ׇ‬໯Ăৠ࠵ࢅ

more interesting.

in a monocultural city), and a contemporary

For those who work and live there, it's always difficult to narrate a city without turning its places

If a traveller who has lost his way finds himself

event too easily considered as a salvific one

into metaphors. It's even more difficult when the

in North Torino and walks towards Via Bologna, he

(the Olympic Games). Some architectures are

city is Torino and the timeline is a period with a

will discover the district's irregular streets (the

humdrum, replicating European models of mindless

consolidated, albeit somewhat tattered narration.

famous regular grid of nineteenth-century Torino is

densification (towers, monofunctional districts).

Escaping the lure of clichés is always a little

long gone) and what was once low-cost housing now

Long before the slogan "do not consume new space"

masochistic. What interpretative codes can be

undergoing radical renovation ǉ the site of the most

became popular, other districts experimented

more reassuring than the "Corona delle Delizie"

important and decisive challenge. This working-

processes of selective densification (for example,

(the residences of the Savoy family around the city

class barrier tells the story of non-monumental

the Lavazza headquarters designed by Cino Zucchi

recently renovated), the city which identifies itself

architecture, of inhabitants still capable of grand

and, in the future, Ferrero ǉ and the entire stretch

with FIAT, the city that remains (now only partially)

gestures of solidarity, of an effort to rebuild not

of Via Bologna).

the anticipatory furnace of events in Italy and,

only a property market, but also a project of social

Torino is a confusing city for anyone wanting to

finally, the city which narrates its transformation

solidarity and new industrialisation. A few hundred

walk through it rather than visit it. It demolishes all

and rebirth by reviving ancient myths? Reassuring

metres further on, in the district that hosted

its old and new myths and proposes a secular vision

interpretative codes for narrators, but also for the

industries less well-known than FIAT (Savigliano

of life and its transformations; it is not a consolatory

narrated. Even the 2006 Winter Olympic adventure

or Vitali), Torino is rediscovering its vocation for

vision, nor does it facilitate the predictable and

has been cloaked in this semi-heroic shroud. As

experimentation in the field of contemporary art, as

perhaps even imaginary packages promoted by

in every good historical novel, the candidacy of

well as nightlife sold as a remedy for the inevitable

tourist agencies and repeated like a litany. Visitors

the city of Torino was unplanned, then came the

ennui of a post-industrial city. The district presents contradictory signs of the difficult relationship between the memories of places, but also of social values (clubs, suburban theatres, and nightclubs once truly subversive

can discover how a museum (Cinema) ǉ provokingly

impossible challenge, the almost invincible rivals and the happy, unexpected ending. Although the history of this city, its places and inhabitants, may perhaps be less heroic, but they are nonetheless

ፕኁ०঻ǖਸ਼஍·ӎܻఎǈॺዾ૦๏ბॆǈሼᇀ2000౎Ċ2007౎ ඪ‫ۼ‬ଳ૙߾‫ٷ‬ბॺዾბᇾᇾ‫׊‬ǈሼඪә૔มࣷ੔ბߛ‫ڪ‬ბᇾࢅ հ๗‫ܙ‬஑ู૙߾ბᇾ‫ڦ‬ਜ਼ፗঞ๲ăణമ๟Đ‫ۼٷ‬๨‫׭‬๨ዐ႐đ ፇኯǄ‫ۼ‬ଳǅ‫ڦ‬ዷඪᇑᅪ‫ٷ‬૧ĖॺዾბԒėሗኾዷՊă Carlo Olmo, architectural historian, was the Dean of the School of Architecture at Politecnico di Torino from 2000

located in one of the most famous and useless monuments in the city (the Mole Antonelliana ) ǉ is sparking a creative network which is reviving more than just the nearby real estate, on the other

to 2007. He was Visiting Professor at the École des Hautes Etudes en Sciences Sociales in Paris and the MIT in Boston. He is Director of the Urban Center Metropolitano (Torino) and "Il Giornale dell' Architettura" magazine. ๭ߡන೺ǖ2013-04-20

๘হॺዾ 2013/05

2 2!‫ۼٷ‬๨‫׭ڦ‬๨ዐ႐ǖ‫ۼ‬ଳ‫׭‬๨߀ሰǈ3123౎0Vscbo!Dfoufs! ! Nfuspqpmjubop;!Upsjop!vscbo!usbotgpsnbujpot-!3123/)xxx/vscbodfoufs/up/ju*

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

๫၍ዐዘ၄ǈᄲኪ‫ڢ‬ǈሞႹ‫ܠ‬౹ዞ‫׭‬๨‫ۼ‬փ੗ీ٪ሞǄई

ᄱ๨‫ׇ‬ᅙঢ়ᄇՎྺ‫ݘ‬ર౹ዞ‫ڦ‬Ⴙ‫تܠ‬౷ۡ෷ኮᅃǄ౷

௷ፃ‫ڦ‬ฆ‫ی‬ǈӻዺႚ‫߳ׯ‬ዖփኟ‫ړ‬Ăᄺ࿄इአުጚႹ

փ੗ీํ၄ǅኄᅃటă

ۡ෷࿋ᇀ୿‫ܘ‬ဇ঎ǈ๟ᅃፗᅴࡔ‫࿆ޅ‬౪ࢩ‫ڦ‬ন൶ĊĊ

‫ڦ‬๨‫ׇ‬ǈժဌᆅઠᇑට்‫ڦ‬ᅪ཮၎ྵԝ‫ڦ‬ටඖăසࡕ

ᅳኁጀǅă ሁࡗሏࢋǈኄፗࠀీ‫ڇ‬ᅃĂ؊஢ས੮ࢅၡ

ᄂጣઙ੔౅ञ‫ٷ‬ন৊ႜᅃ‫ׇ‬؊஢ࡻആ‫ڦ‬୫‫ײ‬ǈᛮᛪሞ

ᆦవྮă໲ᄂጣራ೺߾ᄽࣅ‫ڦ‬ୟ၍ൺ൸ᴲ჻ǄሏࢋĂ

ኙཷ঳‫׭ڦ‬๨ᅈ඗ॕ๰ጣᆦᇺࠦኴम९‫ॺڦ‬ዾǄߣ‫ک‬

߬નဇǄGramsciǅĂĖႎወႾėǄOrdine Nuovo ǈҾ۫

փৈ๟հࢋᇑ෷൮ǈ‫ܠ‬ઙࢋ‫ڦ‬ৠ෥ᄺཞᄣඟටẁ ‫כޅ‬ఉ‫ݙ‬Ă຤ӟĂ߾ᄽ֞ੰ‫ڪ‬ǅǈሞ߾ᄽࣅ‫ײࡗڦ‬ዐǈ

୿ߣᅅᇾ /Cottolengo Hospitalǅă‫׭‬๨ዐ‫ں߲߳ڦ‬

౅ӎ · ߬નဇ๟ᅪ‫ٷ‬૧ࠌׂዷᅭາၙॆǈĖႎወႾė๟

ᄺሼࣩ݀ዘᄲ‫ڦ‬ፕᆩ Ǘ࣏ᆶ੗ీཚࡗ๯ံ࠲ጀ‫׭‬๨ࠅ

‫ۅ‬ධ඗ਏᆶߛ‫ڦ܈‬ඩႠǈฯ዁ਾԲටૌ‫ڦ‬૦๏ăೞ঺

ഄᇑටࢇՊ‫ڦ‬਽࿿ĊĊᅳኁጀǅࢅᅪ‫ٷ‬૧௷ዷ዆‫ิڐ‬

ᇴ‫ॺڦ‬ยǄኄᅃࣆ༶बࢭփምԥ༵ഐǈ዁ณሞᅪ‫ٷ‬૧

ጣኄዖඩႠǈሞփᇺ‫ڦت‬৹ோࠆ࠽‫ׇ‬ǄPorta Palazzo

‫ࠤڦ‬ၕ૧฽ԍஆ٩ǈᆴਜ਼ॽࣷੂ‫ڟ‬มࣷዿ቎‫ڦ‬ন൶ኟ

සُǅઠዘॺᅃፗ‫׭‬๨ăሞኄᄣ‫ڦ‬૙౒ኸ‫ူڞ‬ǈ‫ۼ‬ଳ

Squareǈ๟ᅃ߲ཌር๨‫ׇ‬ĊĊᅳኁጀǅᅈ඗ԍାጣഄ

සࢆཚࡗ๨௷֖ᇑ‫ݛڦ‬๕‫ްڟڥ‬႗ Ǘᄺॽੂ‫ڟ‬ઢഌჱ ǄLanciaǅፕྺᅪ‫ٷ‬૧૦๏ฉঢ়षರղ݀ቛ้೺‫ڦิڐ‬

ຼࢭምْइ‫ڥ‬କዘႎ‫׭ูݒ‬๨ᇑഄ૦๏ኮक़৭೨࠲ဣ

ፍܱ‫ీࠀڦ‬ă໲փৈ๟ᅃፗહ‫ۯ‬૰๨‫ׇ‬ǈᄺ๟ᅃ‫ت‬ჹ

‫ీڦ‬૰ǈ๚ํฉǈ໯ᆶ‫ٷڦ‬႙၄‫׭پ‬๨ᇑഄ૦๏ኮक़

ૣܸዘᄲ‫ڦ‬มࣷᇑጸঞंࢇ‫ׇڦ‬໯ĊĊৈਐबօኮᄫǈ

೗ಈ߾‫׍‬ǈසࢆ቞਍ణമ‫ׂںݝ‬ਸ݀ၜణዐ࿮੗ዃᅑ

‫ۼ‬ᆶኄᄣ‫ڦ‬৭ৣă‫׭‬๨‫ڦ‬૦๏़փ๟ฆᄽࣅபణ‫؍‬ө

ᅪ‫ٷ‬૧๯߲Đࠌཞዿ቎đ‫ํڦ‬ᄓႠၜణኟሞॺยዐă

‫ڦ‬ዐ႐‫ں‬࿋ĊĊኄᅃਸ݀ሏፕ‫ײࡗڦ‬ሶ؊஢କ‫ܔ‬ᇀ‫ظ‬

‫ܔڦ‬ၡǈᄺփ๟ྺକՆ௨ԥဎึ೦࣋Ăྺॽઠ৊ႜԍ

৹‫ڦ‬࿜Ԟྂᅃ๘‫ٷ‬নፕྺ‫׭‬๨քܻ൅ჱഘዊᇑ‫ږݣ‬ፕ

ሰగዖႎ๚࿿‫ݥڦ‬ཞლ‫ڦ׉‬ጕ൱ăምྫമጽबօǈக

ࢺ‫ܔڦ‬ၡĊĊܸ๟ԥට்‫ړ‬ፔକ‫ۥ‬૝ఈө‫ظڦ‬ႎኮหă

‫ޅ‬ାူ‫֘ڦ‬गǈཞᄣ९ኤକኄၵศਗ਼‫ڦ‬Վദࡗ‫ײ‬ǈ९

૛ӎ · ஽‫و‬ǄMario Merzǅएূࣷኟዘႎᆓথ૙঴‫׭‬

ᆴਜ਼ኻᄲփ๴ࣼࣃĂ‫ۓ‬ਗ਼‫ڪ‬หࣆᅝຍईᆴબ๮֩‫ڦ‬ᮏ

ኤକՎദࡗ‫ײ‬ዐׂิ‫ڦ‬ዖዖல‫ܜ‬ᇑ้क़ব‫ۅ‬ă඗ܸǈ

๨૦๏‫ڦ‬཈቟ĊĊन๑ኄ๟ᅃፗᅝຍॆ்ࡹփთࡀ‫ښ‬

ӹǈ৽੗ᅜሞُ݀၄Ⴙ‫ܠ‬ዸఁ‫ڦ‬ᆴબၭ০ă

‫ܔ‬ᇀኟሞ‫ۼ‬ଳ݀ิ‫ڦ‬ኄၵՎࣅǈᄺႹ੗ᅜᆩ‫ ܔ‬19 ๘ु

ਈ‫׭ڦ‬๨ă

৹ਬआੰԝࢫ‫ڦ‬ఎઙဇሏࢋᅙԥགೝ߀ሰྺᅃཉ

ၡኙႠՔኾ‫ްڦ‬႗ઠ঴๥ĊĊᅺྺኄ߲ࠅࠌ੣क़ਏᆶ

໯ᆶ৊ႜጲ࿢߸ႎ‫׭ڦ‬๨‫ۼ‬փ੗Ն௨‫ܔࣷں‬න‫׉‬

ন‫ڢ‬ǈኄཉন‫ح‬ሁକ‫׭‬๨ዐፌླ၃‫ںڦ‬൶ኮᅃăሞ੍

සُኮ‫ڦٷ‬ဌᆅ૰ Ǘईኁǈଷᅃዖ঴๥๟ǈᆶᅃඖૂ

ิऄሰ‫ׯ‬ᅃၵ߅ඡ ǖ‫ڍ‬ኄၵ߅ඡടടઠጲᇀገ႙‫ࡗڦ‬

ৎሏࢋ‫ںڦ‬൶ॺഐକᅃፗ‫ټ‬ᆶ‫ۥ‬ಳ‫ׇ࠽ڦ‬Ǆக૛ӎབྷ

ᇀ‫׈‬๬ႎิऄ‫ݛ‬๕‫ڦ‬ටኟ‫ނ‬ᆛܸ዁ǈ৪၎ࠔዃኄኝ߲

‫ײ‬ǈኄ๟മ໯࿄ᆶ‫ڦ‬ăഄዐᅃၵ‫ۼܔ‬ଳሰ‫߅ׯ‬ඡ‫߾ڦ‬

ᇾ /Cortile del MaglioǅǗఫፗਬआੰሶबࢭྜඇዘॺǈ

ন൶‫ׂںڦ‬ă

‫ײ‬ᅙঢ়঳ຐǈฯ዁ׂิକ‫؜‬ටᅪଙ‫ڦ‬঳ࡕǈසଠ߭ྂǈ

၄ሞ‫ࢅྺׯܸݒ‬ೝ‫ڦ‬ዐ႐ǄSer.Mi.G.ǈ൞౎‫د‬ঞ‫ޜ‬ခ

‫׭‬๨टณీߴට‫ټ‬ઠҾ࿏ ǖᅃ‫ڋ‬గට๬཮ඟ‫ူړ‬

ऐࠓǅă඗ܸǈዜՉ‫ৣ࣍ڦ‬ඐժփๆ‫ݴ‬ᅓටă৹‫֥ڦ‬

‫ৣڦ‬઄Վ‫ڥ‬०‫ڇ‬Ǆई‫ظ‬ሰࡗඁǅǈ໱்৽ࣷਸӸ߳ዖ‫ܠ‬

໲๟ᅃፗटྺްሗ‫ڦ‬ጹࢇႠॺዾăഄ໱ᅃၵ߾‫ײ‬ሶথ ৎਰ߾ǈසৈਐ๨൶बࠅ૛ኮྔ‫ྼڦ‬భ૧ჱǄVenariaǅ

side of the river Dora. Walking along the riverbanks

The surroundings, however, are not reassuring.

of impromptu and unauthorised markets, and

in the city reveals how quality of life is regaining

The old herbs market has become one of the

welcome people who are different from the ones

spaces, landscapes, and viewpoints which do not

many Notting Hills of Europe. Beyond the canal,

expected. An inquisitive tourist walking along Corso

exist (or are impossible) in most European cities.

the monofunctional city, the city of suffering and

Racconigi, in the historical district of Borgo San

It's not just the river Po and the hills, but the

solidarity (the Cottolengo Hospital) still hosts its

Paolo, home to Gramsci, Ordine Nuovo and Italian

Dora that makes the most lasting impression; the

relentlessly obsessive buildings. With the tenacity

democracy, will see how a social housing district is

fact it not only winds along the routes of early

that places preserve compared to the history of

being revived by citizen participation; how Lancia ,

industrialisation (canals, windmills, dams, industrial

man, a little further on the old Porta Palazzo

a historical factory during the Italian boom years,

warehouses), but also helped to create them; the

square maintains its sinister function not only as a

is unquestionably at the centre of current real estate manoeuvres which, however, are governed

fact that it's possible to rebuild a city by focusing

labour market, but also as a difﬁcult but important

first on urban parks (an almost obsolete topic, at

social and religious place of integration: a few

by unusual efforts towards the participative

least in Italy). With this in mind, Torino appears to

steps away, the ﬁrst cohousing experiments in Italy

construction of something new. A few steps down

have once again regained the ability to rethink the

are currently being implemented. The old Umberto

the road, the Mario Merz Foundation is relaunching

difﬁcult relationship that all big modern cities have

I passageway, vestige of a bourgeois and libertine

the challenge to understand the history of a city,

with a past, a past used not as a mercantile fetish,

city, also bears witness to these profound changes,

even a city of non conformist artists.

or as a future saved from being sacriﬁced ǉ come

with all the contradictions and timescales involved

Cities that renew themselves almost unavoidably

what may ǉ on the altar of the god of innovation. A

in such difficult processes. Perhaps, however,

generate inconvenience: but the inconvenience

visitor can discover many remarkable routes if he's

what is happening in Torino can be explained by

comes, as never before, from the transformations.

not imprisoned by mythographies or brochures.

the renovation of this nineteenth-century icon, a

Some have been completed, even with unexpected

Behind the old arsenal, the Molassi canal has

public space with such huge appeal, as well as by

results, such as the Lingotto, an extremely complex

been filled and turned into a road running into

the entire block purchased by a group of people

building. Others are on the verge of completion,

one of the zones considered to be among the most

who came together to test a new way of living

for example the Royal Mansion in Venaria, a few

dangerous in the city. A covered square has been

together.

built close to the canal (the Cortile del Maglio ); the

kilometres beyond the borders of the municipality.

Cities very seldom console: as soon as one

Other betray the difficulties involved in these

Arsenal has been almost completely restructured

tries to simplify the present (or invent the past)

transformations: the main Fruit & Vegetable Market,

and now acts as a peace centre (the Ser.Mi.G.).

they open multiethnic shops, facilitate the creation

renovated for the Olympics and now a venue for

๘হॺዾ 2013/05

ႜࠆăଷᆶᅃၵሶ၎‫ݒ‬ǈுᆶঢ়૦ࡗඪࢆገ႙ࡗ‫ײ‬ዐ

ᆶ૦๏ऻᅬ‫ۅںڦ‬ᅃᄣǈᄺཞᄣ௬ଣኄၵ࿚༶ă

‫ڦ‬ፕ೗৊ႜ߀ሰ‫ࡕׯڦ‬ă‫ۼ‬ଳฯ዁ࣷସఫၵժ࿄ਗ਼ᅪ

‫ڦ‬փՍኮ‫ت‬ĊĊස຤ࡕ๷֓‫ٷ‬๨‫ׇ‬ǈ໲ᆯӎሏยแ߀

‫׭‬Ԏ࠽‫ׇ‬ǄPiazza Castelloǅԝࢫ๟ਸ਼஍ · ఎ૛౷

໇ლॺዾ฾‫پ‬՗ፕ‫ڦ‬ᆴਜ਼ߌ‫ڟ‬৚ဠǈኄ૛ᆶఎ૛౷Ă

ሰܸઠǈఫ૛ణമኟ৊ႜጣᅃၵํᄓႠ‫ڦ‬มࣷᇑर

ǄCarlo Mollinoǅยऺ‫ߤॆ࣠ڦ‬ਗᇾ‫ྷڦ‬഻ǈ໲৽࿋ᇀ

ຍၜణă࣏ᆶഄ໱‫ڦ‬ၜణၡኙጣओट৊ൽ‫ڦ‬ኪ๎႙‫׭‬

๨ዐ႐ǈఫ૛࣏ᆶᅃೌ‫ڦీࠀܠ‬൶ᇘĊĊĐ࣠ॆმக

ेԞ‫ڻ‬ᇑᅉ໭ઙॺዾ๚ခ໯ǄGabetti & IsolaǅĂჯૃ ‫ڻ‬ǄJarettiǅࢅ୔ആǄLuziǅ‫ڦ‬ፕ೗ă৑࠶ຕଉփ‫ܠ‬ǈ

๨ĊĊසิ࿿रຍბᇾतഄํᄓ๪‫ڦ‬કॺ߾‫ײ‬ǈई‫ۼ‬

‫ׇ‬đǄCavallerizzaǅăབྷᇾĂ൰‫ׇ‬Ăঢ়षರղ݀ቛ้೺

ኄၵॺዾඐሞ঳ࠓᇑքਆ‫ݛ‬௬‫ۼ‬ঢ়ࡗศາຄ୯ă‫ړ‬ᆴ

ଳ૙߾‫ٷ‬ბዜՉߑߑਸ๔‫ڪײ߾ॺेڦ‬ă໯ᆶኄၵՎ

‫݆ݥڦ‬ᅎ௷਋ਃዿ቎Ăቛબ੣क़Ăࢾᇴࢅ‫ٷ‬ბ‫ۼ‬ጹࢇ

ਜ਼ॽ๫၍ٗ‫ں‬௬ฉ໻ഐǈൣ‫ڟੂںؤ‬ᅃፗፗோ઴้ǈ

ࣅ‫ۼ‬ᇑට்ᆇၡዐራᅙߵศ‫ۼڦࠦڻ‬ଳႚၡᆶ࠲ă հ ࢋ ‫ ٷ‬ন ࿋ ᇀ ࣠ ॆ ‫ ڢ ٷ‬৑ ‫܋‬ǈ ໲ ీ ཚ ྫ ౹ ዞ

ሞᅃ߲࿄ྜ‫ڦׯ‬௚ටॺዾኮዐă૗ኄፗ‫ۼ‬ଳፌᆶࠆཔ

໱்ॽࣷ৚ആ‫݀ں‬၄ጲम‫ڦ‬ჺ৯සࢆ‫ྺׯ‬ᅃዖ‫߭ޅ‬ई

‫ׇ࠽ڦ߭ޅ‬ሀ 10m ᇺ‫ت‬ǈට்੗ᅜዘႎ༹ᄓࠆཔ๤ٗĂ

኱থᆅᆩഄ໱‫߭ޅ‬ǈժᄇՎྺᅃዖන‫׉‬๑ᆩ‫ڦ‬ยऺᇕ ࣹă

ፌ ᆶ Ủ ૰ ‫ ڦ‬19 ๘ ु ࠽ ‫ ׇ‬ǖྼ ྂ ૛ ӎ ࠽ ‫ׇ‬ǄPiazza

ޭ࠳ࢅ‫ڦעٷ‬න‫ิ׉‬ऄǈᄺ੗ᅜ༹ᄓፌৎٗళ‫ࡗݛ‬ઠ

Vittorioǅă‫ܔ‬ᇀ‫ۼ‬ଳ‫׭‬๨߸ႎ‫ڦ‬༪ஃᅙঢ়ຕփ฼ຕĊĊ

‫ڦ‬ᅎ௷‫ิڦ‬ऄĂᅜतํᄓႠ‫ڦ‬ᅝຍॆई‫ٷ‬ბิ‫ิڦ‬ऄă

ഄዐ़Ԉઔ߳ዖ૙Ⴀ‫ۅ࠵ڦ‬Ǆස࠲ᇀॺዾԍࢺईਰ߾

ኄ૛‫ڦ‬੣क़঳ࠓԲড຿ොǈ๢ࢇට்Եُᡤᡍǈኄ‫ٷ‬

‫ ڟ‬1960 ౎‫پ‬ǈ‫ۼ‬ଳᅙঢ়ీࠕॽ߳ዖᇕࣹᇑ੣क़༹ ᄓබྺᅃ༹ǈႚ‫ڇׯ‬ᅃ‫ڦ‬ยऺᇕჾǈ้ܸግዘǈ้ܸ

߾‫ڦײ‬༪ஃǅǈᄺภतሞԍ๰ాၠ‫׭‬๨ዐ‫ߛڦ‬पਓૂև

߁๟౹ዞ‫׭‬๨ీྺഄ๨௷༵ࠃ‫ڦ‬ፌ‫ۼ‬๨ࣅ‫ׇڦ‬໯କ Ǘ

߸ྺްሗ‫ܠ‬ᄣăኄᅃ஦‫׊‬ᄇՎࡗ‫ײ‬዁ณ๔ᇀ 19 ๘ु‫ڦ‬

૛৊ႜ‫ڦ‬ዖዖ༑༪ăৃཀǈํํሞሞ‫ڦ‬཈቟ᅙਸ๔ภ

໲ᄺ๟࿄ઠገ႙ࡗ‫ײ‬ዐॽኈኟ࢚ଉຳට֖ᇑࠅࠌၜణ

ฉӷᄾăᄺႹ߸ਏࡻആ႐‫ڦ‬ᆴਜ਼ీࠕ‫ݴ‬Ր‫؜‬ᅃၵፕ೗ǈ

तසࢆ૧ᆩఫၵᆶ‫׭‬๨ऻᅬĂࣉ৹‫ࢅྷݳ‬ᆭᇚഘዊ‫ڦ‬

ዊଉ‫ׇڦ‬໯ኮᅃă

‫ׇ‬໯Ǆ़๟ํाᅪᅭฉ‫ڦ‬ǈᄺ๟ॺዾბᅪᅭฉ‫ڦ‬ǅă‫ړ‬

ᄲ൱߸੏ਗ਼ᅃၵ‫ڦ‬ᆴਜ਼ᄺీႚ‫ׯ‬ጲम‫ڦ‬ᆴબୟ၍ǈ

ණྺ໲்ഄํ߸‫ڦܠ‬๟ఇ‫דݠ‬လ‫ڦ‬ፕ೗ăሞగዖ‫܈ײ‬ ฉǈ໲்ඓሼසُă඗ܸǈఏ๰‫ڦࡀׯ‬ༀ‫܈‬ጪᄢಢᇣ

Ҿ۫ా૛ॖ໴ԥ߀ሰྺᅃፗձ࿿࠷้ǈኄၵ‫ׇ‬໯৽฿

ᄺ৽๟‫׭‬๨৛ᆈ‫ڦ‬၍ୟǈ໲ሞፌৎ‫ڦ‬቟ࢫ้೺๬཮ᅜ

କ‫ٷ‬և‫ۼڦݴ‬ଳ৛ᆈ঩֫ǈኄ๑໱்ๆ‫ૂݴ‬ᇀิऄሞ

ඁକ໲்‫ك‬ኈ࿮ာᇑห฽փ੗ൔ‫ڦݖ‬༬ዊăܸ૦๏ĊĊ

बৎષ஦ዷᅭ‫׭ੇܔ߭ޅڦ‬๨ට੨‫ڦ‬ԖቊႠሺ‫׊‬तഄ

‫ד‬လް዆ኮዐăසࡕ࿢்ॽ๫ᄸ߲ٗ՚‫ॺڦ‬ዾྊቛ዁

ኄၵ‫ׇ‬໯‫ڦ‬૦๏ĊĊሶምْገՎྺ߳૧ᅮ၎࠲‫ేݛ‬

‫ټ‬ઠ‫ࡔڦ‬ाዷᅭ‫߭ޅ‬ăኄཉ၍ୟٗҾ۫ా૛ॖ໴ਸ๔ǈ

ኝፗ‫׭‬๨ǈ৽ࣷ݀၄ް዆೗࿮ᅑᅙ‫ྺׯ‬ยऺࢅॺዾဣ

ኛ࿢‫ׇڦܡ‬໯ăሞኄၵ‫ݛں‬ǈၩ‫ݯ‬Ă๑ᆩࠀీĂ୫

኱‫߀ڟ‬ሰࢫ‫ڦ‬ഛ‫כ‬ձ࿿࠷ྺኹĊĊኄ๟ઠጲ௝ન‫ړڦ‬

ཥ‫ڦ‬ᅃև‫ݴ‬ǈࠌၛཞᄣ‫ڦ‬ยऺࡀሶᇑยऺᇕჾă

ᆴॏኵ‫׉׉ڪ‬Եُல‫ܜ‬ǈฯ዁๟ၟ฽ਸ਼஍ǄPiazza S.

‫ॺپ‬ዾ฾Ǆᆼ๟ക౷ · ፄആǅ‫ۼܔ‬ଳፌĐԨཱིđ‫ڦ‬၄

Carloǅኄᄣ‫ڦ‬ә஍ਖ਼๕࠽‫ׇ‬ĊĊኟස໯ᆶഄ໱ኈኟਏ

‫ॺپ‬ዾ฾Ү஽‫پ‬ӎ · ҮܻԞ‫౅ڻ‬ǄAmedeo Albertiniǅ

ᆶၵፕ೗ĊĊසഄዐম‫ڦ؜‬ӄ૩๟ेԞ‫ڻ‬ᇑᅉ໭ ઙॺዾ๚ခ໯ยऺ‫ࠟ੊ڦ‬ձ࿿࠷ĊĊॺዾ࿿ሞ࣍ৣट

experimental social and technological projects.

heart of the city, there's a multifaceted district

Torino will amaze even those not searching for

Still others bear the mark of the up-and-coming

known as Cavallerizza . Courtyards, courts, houses

"auteur" architecture, works by Mollino, Gabetti

city of knowledge: the enlargement of the School

inhabited by illegal immigrants during the economic

of Biotechnologies and its labs, or the increase in

boom years, exhibitions areas, gardens, and

& Isola, Jaretti and Luzi, a school as small in numbers as it was reflective in its choices regarding

start ups around the Politecnico. These changes also

universities merge in an unfinished, captivating

construction and layouts. The visitor will be

involve places that have become rooted in people's

architecture. A dozen or so metres from the most

surprised when, lifting his eyes from the pavement,

imaginary image of Torino.

aulic square in Torino, it's possible to relive the

and steering clear of the porticoes, he will glimpse

At the end of the royal walk, Via Po runs into

everyday life of court servants, adjutants and

how their research became a style or citation and

one of the most attractive nineteenth-century

officers, immigrants recently arrived in the city

evolved into a common language.

squares in Europe: Piazza Vittorio. Discussions

from the south, experimental artists or university

Until the end of the Sixties Torino was capable

about its renovation have been endless: they have

students. A loosely structured place of unexpected

of merging languages and experiences to create a

involved sensible arguments (conservation or

encounters, perhaps one of the most urban

single vocabulary, at times only formal, at times

completion), but also discussions in exclusive clubs

places European cities can offer their citizens.

more complex. It was a long season which started,

in an introvert city. Today, tangible challenges have

One of the places where future transformation

at the very least, in the first half of the nineteenth

been launched regarding the use of these places

will truly measure the quality of a public project

century. Perhaps what the more inquisitive visitor

of memory, nostalgia, and melancholy (literary as

implemented by private individuals.

will be able to discern could be considered as

well as architectural). When the Mole was turned

A more demanding visitor can create his own

copies, mere exercises of imitation. And to a

into a Museum, places lost their innocence and

routes. The route of the city's elite which in the

certain extent this was what they were. And yet

inviolability. And history, the history of those places

immediate post-war period tried to use an almost

the conformism that nourished most of the elite

turned, once again, into a competitive battlefield

romantic-style defence to contrast the city's

in Torino was this pleasure of living inč copies.

between interested parties, places where the

exploding urban population and its International

Broadening our horizon from individual buildings

consumption, use, and tourist value even of a

Style. A route which from the Mole Antonelliana ends

to the city, copies undoubtedly became part of a

Baroque square like Piazza S. Carlo are often in

at the renovated Automobile Museum, a Milanese

design and construction system which shared the

conflict, just like all genuine memories.

contemporary architect (again Cino Zucchi) who

same codes and languages.

Behind Piazza Castello, bordering the walls

remodelled the work of one of the most "native"

Some works ǉ one excellent example is

of the Royal Theatre by Carlo Mollino, right in the

modern architects of Torino: Amedeo Albertini.

the Museum of Antiquities by Gabetti & Isola ǉ

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

ྺ٤ෑ‫܎ںڦ‬ዐǈᅜ‫ॺူں‬ዾ‫ڦ‬ႚ๕஢ፁକ໯ᆶ‫ڦ‬࿔

૛ǈว‫ت‬ഄዐ‫ڦ‬ጆᄽටᇵࢅ߾‫׶ײ‬Ԉฆਏᆶ৪ኛᅪ๎Ă

ଳ௓ଜߋ‫้ג‬೺ॺย‫ࠌࠅڦ‬ዿ቎ၜణ‫ڪ‬ĊĊኻႴᄲօ

ࣅമ༵ă၎‫ݒ‬ǈଷᅃၵፕ೗ሶত๖କ‫ړ‬ഓᄽईॺዾ฾

ܸ‫߸ݥ‬ਏ‫ظ‬ႎᅪ๎ Ǘ໱்๟ԍ๰‫ڦ‬৛ᆈǈጲ඗փࣷ๴

ႜ‫ڟ‬փᇺ‫׭ڦت‬๨ԛև๔ॺᇀ 1950 ౎‫਻ܻ݆ڦپ‬ઙ

‫ܔ‬ᅃၵ࿔ࣅമ༵ཉॲሰ‫ׯ‬໦࡞้ǈᆶၵփ‫ڥ‬ᅙܸྺኮ

‫ڟ‬ਏᆶஶ၃ᅪ๎࿔ࣅ‫ڦ‬ᆻउĊĊ৑࠶໱்बࢭጺ๟ሞ

൶ᇘǈ৽ీࠕቴ‫ڟ‬ኄၵᆅᅜྺࡸ‫ࢅۅںڦ‬ᅃዖࡃຌߌǈ

‫ڦ‬వ‫ ت‬Ǘ໲்९ኤକ‫ۼ‬ଳ৊ႜగዖ‫܈ײ‬ฉ੗‫ںྺ׬‬൶

༌ஃ‫ظ‬ႎ‫ࣆڦ‬༶ǈᆮഄ๟ሞิༀ࿚༶‫ྺׯ‬ዿ቎ยऺዐ

ܸኄ૛ሼঢ়ඐኻᆶዖፃ߰૗ᇑ‫۾‬೗঍ᅟă

Ⴀํᄓ‫้ڦ‬೺ǈᄺ९ኤକԨཱིॺዾ฾ሞ๘হ߳‫ڦں‬ႎ

‫ڤڢڦ‬࿚༶้Ǆ໲ຼࢭ๟༌ஃ੗‫׼‬Ⴤ݀ቛᇑ዇ీ‫׭‬๨

ยऺ୫‫ײ‬ĊĊස୿‫ڦܘ‬ᆈࡔॺዾ૴௑ბᇾĂୡ༬‫ڦچ‬

้փ੗ईඍ‫ڦ‬և‫ݴ‬ǅă

Ԟܻઙ߭ॺዾბᇾ‫ڪ‬ǈฯ዁ৈৈ๟‫؜‬၄ሞඇ൰ࣅ‫ڦ‬๘ হ߳‫ۼٷڦں‬๨ዐ႐ܸᅙă

සࡕ๨௷‫ࠌࠅܔ‬ႜአአ֧৊ႜາ੊ǈኄዖೠॏ৽ ߸ेና୅᳣݀ĊĊ዁ณ 1995 ౎ᅜઠඓํසُăबࢭ໯

‫׭‬๨ኟሞփ܏‫ں‬๬཮ॽมࣷፍܱᇑெ‫ڤ‬ᆦ৳‫ں‬၂ ၄‫؜‬ઠǈ඗ܸǈᄺኟ๟ኄ߲มࣷ‫ڦ‬ට்ॺሰକኄፗ‫׭‬ ๨ժิऄሞഄዐă໲සُփኪೃਛ‫ں‬ጕ൱ኄ߲ణՔ๟ ᅺྺǈᆶగፗዿ቎‫ڦ‬ଣ้‫ॺٲ‬և‫ݴ‬Ăగፗ࿄ྜ‫ࢾڦׯ‬ᇴĂ

ᇑ౹ዞ‫׭‬๨‫ڦ‬ገ႙้೺৊ႜԲ‫ܔ‬ǈ1990 ౎‫ॺڦپ‬

ᆶ‫ظڦ‬ႎ‫ۼ‬ኹᇀࠅࠌአ֧ํแ‫ڦ‬ோ५ ǖ࿮ஃ๟૦๏࠽

గขྒྷၽ‫ࢽشڦ‬Ăईగ߲‫ד‬လઠ‫ڦ‬૬௬ኟ‫ڪ‬ጣ༵ႝࡗ

ዾᇑ 21 ๘ु‫ڦ‬ፌ‫ ؛‬10 ౎཭‫؜‬କ‫ۼ‬ଳ๨੺໏݀ቛ‫ټ‬ઠ

‫߸ڦׇ‬ႎ߀ሰǈ࣏๟ᄂհࢋॺย‫ڦ‬օ‫ڢ‬Ăሞ 19 ๘ुᇑ

ྫ‫ڦ‬ᆴਜ਼ጽၠኄፗĐᷨ٨‫׭‬đă໲்໯‫ڦٳد‬႑တ๟‫ۼ‬

‫ڦ‬ல‫ܜ‬ăසǈᅃፗ‫ׂںݝ‬ਸ݀‫ॺڦ‬ዾႚ๕৽փ੗ీධ

20 ๘ुন൶৊ႜ‫ްڦ‬႗‫ۼ‬๨ิऄ‫ڦ‬౮૰Ăᅙঢ়ਰ߾‫ڦ‬

փৈएᇀ੣क़‫ڦ‬ॏኵǈᄺՂႷሞ‫׭‬๨ว‫ݻ‬ණཞ‫ڦ‬ए‫إ‬

඗ᅜ 1960 ౎‫پ‬ዐׂ঩प‫ڦ‬Ⴔᄲ৊ႜ߸ႎยऺă

ཎ‫ڢ‬ජႜ‫ڢ‬ୟĂႎ‫ںڦ‬ཎဣཥǄኄ๟‫ۼ‬ଳኈኟ‫ࡔ݆ڦ‬

ฉლቴᆌ‫׭ܔ‬๨࿚༶‫ڦ‬ႎ‫ݛ‬ӄ Ǘැ‫ݥ‬සُǈ‫ۼ‬ଳՂॽ

සැᆴਜ਼კ࿚มࣷႴᄲ๊஺ᄣ‫ڦ‬ዿ቎ǈ๚ํฉᆼ

๕‫׭‬ཎဣཥǅǈᅜतႹ‫࠲ܠ‬ጀरຍገՎᇑᅝຍჺ৯Ă࿔

ᆦᇺ๟ᅃፗ჈ܸ࿄ਦ‫׭ڦ‬๨ǈཕାሞࡗඁࣣܸ࣪ᆶ၌

ยऺࢅॺሰକ๊஺ᄣ‫ڦ‬ዿ቎ǈኻᄲ੊୯ፌৎब౎‫ڦ‬൧

ࣅ‫ظ‬ᅪׂᄽई࣍ৣ࣬ް‫ظڦ‬ႎၜణ‫ڪ‬ăኄၵ‫׭‬๨߀ሰ

‫ڦ‬૦๏ᇑሂሂᇡ๬‫ڦ‬࿄ઠኮक़ǈ़ுᆶ‫ྺׯڹן‬ዿ൶

઄ǈ৽ీࠕ‫؜ڥ‬঳ஃ ǖኄᅃۨփ๟ᅃ߲ਏᆶ‫ظ‬ႎ৛หĂ

‫ڦ‬ၜణ‫ۼ‬ᆶᅃ߲ࠌཞ‫௴ྲڦ‬ଝ๞ ǖन࿢்ஶጣ฿ඁ߾

ยऺ‫ڦ‬ఇ‫ݔ‬ǈᄺுᆶኈኟׂิ‫ظ‬ሰႠ‫ॺڦ‬ዾăኄփৈ

ీኍ‫ิܔ‬ऄ೗ዊ৊ႜൎํჺ৯‫ڦ‬ਸ‫ݣ‬มࣷǈᄺփ๟ᅃ

ᄽ݀ቛ঩܎‫ऻڦ‬ᅬ‫ޅڦ‬၃ǈස‫׭‬๨੣क़Ă‫ۉ‬ᆖᇾĂ঎

๟ᅺྺႎ‫ڦ‬ఇ๕ࢅॺዾ࿿ీࠕবሀጨᇸǈ߸ᅺྺ໲்

߲ీ‫ܔ‬ዿ቎ĂბၯĂᅅᇾईᆽܹᇴೝ௬‫ڦ‬ยऺ৊ႜჺ

൶ߤਗᇾǄ‫ۼ‬ଳ੗๟‫ิڐ‬କᅪ‫ٷ‬૧‫ۉ‬ᆖ‫׭ڦ‬๨ǅĂม൶

ీ༵ߛԨวᆌ޿ࣩ݀‫ڦ‬एԨፕᆩĊĊन߀฀‫׭‬๨ਃ௷

৯ࢅ༑໭‫ڦ‬มࣷă࿚༶‫ٴڦ‬ӄॽত๖‫؜‬ǈሞኄ߲มࣷ

๨‫ׇ‬Ăሔᇣକኈኟ‫ܠ‬ᇮ࿔ࣅዷᅭ‫ॺپړڦ‬ዾǈᅜत‫ۼ‬

‫ิڦ‬ऄዊଉǈሺഽࠅ௷‫ڦ‬඄૧ăŕ

incorporate all the premises of that culture in an

to built the layout of a house, school, hospital or

structures nurturing genuine multiculturalism, and

extraordinarily delicate location and a substantially

kindergarten. The answer would reveal a society

public housing projects which in Torino went through

hypogeal architecture. Instead other works reveal

of professionals and construction entrepreneurs

a radical overhaul: all it takes is a short walk to

the unease associated with the loss of the premises

more repetitive than innovative, conservative

Falchera, a district from the Fifties to the north

espoused by enterprises as well as architects;

elites, certainly not seduced by a risk culture,

of the city, to find pride and a sense of belonging

they bear witness to a season of somewhat

even though they nearly always talk of innovation,

where once there was only segregation and drug

provincial experiments, to studies reflecting the

especially since ecology has become a moral issue

dealing.

new itineraries of the voyages dďinstruction of

in the housing sector (it seems mandatory to talk of

local architects: the Architectural Association in

sustainability and smart cities).

The city is relentless in its attempt to permanently highlight the vices and virtues of

London, the Berlage Institute in Rotterdam, or more

This comment is all the more jarring if the

the society that builds and inhabits it. It pursues

simply the downtowns which now exist all over the

citizen considers the policies implemented by the

this goal because a makeshift part of a house, an

globalised world.

public administration, at least since 1995. Nearly

unfinished garden, a crooked window, or a copied

When compared to the periods of transformation

all innovation has had to stop on the threshold of

façade, are there to warn the passer-bys walking

of European cities, the architectures of the Nineties

public policies: the renovated historical squares, the

towards the emerald city. What they reveal is that

and first decade of the Twenty-first Century highlight

paths along the Po, the nineteenth-century and early

Torino has to find new solutions based not only on

the contradictions of a rapid change. For example,

twentieth-century districts reborn to urban life, the

spatial values but also on identity; if not, it will

the linguistic formalism of the real estate, unable

completed railway bypass, the new metro system (a

always be a city suspended between a glorious

to renew a product still designed around the middle

real French RER in Torino), and the many initiatives

and finite past and a future full of incentives not,

class employees of the Sixties.

focused on technological transfer and artistic research,

however, fully incorporated into housing models and truly innovative architecture. Not only

If visitors were to ask the houses what kind

cultural production, or environmental regeneration.

of society wanted, designed, and built them, then

There is a delicate downside to these transformations:

because these models and architecture use less

as far as the last few years are concerned, the

we run the risk of forgetting the season of industrial

energy, but also because they improve the basic

answer would be: certainly not an innovative, open

development, its public places, cinemas and suburban

role they are called to perform: to enhance the

society capable of conducting solid research on the

theatres ǉ in this city where the Italian film industry

lives of the city's inhabitants and their right to

quality of life, one which studies and explores how

was born ǉ its neighbourhood markets, temporary

citizenship. ŕ

๘হॺዾ 2013/05

੗‫׼‬Ⴤ݀ቛ‫ڦ‬ᅪ‫ٷ‬૧ SUSTAINABLE ITALY ୔ਸ਼·ఎ૧భ૛/Luca Molinari ິகૅ ᅳ/Translated by SIMA Lei Đ੗‫׼‬Ⴤ݀ቛ‫ڦ‬ᅪ‫ٷ‬૧đ๟࿢ᇑჱ૦෷‫ڤ‬ஆ · ‫ܠ‬౷

ሞ‫ڼ‬ᅃ߲ߛ੔रᆈႧዷᅭ้೺ǈॺዾহᄺሼ݀ഐ

ኄዖ೨ൎ‫ڦ‬Ⴔ൱ሁઠሁ‫ںܠ‬ઠጲႹ‫׭ܠ‬๨ዐ‫ڦ‬ม

‫ޡ‬૛ӎǄAlessandro DďOnofrioǅሞ֧ࣄ 2008 ౎୿‫ܘ‬

࠲ᇀยऺ‫ڦ‬ႎాඹ‫ڦ‬၎࠲༪ஃǈඟට்ਸ๔࠲ጀႎ‫ڦ‬

൶ǈᅺྺ‫ڦںړ‬ਃ௷்ᅙঢ়ᄋਛକփీ‫࠲ྺׯ‬ᇀጲम

ມ౎ቛᅪ‫ٷ‬૧࠷้༵‫ڦ؜‬੨ࡽă࿢‫ڦ‬ణ‫ڦ‬๟ၙᆅ݀ᅃ

๢ᆌ࣍ৣ‫ิڦ‬ༀბǈᄺᆅ݀କ၎࠲‫ڦ‬ႎยऺ‫חޅ‬ǈ༬

௅ཀ໯९‫ڦ‬ৠ࠵‫ڦ‬ਦ֧ࡗ‫ڦײ‬ᅃև‫ݴ‬ăُྔǈኄ‫ླׇ‬

‫ׇ‬փৈ࠲ᇀᅪ‫ٷ‬૧‫ڦ‬੗‫׼‬Ⴤ݀ቛǈᄺ࠲ᇀᅪ‫ٷ‬૧๕‫ڦ‬

՚๟ሞຯਾ‫ڦ‬భྼჱࡔॆăኄ้߲೺၄ሞᅙঢ়ࡗඁକǈ

ऐᄺ๟‫׊ܔ‬೺ષ‫ݯ‬ጨᇸĂऐᇜࢅཱི‫ں‬ǈඟ࣍ৣሞփ๴

੗‫׼‬Ⴤ݀ቛ‫ڦ‬༪ஃĊĊኄዖ‫ݛ‬๕ฉ‫ڦ‬੗‫׼‬ჄႠ‫ڦ‬ᆖၚ

ൽܸ‫پ‬ኮ‫ڦ‬๟ณକ࿮ᆩ‫ڦ‬ऐႁጎԢ‫ׯ߸ڦ‬ຄࢅံ৊‫ڦ‬

੦዆ࢅփঢ়ᅪሺ‫ڦ׊‬փ੗‫׼‬Ⴤ‫ڦ‬၄‫݀ࣅپ‬ቛ‫ڦ‬ऴ༇ฉ

૰ࢅዘᄲႠփࣷ๴‫ڟ‬੔र݀ቛ‫ڦ‬ፑᆸă

ยऺ๮݆ă

ဎึ‫ݒڦ‬າă

ଷᅃ‫ݛ‬௬ǈৎ౎ઠႎਸ݀‫ߛڦ‬Ⴀీࢅሁઠሁԋయ

ሞࡗඁ‫ ڦ‬30 ౎ዐǈᅪ‫ٷ‬૧‫ںཱིڦ‬ฉܑ஢କंౡཱི

ྊቛට்‫ڦ‬ᄅহࢅഔ݀າୟǈቛબ჋ൽକ 3 ૌၜణ ǖ

዁࿮ႚ‫ڦ‬रຍᄺྲ௴‫߀ں‬Վକॺዾยऺǈඟഄփም๴

ॺዾǈժ൐ሞཱི‫ں‬Ă࣍ৣࢅঢ়षጨᇸ‫ڦ‬ၩࡼฉሰ‫ׯ‬କ

ට࿔੔ბྼ‫ڦ܈‬੗‫׼‬ჄႠǈፕྺৠ࠵ᆶऐ‫ڦ‬ᅃև‫ڦݴ‬

Đरຍዷ‫ॺڞ‬ዾႚ๕đ‫ڦ‬Ⴧჾᆖၚǈܸ๟‫ྺׯ‬०ሀ‫ڍ‬ਏ

ྺକీሞॺዾࢅৠ࠵‫ڦ‬੗‫׼‬ჄႠኄᅃዘᄲᅱ༶ዐ

ॺዾǈᅜत࣍ৣᆷࡻ႙ႎీᇸ‫ڦ‬๑ᆩă঳ࡕǈ‫أ‬କ‫د‬

ᆶዊଉԍቱ‫ڦ‬ਃዿ੣क़ă

೦࣋ǈܸኄ๟࿢்ኄ߲٤ෑ‫ڦ‬ၭࡔ໯փీ‫׶‬๴‫ڦ‬ă ُྔǈ࿢்໯ᆶᆩઠ੦዆ࢅࡀࣄ‫׭‬๨‫߾ڦ‬ਏ‫ۼ‬ඍ ݄ྺ࿄ઠ༵ࠃ޷ᇧ൐ኝ༹ࣅ‫ڦ‬ᇺ९ࠓາ‫ీڦ‬૰ǈྺକ

‫ࣷٷٳ‬ዷ༶‫ڦ‬ዷᄲᅱ༶ኮྔǈࣷฉ࣏‫؜‬၄କ‫ܔ‬ᇀৎ‫پ‬

ৎ౎ઠǈᆯᇀथਗ‫ڦ‬ঢ়षĂূබĂయ዁มࣷĂ࿔

ᅪ‫ٷ‬૧ॺዾ‫ڦ‬ᆶ඀༪ஃǈኤ௽੗‫׼‬ჄႠᅙঢ়‫ྺׯ‬କඪ

ࣅླऐ‫ڦ‬ᆖၚǈኄዖ၄ၡ‫ڟڥ‬କ৊ᅃօᄇՎ ǖට்ਸ

‫܌‬๫‫ڦ‬ሺ‫׊‬ǈኄၵ߾ਏԝചକሞዐ೺ࢅ‫׊‬೺‫้ڦ‬क़܎

ࢆᅪ‫ٷ‬૧࿄ઠ‫ॺڦ‬ዾၜణዐዘᄲ൐ՂႷ‫ڦ‬և‫ݴ‬ă

๔‫ܔ‬ᅙঢ়သ࠹‫ڦ‬ᆩઠยऺࢅࡀࣄ‫׭‬๨‫߾ڦ‬ਏׂิକዊ

ዐํ၄੗‫׼‬Ⴤࢅ‫׊‬ᇺ݀ቛ‫ڦ‬௔ၙă

ॺዾ‫ৣ࣍ڦ‬੗‫׼‬ჄႠምْᆅഐକට்‫ڦ‬ዘ๫ǈණ

ܸഄ঳ࡕ৽๟࿢்ৃཀੂ‫ڦڟ‬ৠၡ ǖ‫ܠٷ‬ຕᅪ‫ٷ‬

ᅑă ৃཀǈॺዾহਸ๔ණ๎‫ڟ‬ǈมࣷᇮ໎փም๟ॺዾ

૧঎൶‫ۼ‬؊஢କዊଉ‫׭ڦူگ׉ݥ‬๨ዿ቎ǈ౫٩ሶ௬

ჾࣅđ‫ڦ‬റ၂՗‫ٳ‬ĊĊ೉සǈᅺྺࡗᇀዘ๫ႎरຍܸ

࿚༶‫ࢃڦ‬႐ࢅଳऀǈॺዾཞ้ᄺᄲਏԢ‫ت‬૙มࣷუ૰

ଣጣᅺྺ݀ቛ࿄ঢ়ॠ֪ܸሰ‫ڦׯ‬຤࿔փ࿘ۨႠࢅԍࢺ

ሞॺዾฉ࿮ᅪᅭ‫ٷں‬ଉҾ֭໿ᄞీ‫׾ۉ‬ӱǈईኁሞॺ

‫ీڦ‬૰ĊĊᅺྺኄዖუ૰ࣷጪิႎ‫ڦ‬ᇡྭĂᄲ൱ࢅ࿚

ጲ඗ᅍׂ‫ڦ݆ݛڦ‬ᎍ݄ă

ዾ૬௬ฉࡖ஢߳ዖ֒෥‫࠶ڦ‬၍ă

༶ǈܸॺዾ੗ᅜ‫׈‬๬঴ਦ໲்ժ༵ࠃᆶᅪᅭ‫ٴڦ‬ӄă

ྺॺዾ૙౒ࢅኝ߲ยऺ‫ײࡗڦ‬փᅃۨᄲ‫ྺׯ‬ᅃዖĐᇕ

"Sustainab.Italy" is the motto I launched together with Alessandro DďOnofrio at the Italian Pavilion for the 2008 London Biennial. My aim was to

emphasised by the useless multiplication of solar panels and façades covered in coloured pipes. The ﬁrst heroic Hi-Tech period had introduced

‫้ړ‬ǈॺዾহுᆶ๊஺Ӹ݆ઠ௜ցኄዖ೵Փ٪ሞ pressure that is generating new desires, demands, and questions to which architecture could try and provide meaningful answers.

spark a debate not only on sustainability in Italy, but

new contents and arguments into the world of

This urgent demand is increasingly coming

also on Italian-style sustainability, a sustainability

architecture and made people focus on a new

from many urban communities, tired of not being

not inﬂuenced by the usual technological rhetoric

environment-oriented ecology; it had also been

part of the decision-making processes which alter

which weakens its power and importance.

characterised by a neo-folkloristic drift, especially

our everyday landscape. However, this crisis is also

The selected projects were divided into three

in Scandinavian countries. That period was now

the result of the long-term waste of resources,

separate sections in order to broaden people's

over, replaced by a more mature and progressive

opportunities, and parts of our territory, sacriﬁced

vision and ideas about such an important issue for

approach to architecture devoid of useless machinist

on the altar of uncontrolled and oblivious growth

our cities and landscape: the human and social

rhetoric.

based on the concept of unsustainable modernity.

dimension of sustainability; new architecture as

On the other hand, the recent development

In the last thirty years Italy has been literally

conscious fragments of the landscape; the use of

of high performance and increasingly thin and

plastered with concrete; the devastation has gone

alternative environmentally-friendly energy. Apart

invisible technologies has paradoxically changed

hand in hand with the consumption of land and

from the main topics used to convey the exhibition

the architectural project: no longer a manifesto of

environmental and economic resources which the

concept, what emerged was a very interesting cross-

"technique dominating built form", but a place in

fragile and minute scale of our country can ill

section of recent Italian architecture showcasing the

which to live ǉ simply and with widespread quality.

afford.

fact that sustainability was now considered a crucial

In recent years this phenomena has evolved

Furthermore, all our urban control and planning

and necessary part of any potential architectural

even further due to the acute economic and

tools have lacked the ability or foresight to provide

project in Italy.

financial, but also social and cultural crisis: we

generous, full-scale visions of a possible future; they

began to question the tools we've always used to

have traded the possibility of planning a cognisant

design and plan the city.

and long-sighted growth in the medium and long

The environmental sustainability of architecture had once again become ingrained, colouring

term for the dream of immediate growth.

architectural philosophy and the entire design

Today architecture is beginning to realise that

process without necessarily becoming a "language"

the social element is no longer the heart and soul of

The result is what we see today: extremely low

that considered new technologies as a value to be

its role; it also has to deal with the mounting social

quality urban housing in most Italian suburbs, and a

ፕኁ०঻ǖ୔ਸ਼·ఎ૧భ૛๟ఫփુຯ‫ٷܾڼ‬ბঞ๲‫ॺپړ‬ዾ ૦๏‫ޭڦ‬ঞ๲ăፕྺॺዾᇑ‫پړ‬ฝᆖቛબࢅऄ‫ࣄ֧ڦۯ‬ኁǈ ໱ሼ޶ሴ௝ન3౎ቛǄ2001-2005ǅ‫ॺڦ‬ዾև‫֧ݴ‬ቛǈժ‫څ‬ඪ ‫ڼ‬12াྰ౅ຯມ౎ቛᅪ‫ٷ‬૧࠷‫֧ڦ‬ቛටă Luca Molinari is Associate Professor of History of Contemporary Architecture at the Second University in

Naples. Curator of exhibitions and events on architecture and contemporary photography, he was responsible for the architecture section of the Milan Triennial (2001-2005) and curator of the Italian Pavilion at the 12th International Architecture Exhibition at La Biennale di Venezia . ๭ߡන೺ǖ2013-04-20

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

൐ସටኒ৚‫ڦ‬ઓৣǈܸኄዖ൧઄ཚ‫׉‬ཚࡗ‫ٷ‬૰ഽۙย

ྂࢅૃঋҸ௝૧ჱ‫ں‬൶ǅăኄၵၜణփৈቛ๖କႎ႙ย

ࢅ౹ዞഄ໱ࡔॆ࠽‫ݘ‬٪ሞ‫ڦ‬࿚༶‫߀ڦ‬฀കऐࢅ֧୼‫ڦ‬

ऺࢅ࿔ࣅฉ‫୼֧ڦ‬჋ስܸਏᆶ೻್Ⴀ‫ڦ‬ጲ࿢࿁ጎ༬ዊǈ

ऺ‫ڦ‬੗ႜႠǈᄺ๟‫׭ܔ‬๨ยऺዐ߳ዖ੗ీႠ‫ڦ‬ჺ৯ࢅ

༑༪ă

໚඗ኄၵ֧୼ժփీ‫ڟٳ‬ᇨ೺‫ڦ‬ၳࡕă

ํᄓă

ኄ৽๟ྺ๊஺ඟᅪ‫ٷ‬૧‫ڦ‬ႎᅃ‫پ‬ยऺ฾ࢅมࣷཷ

නᅮ೵Փ‫ڦ‬Đ୴෥đ‫׭‬๨‫ڦ‬૙ၙǈምेฉĐ዇

ኄᅃᆯਦ֧ࡗ‫֖ڦײ‬ᇑࢅࠌၛᆅ݀‫ڦ‬൵๞ኟሞঢ় ૦ᅃ߲‫׉ݥ‬ᆶ඀‫ڦ‬঩܎ǈ༬՚๟࠲ᇀणࢇዿ቎‫ڦ‬ჺ৯

༹ሞ୿‫ڦܘ‬ቛબฉፔ‫ڼ؜‬ᅃْᆶᅪᅭ‫׈ڦ‬๬๟සُዘ

ࣱđ‫׭‬๨‫౒߁ڦ‬ǈᅜतໜኮܸઠ‫ڦ‬௃༹ࢅአዎԈጎǈ

ࢅํᄓዐภतิऄ‫ݛ‬๕‫ڦ‬և‫ݴ‬ǈ‫دܔ‬ཥሗ୺࿮ቤ‫ڦ‬঎

ᄲ‫ڦ‬ᇱᅺĊĊኄՔኾጣዘᄲ‫ڦ‬࿔ࣅገՎࢅႎ‫ࠅڦ‬ᆶᇑ

๟ඓԍ࿢்සࢆॺยཚྫ‫ิپړ‬ऄዐ‫ڦ‬ᅃӯ௷ዷ‫ڦ‬

൶કቧࢅཱི‫ں‬๑ᆩ‫ڦ‬ఇ๕༵‫؜‬କս؈ࢅ཈቟ă

ຳᆶ࠲ဣ‫؜ڦ‬၄ǈܸኄၵ‫ۼ‬๟‫׭‬๨࿚༶‫ࢃڦ‬႐ă 5 ౎ࢫǈኄᅃ৊‫ײ‬ዐᆼ݀ิକᆶ඀‫ڦ‬ገችĊĊփ ཞ‫ڦ‬ยऺࡗ‫ࢅײ‬঴ਦ‫ݛ‬ӄ༹၄କ߳ዖิ‫ۯ‬ᆶ඀‫ڦ‬࿔ࣅ ࢅมࣷ‫ۯ‬ༀă ᅪ‫ٷ‬૧Ⴙ‫ںܠ‬൶ሁઠሁጀዘ੗‫׼‬Ⴤ݀ቛ‫ڦ‬ยऺժ

ԍቱǈሞኄዖ௷ዷมࣷዐǈࠅ௷Ăมཷᅜतଆࡻ‫ڦ‬ አዎਦ֧ీࠕਦۨසࢆઠํ७ਏᆶ‫ظ‬ႎႠ‫ڦ‬჋ስࢅ ၎࠲ၜణă ሞኄᅃࡗ‫ײ‬ዐǈॺዾࢅยऺ‫ڦ‬ፕᆩ๟๊஺఼Ǜ࿢ ၎႑ǈణമ‫ࢅৣ࣍ڦ‬มࣷླऐ๟ᅃ߲਎‫ڦٷ‬ऐᇜǈీ

ৎ ೺ǈtamassociati ๚ ခ ໯ ሞ ᅪ ‫ ٷ‬૧ ۫ ԛ ևĂ diverserighe ߾ፕ๪ሞձ஍౅ჱǈᅜत Consorzio ࢇፕ ߾ፕ๪ሞ௝ન‫ڦ‬ၜణǈ৽‫پ‬՗କኄၵᆶ඀‫ڦ‬ႎมࣷਦ ֧‫ݛ‬๕ǈᅜत‫ܔ‬ᇀ࠽ᅭยऺዊଉ‫ڦ‬ဦዂჺ৯ă ሞࡗඁଇ౎ዐǈtamassociati ๚ခ໯‫ڦ‬ଇ߲ዿ

ඟ၎࠲ბ੔ዘॺԨბ੔฿஌࢔৳‫ڦ‬มࣷࢅአዎᅪᅭǈ

቎ၜణภतକሞྼ஍ܻәǄྰ౅ྂ‫ں‬൶ǅ80% ‫ॆڦ‬

ኧ‫׼‬ǈժᆯُሞ߸ณ‫ڦ‬৛ᆈࣅࢅ߸࠽‫ڦݘ‬มࣷႴ൱ူ

ኄཞ้ᄺ੗ీ๟዆ۨႎ‫ڦ‬቟୼Ăᆩ߸े‫ׯ‬ຄࢅዜ‫ڦڟ‬

བྷǈၜణ‫ڦ‬ยऺ฾்ණኈདൽକႎዿ௷‫ڦ‬ᅪ९ǈํ၄

ׂิକሁઠሁ‫ڦܠ‬ᆫႯፕ೗ă

๮܎ઠํ၄ࢅಢᄢํᄓࢅ‫ظ‬ႎీ૰‫ྜڦ‬ெऐࣷă

କࢇፕยऺǈժࠌཞഐ֥କ၎࠲ࡀۨăᆯձ஍౅ჱ‫ڦ‬

֑ൽକ၎࠲‫ٯ‬แǈኄၵ‫ٯ‬แཞ้Ԉઔ֎አࢅূබฉ‫ڦ‬

ཞ้ǈᆶब߲‫׭‬๨ࢅ‫ں‬൶ᅙঢ়‫ڟ׊ׯ‬ፁࠕഽ‫ٷ‬ǈ

ኄᄺ๟ྺ๊஺࿢ණྺӝዘ‫ݣۅ‬ሞᅃဣଚణമኟሞ

diverserighe ߾ፕ๪޶ሴ‫ڦ‬ᅃ߲ૌຼ‫ڦ‬ၜణᄺᅙঢ়ํ แǈ‫ڍ‬ᆶᅃ߲ዘᄲ‫ڦ‬൶՚ǖᅺྺਜ਼ࢽ๟ձ஍౅ჱ๨አުǈ

አዎฉᄺፁࠕ‫ׯ‬ຄǈీࠕ֑ൽਏᆶ‫ظ‬ႎႠ‫ڦ‬ႜአ๮܎

৊ႜ‫ڦ‬ၭํᄓฉ࢔ᆶ඀‫ڦ‬ᇱᅺĊĊኄၵၜణጲԛၠళ

Ǆྂຯਸ਼భࢅҮ೵૧ჱ‫ں‬൶‫ڦ‬ৠ࠵ࡀࣄǅǈईᅙঢ়ླྀ‫؜‬

Փքඇࡔ߳‫ں‬ăၜణ၂๖‫؜‬ยऺ฾்සࢆ‫ܔ‬໱்‫ڦ‬ย

૴ࢇዿ቎ၜణภतब߲ 20 ๘ुራ೺ॺሰ‫ڦ‬ᅱࣷॺዾǈ

କਏᆶဌᆅ૰ժൽ‫ڦࠀׯڥ‬๬‫ۅ‬ၜణǄሞ‫ۼ‬ଳĂ༬୿

ऺ߾ਏ༵‫؜‬ዊᅑࢅ཈቟ǈժᆯُਸ๔ዷᄲኍ‫ܔ‬ᅪ‫ٷ‬૧

ᅜत‫ܔ‬၄٪ዿ቎ন൶‫߀ڹןڦ‬ሰă

countryside experiencing all the limits of unchecked

politically savvy enough, to either implement

all over the country, from north to south; they

hydrogeological instability and the absence of

innovative administrative approaches (the Landscape

show how several designers have questioned

measures to safeguard our natural heritage.

Plans in Tuscany and Apulia), or launch attractive

and challenged their tools and thereby created

At the time, architecture could do little to

and successful pilot projects (in Torino, Trento, and

opportunities and strategies focused primarily on

remedy this widespread and frighteningly difficult

Reggio Emilia). Their scope is not only to showcase

the problems emerging everywhere in Italy and the

situation; it frequently took refuge in deceptive

the feasibility of a series of design initiatives, but

rest of Europe.

self-referential positions, and all too often offered

also to be urban workshops, crucibles of accessible

design and cultural alternatives which sadly fell

studies and experimentation.

The trend inspired by the concept of participation and sharing in decision-making processes is going

The increasingly widespread ideal of a "green"

through a very interesting phase, especially as regards

This was why it was so important to display the

city, coupled with the just as complementary image

co-housing studies and experiments involving forms

first meaningful attempts by a new generation of

of a "smart" city, and ensuing media and political

of living which contest and dispute the traditional

Italian designers and communities at the exhibition

rhetoric, is proof of how much we need to create

disorganised model of suburban sprawl and land use.

in London; they signalled an important cultural shift

a one-way street towards a universal democratic

Recent projects by tamassociati in north-east

and the advent of a new kind of public and private

quality of contemporary living in which citizens and

Italy, by the diverserighe studio in Bologna, and

clientele, one which took these problems to heart.

communities, together with good politics, decide to

the Consorzio Cooperative Lavoratori in Milan, are

short of expectations.

Five years later this process has taken an

adopt innovative choices and projects.

representative of these interesting new social,

interesting twist; the different design process and

What's the role of architecture and design in all

solutions adopted reveal a lively and interesting

this? I believe that the current environmental and

cultural and social dynamic.

social crisis is one of the last great opportunities

For the past two years tamassociati has

decision-making projects, coupled with careful research on widespread design quality.

Many Italian regions have adopted measures

for these disciplines to create their own social and

been spearheading two co-housing projects for

increasingly focused on sustainable design; these

political role, one which they lost long ago and

8/10 families in Villorba (Veneto region); it has

measures, which include fiscal and financial

which instead could be the perfect opportunity to

listened carefully to the new inhabitants, created

premiums, are producing more and more excellent

develop new strategies, to adopt a more cognisant

participated design, and together drafted pertinent

results, including an increase in a less elitist and

and attentive approach to reality, and to cultivate

regulations. A similar project has been implemented

more widespread social demand.

an ability to experiment and innovate.

by the diverserighe studio in Bologna, but with one

The same can be said for several Municipalities

This is why I think it's interesting to focus on

important difference: in this case the client is the

and Regions which have been strong enough, and

a series of small experiments currently underway

Bologna Municipality, and the co-housing project

2 ǉ 4!ubnbttpdjbuj ๚ခ໯ -!JOHFDP!tsm-!Dmjnptgfsb!tsm ǖ Đੲྂಃဇ ! ิༀዿ൶đ૴ࢇዿ቎ǈԲ஍әǄ༬ૃྼ໭ǅǈแ߾ዐă0 ! ubnbttpdjbuj-!JOHFDP!tsm-!Dmjnptgfsb!tsm;!DpipvtjohĐfdprvbujfsf!! ! Rvbuuspqbttjđ-!Wjmmpscb!)Usfwjtp*-!voefs!dpotusvdujpo/! 5ǉ7!ejwfstfsjhif߾ፕ๪-!BDFSձ஍౅ჱ๚ခ໯;!հܻ཮ୟ26ࡽ૴ ! ࢇዿ቎ǈձ஍౅ჱǈแ߾ዐă0ejwfstfsjhiftuvejp-!BDFS!Cpmphob;! ! Dpipvtjoh!jo!Wjb!efm!Qpsup!26-!Cpmphob-!voefs!dpotusvdujpo/!

๘হॺዾ 2013/05

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

ሞฉຎ໯ᆶၜణዐǈ࿢ࣷ‫ߴࣆۉٶ‬๬‫ۅ‬Ⴀ‫ڦ‬ၜణǈ კ࿚ॺዾཉ૩ᅜतᇑॺዾยऺᅃഐ৊ႜ‫ڦ‬ᇑม൶ਃ௷

౦ገ࣍ৣࢅมࣷ‫׊ڦ‬೺ປ஌ăᇑُ၎࠲‫ڦ‬๯ံ๟ࡗඁ 10 ౎ᅃ኱ጆጀᇀଣ้੣क़ยऺ‫ ڦ‬Esterni णཷኟሞਸ

‫ڦۯࢻڦ‬৊ቛăኄၵၜణዐᆶႹ‫ۼܠ‬ႴᄲᅜଳऄႠྺ

ቛ‫߾ڦ‬ፕăଷᅃ߲߸ৎ‫ڦ‬ၜణ๟ NIL28ǈኄ߲ၜణ๟

ए‫إ‬ǈዜ‫੊ںڟ‬୯ਃ௷‫ڦ‬ᅪᇼǈᅺྺኄ๟ඟᄽዷ்ྺ

ᅃ߲࿚༶ჹዘ‫׭ڦ‬๨‫ں‬൶‫ڦ‬ምิ߾‫ײ‬ǈժ‫ڟڥ‬କยऺ

໱்ጲम‫ॆڦ‬ᇴॺยፔਦۨ‫ײࡗڦ‬ăሞഄ໱ଇ߲ၜ

ࠅິࢅ‫ںړ‬ਃ௷‫ڦ‬ၹ૰ದࢇă

ణĊĊ࿋ᇀఫփુຯ঎൶ Chiaiano ‫ں‬൶‫ڦ‬ԍቱႠዿ቎

‫ڼ‬ෙ߲ჺ৯ੜ༶ሶภत‫ڟ‬ब߲ॺዾ߾ፕ๪‫ࠌڦ‬ཞ

ၜణǄGambardella ॺዾ฾߾ፕ๪ǅࢅ௝ન঎൶‫ڦ‬ᅃ

ยऺǈጆጀᇀ૧ᆩ၄ᆶॺዾጨᇸ‫ڦ‬Đଭਐ૗đยऺǈ

߲‫ׯگ‬Ԩዿ቎ǄBoeri ߾ፕ๪ǅยऺዐǈᄺኤํକኄዖ

ٗߵԨฉ‫ݒ‬າ၄ᆶ‫ڦ‬੣क़ǈ‫ڍ‬ᆼ࿮Ⴔ๑ᆩ߸‫ںཱིڦܠ‬ă

‫ݛ‬๕‫ڦ‬ዘᄲႠࢅ੗ႜႠă

ኄዖ௚ටࢅใᅪ‫ݛڦ‬๕๟ᆯ௝ન‫߾ڦ‬ፕ๪ Al.Bo.Ri. ༵

ሞኄଇ߲ၜణዐǈॺዾยऺ੊୯କਃ௷߀ሰ੣क़

‫ ڦ؜‬ǖሞยऺࠅࠌࢅຳටॺዾ้ǈ੗ᅜ๑ᆩ࣮๭‫ڦ‬၄

‫ڦ‬੗ీႠǈߵ਍໱்‫ڦ‬ᇼྭࢅႴ൱ྜ฀ժेഽ‫ܔ‬ዊଉ

ᆶ֌ଙǈ૩සǈሞፌৎॺ‫ڦׯ‬࿋ᇀҮܻԚຯ෷୿ә‫ڻ‬

‫ڦ‬ᄲ൱ăኄၵፔ݆‫ڦ‬ዘ‫ۅ‬๟ॽยऺፕྺมࣷ੗‫׼‬Ⴤ݀

ࢅྑટ‫ٳ‬ӎຯ໴൶ኮक़‫ڦ‬ଇፗॺዾ࿿ฉǈ߾ፕ๪৽ᆶ

ቛ‫ڦ‬ᅃዖጨᇸǈࠞ૤ཱི‫ں‬ሞኳ௷ࣅ৊‫ײ‬ኮྔ‫ڦ‬੗ీႠǈ

ᅪ๎൐ࢇ૙‫ں‬๑ᆩକ‫֌ںړ‬ଙă

ᆩ‫ظ‬ႎ‫ݛڦ‬๕ඟਃ௷்ᆶऐࣷ९௬ࢅࢻ၎঍༌ă

ഄ໱‫ظ‬ႎऄ‫ۯ‬Ԉઔକ Temporiuso ၹࣷ࠽‫ڦݘ‬አዎ

ଷᅃ߲੗ᅜક‫ںཱིߛ༵ࢅٷ‬੗‫׼‬Ⴤ݀ቛ‫ڦ‬ዊଉ‫ڦ‬

ऄ‫ۯ‬ǈภत‫ڟ‬ዷᄲ࿋ᇀ௝ન঎൶‫ݭڦ‬ചॺዾ‫ڦ‬ଣ้ም

‫׉ݥ‬ዘᄲ‫ڦ‬ჺ৯ੜ༶ǈԈઔକዘႎยऺ࿢்‫ࢅࠌࠅڦ‬

૧ᆩǈMARC ߾ፕ๪ሞ‫ۼ‬ଳ‫ॺ߀ڦ‬ǈࢅக૛ӎ · ੰആా

णࢇ੣क़ǈएᇀม൶֖ᇑᅜඟॺዾยऺޯᆶ߸‫ܠ‬ᅪᅭ

ઙǄMario Cucinellaǅፌৎྜ‫ڦׯ‬௝ન๨አު໯ᆶ‫ڦ‬

ࢅዘᄲႠ‫ڦ‬ዘႎยऺă

ᅃ߲‫ׯگ‬Ԩዿ቎ጹࢇ༹‫߀ڦ‬ሰăኄၵၜణൣ‫ںؤ‬՗௽ǈ

௝નበሞኄ߲࿚༶‫ڦ‬ፌമᄂăᆯᇀ‫ںړ‬ଇ‫ٷ‬มཷ

၄ᆶ‫ڦ‬ጨᇸᄺॽ๟ॺዾ݀ቛ‫ڦ‬ፌዘᄲ‫ڦ‬ጨᇸኮᅃǈժ

‫ظڦ‬ႎ৛หǈ௝ન๟ᅃ߲ਏᆶ‫׉ݥ‬ᆶ඀‫׭ڦ‬๨ࢅมࣷ

ࣷሞ࿄ઠबๆ౎ዐट‫߀ںٷ‬Վ࿢்‫ܔ‬੗‫׼‬ჄႠ‫ۨڦ‬ᅭ

ํ७‫ں‬ǈᅜኤํࠅࠌ੣क़‫ڦ‬ଣ้ࢅ‫׊‬೺ยऺᆌ޿සࢆ

ࢅ‫ܔ‬ഄዘᄲႠ‫ڦ‬૙঴ăŕ

involves several early twentieth-century council

social sustainability of the design as a resource

by several architectural studios which focus on

houses as well as the radical re-organisation of the

that inspires alternative territorial colonisation

exploiting the "km zero" option of existing resources

existing housing block. In all the above projects, which I would

processes, as well as innovative ways for the

and radically rethinking existing spaces without

inhabitants to meet and talk to each other.

using more land. This is the obsessive and poetic

call pilot projects, the building regulations

Another very important research issue which

and interaction between the inhabitants in the

could broaden and improve the sustainable quality

Ri.: when designing public and private buildings it

community progressed hand in hand with the

of our land involves redesigning our public and

recycles existing materials, for example in the two

approach adopted by the Milanese studio Al.Bo.

architectural design. Many of these projects

collective spaces, a redesign based on community

buildings recently constructed in the Alps between

acknowledge the need for a flexible infrastructure

participation in order to give more meaning and

Lombardy and Valle d'Aosta where the studio made

attentive to the wishes of its citizens, since this

energy to the architectural design.

sensible and cognisant use of local materials.

is the crucial civic basis for a process which starts

Milan is in the forefront on this issue; thanks to

Other initiatives include the extensive political

when the owners take possession of their homes.

the initiatives of two associations the city is a very

work of the Temporiuso association involving the

Two other projects corroborate the importance and

interesting urban and social workshop proving how

temporary re-use of abandoned buildings located

validity of this approach: a social housing project

the temporary and viral design of pubic spaces can

primarily in the Milan suburbs, the renovations by

in Chiaiano in the suburbs of Naples (Gambardella

reverse widespread environmental and social decay.

MARC studio in Torino, and Mario Cucinella's recent

Architetti studio), and a low cost housing project on

The first is the ongoing work by the Esterni group

refurbishment of a low-cost housing complex owned

the outskirts of Milan (Boeri studio).

which for the past ten years has focused on the

by the Milan Municipality. These projects clearly

In both cases the houses have been designed

design of temporary spaces. The second more recent

show that existing heritage will be one of the most

bearing in mind the possibility for the inhabitants

project is the NIL28; this project involves the rebirth

important resources with which architecture will

to virally tackle the spaces, completing them

of a rather problematic city district thanks to joint

have to come to terms, significantly altering the

and adding more quality according to their

action by design studios and local inhabitants.

meaning and importance we assign to the word

desires and needs. These actions focus on the 8!NBSD߾ፕ๪ǖ‫ॷڦ֞ࠢܔ‬৊๕ም૧ᆩǈகຯǄ‫ۼ‬ଳǅǈ3122౎0! ! NBSD;!jodsfnfoubm!sfvtf!pg!b!gfx!cbsot-!Nbuij!)Upsjop*!3122Ǆฝ ! ᆖ0Qipup;!Cfqqf!Hjbsejopǅ ! Ԩ࿔཮ೌ๟࠲ᇀĐยऺǈࠌཞਃዿǈၩࡼ߸ณ‫ںཱིڦ‬đ‫ڦ‬ᇶጞࣷᅱǈ ! ௝નǈॺዾ૴௑Ǆᇑมࣷዿ቎‫ٷ‬฾ Qpmjeftjho ࢇፕǅǈ3123 ౎ 21 ሆ ! : න Ǘዷဝ ǖ୔ਸ਼Ąఎ૧భ૛ǈᄥ൩๚ခ໯ ǖubnbttpdjbuj ๚ခ໯ -!

A third research topic involves the designs

sustainability in the next few decades. ŕ

ejwfstfsjhif ߾ፕ๪ -!NBSD ߾ፕ๪ 0Uif!jmmvtusbujpot!pg!uijt!fttbz! dpodfsot!uif!spvoe!ubcmf!ĐQsphfuubsf-!dpbcjubsf-!dpotvnbsf!nfop! tvpmpđ-!Njmbo-!Bsdijufduvsbm!Mfbhvf!)jo!dpmmbcpsbujpo!xjui! Qpmjeftjho-!nbtufs!jo!Tpdjbm!Ipvtjoh*-!Pdupcfs!:ui!3123<!dibjs;! Mvdb!Npmjobsj ǉ jowjufe!pggjdft;!ubnbttpdjbuj-!ejwfstfsjhiftuvejp-!NBSD/

๘হॺዾ 2013/05

෉Ⴀ੗‫׼‬ჄႠǖ‫ۼ‬ଳ‫୼֧ڦ‬ SOFT SUSTAINABILITY: THE TORINO APPROACH

ቧ૧/ZHANG Li ሞዐࡔࠅዚᄅ૛ǈᅪ‫ٷ‬૧‫׊‬೺ԥණྺ๟๘হฉᆛ

ඟዜՉ‫ڦ‬ഄ໱ॺዾ၂‫ࡦڥ‬໗ǈ੗࿍๟փችփ੩‫ں‬՗‫ٳ‬

ไքࢅ‫ݤ‬ჱ༬ഛ‫ິࠅכ‬Ǆᅜतഄἀူ‫ڦ‬ᆮ࿔཮ຯፁ൰

ᆶፌްሗ‫ڦ‬዆ሰरຍࢅፌ৛ଆ‫߾߾ेڦ‬ᅝ‫ॆࡔڦ‬ኮᅃă

କ‫୴ৃړ‬෥ॺዾາ‫ח‬ዐߛरຍĂߛ‫ׯ‬Ԩࢅߛ‫ޅ‬၃‫ݴڦ‬

‫ܓ‬ǅăܸ‫ۼܔ‬ଳටઠຫǈ‫ۼ‬ଳ๟ࢋୁĂ෷ࠢĂ‫׭‬ԎĂࢾᇴĂ

‫ړ‬඗ǈኄᅃᆇၡዷᄲઠጲᇀၛᇤ๘হ‫ڦ‬ᅪ‫ٷ‬૧ሏ‫ۯ‬ഛ

ኧă

࠽‫ׇ‬Ăন‫ڢ‬ᅜत‫ڦࢩݿ‬૦๏࿔ࣅă໯ᆶኄၵᅃ኱‫ۼ‬ԥ

‫ࢅכ‬ท؄೗ă‫ړ‬ዐᅪิༀᇑీᇸၳ୲๖‫୍ٷݔ‬Ǆनൣ

‫ ڍ‬SIEEB ‫ڦ୍ٷ‬௽႓ႚၡժփీྜඇ‫پ‬՗ᅪ‫ٷ‬૧

ኄ૛ࡀఇփ‫׉ڦٷ‬ጂਃ௷໯ණཞăሞ‫ۼ‬ଳǈ‫ٷ‬և‫ڦݴ‬

ࣀ‫ٷ‬ბ࣍ৣ߾‫ײ‬ဣ࠷ǈई SIEEB ‫୍ٷ‬ǈ཮ 1ǅᇀ 2007

ሞ੗‫׼‬ჄႠ‫ݛ‬௬रຍༀ‫ڦ܈‬ඇևă዁ณሞԛև‫׭‬๨‫ۼ‬

‫׭‬๨ࠅࠌยแ‫ٷۼ‬ၭ๢ዐǈᅓᇀට‫ڦ‬ऄ‫ۯ‬ă‫ٷ‬և‫ڦݴ‬

౎ሞൣࣀ‫ٷ‬ბॺ‫ࢫׯ‬ǈኄᅃᆇၡԥ৊ᅃօჽฦ‫ڟ‬କॺ

ଳ৽٪ሞጣᇑኄዖ‫ٷ݆ݛ‬၎০བྷ‫ڦ‬າୟăሞ‫ۼ‬ଳǈ‫ܔ‬

‫׭‬๨߸ႎईॺሰऄ‫ۯ‬ᄺᅜටႠ؅‫ྺ܈‬๯჋੊୯ă࿢்

ዾଶᇘăSIEEB ‫୍ٷ‬๟ᅃ۰ᅜᅪ‫ٷ‬૧रຍ࿴ጎ‫ڟ‬ც‫ڦ؃‬

੗‫׼‬ჄႠ‫࠲ڦ‬ጀዘ‫ۅ‬փሞॺዾरຍ‫ܔ‬ᆘႠຕ਍ኸՔ‫ڦ‬

ฯ዁੗ᅜණྺǈራሞ੗‫׼‬ჄႠ‫ྺׯ‬ᅃ߲ඇ൰࠲ጀኮമǈ

ॺዾǈٗ๪ྔ‫ڦ‬ի૱ӥᄾ‫ڟ‬๪ా‫ڦ‬࿮຤கརǈഄׂ೗

༵ืǈܸሞ‫׭‬๨ॺዾ‫෉ܔ‬Ⴀ‫ิࠌࠅڦ‬ऄĂට࿔‫ڦྷݳ‬

‫ۼ‬ଳ৽ᅙঢ়ሞഄጲว‫׭ڦ‬๨߸ႎთ࣍ዐփጲਥ‫ں‬๑ᆩ

ྜඇઠጲᅪ‫ٷ‬૧ăSIEEB ‫࠵ྔ୍ٷ‬ᆻටǈഄჇ‫࠲ڦد‬ᇀ

໒ሰă

କᆶዺᇀ੗‫׼‬ჄႠ‫୼֧ڦ‬ă

ጲวႠీ‫ऺڦ‬໙ຕ਍߸ेᆻටăSIEEB ‫ڦ୍ٷ‬ሰॏፁᅜ

‫ྔܔ‬ටઠຫǈ‫ۼ‬ଳፌ‫؜‬ఁ‫৽ڦ‬๟‫د‬ຫዐ‫ڦ‬ए‫ࡖ۽‬

‫ۼ‬ଳ੗‫׼‬ჄႠ֧୼‫ڦ‬ᅃ߲ዘᄲ༬ኙ๟‫׊‬೺ᅜઠ٪ ሞ‫ܔڦ‬၄ᆶ‫ݝ‬࿭৊ႜም૧ᆩ‫دڦ‬ཥǄ࿢்ฯ዁੗ᅜຫ ๟ೋኴǅăٗ਎‫ڦٷ‬ጹࢇ༹‫ྲڟ‬ၭ‫ڦ‬ຳටዿ቎ǈ‫ۼ‬ଳට ٗփक़܏‫׈ں‬๬ጣ‫ܔ‬৹ᆶ‫ࠓڦ‬ዾ࿿৊ႜዘႎ૧ᆩǈժ ൐ૂሞഄዐă ೄჱ౷๚ခ໯‫ܔ‬ଠ߭ྂ‫ݤ‬ჱ༬߾‫߀ڦ׍‬ሰ๟‫ुܔ‬ ౒Ⴀ؅‫߾ڦ܈‬ᄽ૙Ⴀ৊ႜምْმࣅ‫ۆڦ‬႙ӄ૩Ǆ཮ 2ǅă ኄᅃ߀ሰӝᇱံ‫ޜ‬ခᇀ‫಼ٷ‬ଉ߾ᄽิׂ‫ڦ‬ଠ߭ྂ‫ݝ׍‬ Վ‫ޜྺׯ‬ခᇀ‫ٷ‬ዚă‫ݤ‬ჱ༬‫ॺ׍߾ٷ‬ᇀ 1920 ౎‫پ‬ǈ‫ړ‬ ้Բਨ‫ܠٷ‬ຕཞ้‫ݝ׍ڦپ‬ᄲ‫؜ٷ‬Ⴙ‫ܠ‬ăૃఫ · Ӭభ ఛሞഄวฉੂ‫ڟ‬କ௽၂‫ڦ‬๬཮՗‫ٳ‬Đࡀఇঢ়षđ‫ڦ‬Đெ ࡔ๕ᅪᇼđăೄჱ౷໯ፔ‫߀ڦ‬ሰएԨฉኻ๟‫ܔ‬ഄాև‫ڦ‬

To the Chinese public, Italy has long been

through the soft, ambient human aspect of urban

taming the industrial rationality of a monumental

artefacts.

scale (Figure 2). It transforms the Lingotto from

regarded as one of the world's leading nations in technological sophistication and manufacture

For an outsider, Torino may be best known

know-hows, mostly through the images of sport

for the Shroud and Fiat (and Juventus). For an

that serves the mass. Built in the 1920s and

cars and luxurious goods. The completion of Mario

insider, however, Torino is the river, the valley, the

exceeding most of its contemporaries in size, the

something that serves mass production to something

Cucinella's SIEEB (Sino-Italian Ecological an Energy

castles, the gardens, the piazzas, the workshops,

factory was referred to by Reyner Banham as a

Efficient Building, Tsinghua University, Figure 1) in

the streets, and above all, the history and the

conspicuous "American intention" that expressed

2007 extended that view well into buildings. Armed

culture shared by a medium population. Most things

"the economies of scale". Piano's conversion of the

to its teeth with cutting-edge Italian building

have been in the right size for a variety of human

factory drastically down-scaled the interior and

products, from glass shutters to waterless toilets,

activities. Most physical operations on the city have

divided it up into a series of programs connected

SIEEB has an unmistakable glamorous appearance

human scale as the first priority. It can be well

by a mall (again American?), and left most of

accompanied by equally glamorous numbers in

argued that even before the notion of sustainability

the facade untouched. Accommodating hotels,

the advertised calculations. At a whopping cost

became a public awareness, Torino had engaged in

galleries, conventions, schools, and scores of shops

that relegates everything surrounding it into half

the cycles of urban renewals that were inherently

and food courts, the whole building is now a mini-

destitution, it speaks loudly for the high-tech,

sustainable.

high-cost and high-risk trend of modern green building technology.

The tradition of (or dare we say obsession

city wrapped in a skin of the 1930s' industrial iconography. The underlying argument here seems

with) reusing existing structures gives Torino the

to be that the formal value of yesterday's industry

Yet this tech glamor cannot represent the

most distinctive feature of its sustainability. From

can well extend into our time, as far as its content

contemporary Italian attitude towards sustainability

huge mega-structure to tiny housing projects, the

(space) is properly reorganized and re-activated.

in full. In the northern city of Torino at least,

pleasure in operating with the old is endless.

For this type of old structure, it is possible to use

there is a contrasting approach which advocates

Renzo Piano Building Workshop's conversion of

sustainability not through the hard numbers, but

the Lingotto Fiat Factory is a typical example of re-

ፕኁ‫ڇ‬࿋ǖൣࣀ‫ٷ‬ბॺዾბᇾ/School of Architecture,Tsinghua University ๭ߡන೺ǖ2013-04-30

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

minimum operation to trigger maximum human events.

2!ዐᅪิༀᇑీᇸၳ୲๖‫୍ٷݔ‬ǈԛ৙0TJFFC-!Cfjkjoh 3!ଠ߭ྂ‫ݤ‬ჱ༬߾‫׍‬ǈ‫ۼ‬ଳ0Mjohpuup!Gjbu!Gbdupsz-!Upsjop Ǆ2Ă3ฝᆖ0Qipup;!ቧ૧0[IBOH!Mjǅ

੣क़৊ႜဦ‫ీࠀࢅݴ‬ዘፇǈժᅜᅃ߲ mallǄምْ੗࿍

༵ืॺዾ௬ၠዷᄲন‫ࠌࠅڦڢ‬Ⴀǈଷᅃ‫ݛ‬௬ǈ؊‫ݴ‬૧

କ૬߉९ᆖ‫ڦ‬ၳࡕăഄܾǈփࡀሶ‫ܠ‬Չႚ‫ڦ‬ఢዊ໼঩

๟Đெࡔ๕ᅪᇼđǅ‫੷ీࠀ߲߳ܔ‬৊ႜ૶থ Ǘܸ‫ܔ‬ഄྔ

ᆩට்‫ܔ‬ᇱᆶ৶‫׍‬໯ׂิ‫ڦ‬ெ৶ᇑ๋࿿‫ڦ‬ጲ඗૴ၙă

ሞူྌ‫ڦ‬੣क़ాሰ৽କ‫߲ܠ‬ӷਸ‫ڦ׎‬Ă௴඀࢙ิ‫ڦ‬ঙ

ևሶ๟৑ଉྼ‫׼‬ᇱጒăణമǈኄᅃ߀ሰࢫ‫ݝ׍ڦ‬ዐᅙ

‫ړ‬ᅃ߲ኟඓ‫ڦ‬ඪခກĂᅃ߲ኟඓ‫ڦ‬੣क़ፇኯࢅᅃ߲ኟ

஌ǈሺेକሞॺዾాႚ‫ऻڟ܀ׯ‬ᅬ‫ڦ‬੗ీႠăഄෙǈ

ঢ়ᆶຕॆ৶‫ی‬Ăቛ઴ĂࣷᅱཐĂბၯࢅฉӥॆ‫ی‬೬त

ඓ‫׭ڦ‬๨ऻᅬీࠕ၎‫ڥ‬ᅮብ้ǈഄ঳ࡕ๟‫׉ݥ‬ସට႑

ᄺ๟ፌዘᄲ‫ڦ‬ǈኄᅃူྌ߀Վକኝ߲ዿ቎ሞೢ‫ں‬ฉ‫ڦ‬

֕ཐǈၟᅃፗྲ໫ࣅ‫׭ڦ‬๨ǈԈࡖሞਏᆶ 1930 ౎‫߾پ‬

‫ڦޜ‬ă‫׊‬ၠ‫ాڦ‬և๨‫ࢅׇ‬ቛ઴ᅜൟ຿‫ڦ‬বጾᇑ‫߲֕ܠ‬

ፗ஌‫ݛ‬๕ăසࡕຫǈᇱᆶዿ቎ৈৈ๟ᅜᅃዖ஦փঢ়႐

ᄽՔ๎Ⴀႚၡ‫ڦ‬՗ೄኮాăኄ૛ᆆࡤ‫ڦ‬യ໼َຼࢭ๟ ǖ

ཐ૶থǈᆅ‫ڞ‬ට்ᛮᛪഄዐă߾‫׍‬ዐԍା‫ڦ‬և‫ݴ‬৶‫׍‬

‫ڦ‬ጩༀĐ‫ݣ‬đሞକೢ‫ں‬ฉ‫ࣆڦ‬ǈူྌेॺࢫǈኝ߲ዿ

࿢்੗ᅜӝፐන߾ᄽ‫ڦ‬ႚ๕ᅃ኱ჽฦ‫ڟ‬࿢்‫ړ‬മ‫้ڦ‬

ยԢ၄ሞ‫ׯ‬କ‫޷ݿ‬ට்੣क़༹ᄓ‫ڦ‬ᄲ໎ă‫ܔ‬Ԩ‫ں‬౫ፕ

቎๟ഴ෇‫ڟ‬କೢ‫ں‬ኮዐǈᅜᅃዖྙೄ‫ڦ‬ጩༀᇑഄዜՉ

‫پ‬ǈኻᄲ໲‫ాڦ‬ඹీࠕԥጚඓ‫߸ں‬ႎĂዘፇࢅምْघऄă

࿿‫ڦ‬኱থᆐၨྺኝ߲ၜణ༵ࠃକସට࿮݆਌ਨ‫ڦ‬૙ᆯă

‫ڦ‬ৠ࠵ႚ‫ۯࢻׯ‬ǈ‫ٷٷ‬ሺेକዿ቎ዜՉओट੣क़‫ڦ‬ଶ

࣑ਔࣆຫǈ‫ܔ‬ᇀ‫ݤ‬ჱ༬߾‫׍‬ኄᄣ‫ڦ‬৹ॺዾܸჾǈডณ

Eataly ๟සُ‫ࠀׯڦ‬ǈᅜዂᇀ໲ႚ‫ׯ‬କᅃዖ੗ް዆‫ڦ‬

ᇘăेॺ๑ೢ‫ں‬փም๟੗ᆶ੗࿮‫ڦ‬٪ሞǈܸ๟‫ྺׯ‬କ

‫߀ڦ‬ሰ֡ፕᄺ੗ᅜ࣑ઠ਎‫ڦٷ‬೗ዊ༵ืǈॽට‫ࠌࠅڦ‬

ఇ๕ǈሞඇ൰ 20 ᇆ߲ૌຼၜణዐ‫ڟڥ‬କဣଚᆌᆩă

‫ׇ‬໯ᆐሰ‫ڦ‬ՂႷ Ǘዿ቎ᄺփም๟݄࿆‫୒ڦ‬๪ǈܸ๟‫ׯ‬

MARC ߾ፕ๪‫ܔ‬๨঎ᅃ໯ೢ‫ں‬ዿ቎‫ॺेڦ‬ᆇኤକ

ิऄፌ‫ࣅٷ‬ă

ా߭ഄӎǉք୛๚ခ໯ยऺ‫ ڦ‬EatalyǄĐ‫ٷ׺‬૧đǈ Đᅜၭ९‫ٷ‬đኄᅃຫ݆Ǆ཮ 4ǅă໚඗ेॺৈᆶ൶൶ӥ

ྺକิ‫ڦۯ‬ၕਃă ‫ۼ‬ଳ࣏๟ৎ‫پ‬ᅪ‫ٷ‬૧ጲᆯሏ‫݀ڦۯ‬ᇸ‫ں‬ǈᄺ๟ᅪ

ഄఁጴᇸᇀᆈᇕዐ‫ڦ‬Đ‫׺‬đᇑᅪ‫ٷ‬૧‫ڦ‬Đᅪđ๟ၿᅼǈ

ᇆೝ௝ǈ‫ٗڍ‬ዐ࿢்ඐ੗ᅜ‫෉؜܁‬Ⴀ੗‫׼‬ჄႠ‫ٷڦ‬૙

‫ٷ‬૧‫ڼڦ‬ᅃ߲๯‫ۼ‬ă‫؜‬ᇀኄᅃԝৠǈ‫ۼ‬ଳሞৎ၄‫ڦپ‬

཮ 3ǅ๟ᅃ߲‫ڦڢڢںں‬ᆶĐ࿆‫ڢ‬đ‫ڦ‬ၜణǈ‫ړ‬඗ǈ

౒ăኄᅃዿ቎ሞ 1950 ౎‫پ‬ᆯॺዾ฾ਸ਼ුટ߭౷ॺሰǈ

૦๏ฉٗ࿄ཕኹ‫ࠌࠅڦࡻ߸ܔ‬Ⴀࢅ߸ࡻ‫௷ࠅڦ‬Ⴀ‫ڦ‬՗

ኄ૛‫ڦ‬Đ࿆‫ڢ‬đ़ኸॺዾ੣क़‫ڦ‬඀࿆ǈᆼኸํा‫ڦ‬੗

Ԩ๟ဏ຿ೝ‫׉‬ǈ݄฀੗‫ר‬ăनՍසُǈႎ‫ܔॺेڦ‬ᇱ

‫ٳ‬ăཚࡗ‫ܔ‬ዮසਸ‫ݣ‬Ăೝ‫ڪ‬ኮૌ‫ڦ‬ጲᆯࣅዷቧ‫ڦ‬࿿ࣅǈ ‫ۼ‬ଳ౮૰๑௅ᅃ߲ႎ‫ࠌࠅڦ‬ၜణሞ‫ظ‬ሰओट‫׭ڦ‬๨ᅪ

ᅜ೗‫๋ڦ׈‬࿿‫ڢ࿆ڦ‬ăُၜణ๟‫ܔ‬ᅃ߲৹৶‫߀ڦ׍‬ሰǈ

ᆶև‫ݴ‬ධ඗ࡹ݀࿮ฅǈܸ๟ཚࡗᅃ߲ٓ௽ܸॕਦ‫ူڦ‬

ഄፌ‫ٷ‬༬‫ۅ‬๟૧ᆩᇱ‫ྷࢅݝ׍‬഻ኮक़‫ڦ‬੣ဤǈཚࡗॽ

ྌइ‫ڥ‬କᅃ็ෙౕ‫ڦ‬ၳࡕăഄᅃǈူྌӝጲ඗࠼၍‫ټ‬

ᅭ‫ݛ‬௬ᆛᆶፌ‫ڦٷ‬ၳࡕăሞ‫׭پړ‬๨ዐǈਸ‫ݣ‬ᇑೝ‫ڪ‬

ഄ߀Վ‫ׯ‬ᅃ߲၍Ⴀ‫ڦ‬௽ଋ‫ࠌࠅڦ‬੣क़ǈᅃ‫ݛ‬௬ǈ‫ޗٷ‬

෇‫ူںڦॺेڟ‬๪ǈྺ‫޷ݿ‬ኝ۰ዿ቎‫ڦ‬੣क़Ⴞଚ‫ټ‬ઠ

ඓํᅪ࿆ጣ‫׭ܔ‬๨ࠅࠌ੣क़ጨᇸ‫ݴࡻ߸ڦ‬ದǈᅺܸࣷ

Negozio Blu Architetti Associati's Eataly is

physically small (Figure 4). Nevertheless it gives

Being an early center of Italian liberty and

without doubt a "tasty" project (Figure 3), both

a sound representation of the big idea of soft

the ﬁrst national Capital, Torino has never stopped

literally and virtually. Based on an old factory of the

sustainability. While the old Casalegno house is

the inquiry into new interpretations of modern

wine industry, it utilizes the former residue space

okayish and featureless, the new extension makes

democracy and citizenship. It is through the

between the workshops and the wall enclosing the

little change to it. With one clever and decisive

materialization of liberal ideas such as open society

compound, reorients it to the street by a bright

digging into the ground, the extension achieves three

and equality that Torino has managed to maximize

gallery, and capitalizes on all the association with

changes at once. The ﬁrst is the bringing of generous

the positive effect of any building project. In

food and wine this place used to possess. When the

lighting into the added basement space, broadening

contemporary cities, being more open and more

right program, materialized by the right spaces, is

the spatial narrative of the house. The second is the

equal does mean better access to public resources,

finally lit up with the right memory, the result is

irregularly-shaped wooden steps around the dig that

and thus, better efﬁciency and sustainability.

very compelling. The long market and exhibition

provides pleasant semi-opened corners, suggesting

galleries are connected to the restaurants at a

new possibilities of memorable moments. Last but

comfortable rhythm, encouraging people to move

not least is the overall situation of the whole house.

L u c i a n o Pi a ' s C e n t e r o f B i o t e c h n o l o g y, Università di Torino gives the usually secretive and mystic modern research facility a new definition (Figure 5). It does everything to invite the city into the compound, opening up its boundary with strong determination. The main courtyard is completely visible to the street through a large piece of glass wall. The two stairwells on either side of the courtyard, starting from the opened auditoriums on the ground level and ending in passages to labs and offices in the top level, are made into

around at ease. The visible elements of the former

If the old house just "sat" on the landscape in a

industrial processes in the factory enrich the overall

more-or-less disinterested and disengaged fashion,

experience. The promotion of local produce gives

the new house with the dig anchors into the hillside

the whole project an irresistible purpose. The Eataly

and interacts with the landscape with playfulness. A

project is so successful that it has eventually been

much larger area of landscape surrounding the house

taken as a model and has sustained its success in

is activated. The slope is no longer an unimportant

over some 20 later incarnations around the world.

existence but an active place maker. The house is no

MARC's extension to the hillside house is

longer plain but vivid.

๘হॺዾ 2013/05

‫ټ‬ઠ߸ߛ‫ڦ‬ጨᇸၳ୲ǈᄺࣷ߸ᆶዺᇀ੗‫׼‬ჄႠă ୔ဇჱ౷ · ೄჱยऺ‫ۼڦ‬ଳ‫ٷ‬ბิ࿿रຍዐ႐‫ہ‬

6ǅăॺዾ࿋ᇀ‫ۼ‬ଳྔྷǈഄ૙౒‫ࢃڦ‬႐๟ॽܹཡ‫ੂڦ‬

ฉֶᅴࣅǈፌዕ‫ڞ‬ዂᆶ‫ೌڦ‬൶޷ǈᆶ‫ೌڦ‬൶൬ă߾ᄽ

ࢺᇑజൕ‫߾ڦ‬ፕᇑምঞᇣ৆௢ፇኯሞᅃഐǈኄᄣǈజ

‫׭‬๨ዐ‫ܠ࢔ڦ‬ঢ়षĂአዎࢅට੨࿚༶ᇑཎୟ‫ߪݴڦ‬ၳ

ޮକߛरຍჺ৯ዐ႐ཽᆆĂห௞‫ڦ‬ႚၟǄ཮ 5ǅăॺዾ

ൕ໚඗ሞྜ‫ׯ‬ጲम‫߾ڦ‬ፕǈ‫ڍ‬ඐሞ๚ํฉᇑ࡚ጱႚᆖ

ᆌ๟‫ݴ‬փਸ‫ڦ‬ă‫ۼ‬ଳሞ 2006 ౎૧ᆩ۬लӎሏࣷ‫ڦ‬ऐ

ᅜ߳ዖ‫ݛ‬๕ӝ‫׭‬๨‫ڦ‬ഘ‫ׇ‬ᆅ෇ጲว‫ྷݔڦ‬ኮాǈࡹփ

փ૗ăኄᄣᅃዖ߾ፕᇑॆခิऄ‫ڦ‬ೝ࢚ሞॺዾ‫ڦ‬քਆ

ࣷႪॺକӎଠ೅ਖ਼օႜൃǈᆈႧӯ‫ں‬ӝഋ౅‫ٷ‬নᇑ‫ݤ‬

ᆲᇩ‫ܔں‬Չহ৊ႜ‫ٶ‬ਸࢅ‫ح‬ሁăჺ৯ዐ႐‫ڦ‬ዷབྷᇾᇑ

ዐ‫ڟڥ‬କ኱ӣ‫ݒڦ‬ᆌăሞኄᅃքਆዐǈ๪ా‫ڦ‬੣क़ᇑ

ჱ༬߾‫׍‬኱থ૶ཚǈօႜൃੵሁຕๆཉཎୟ၍ǈᆛᆶ

ዷᄲ‫׭‬๨ন‫ڢ‬ኮक़ৈᅜᅃ‫ڦٷג‬ի૱഻௬‫߰ݴ‬ăॺዾ

๪ྔ‫ࢇྷڦ‬ᇾ஌঍༺‫؜‬၄ǈ࡚ጱ‫ీࠀڦ‬և‫ݴ‬ᇑྺజൕ

ഽଜ‫ڦ‬঳ࠓ՗၄ႚ๕Ǆฯ዁ԥంఁྺĐӎଠ೅ਖ਼ࠊđǅă

ኟ௬ଇ֨߳ᆶᅃև୍༱૶থጣ‫ڦ֫ڹ‬ӷਸ‫ݣ‬Ԓߢཐࢅ

‫ీࠀڦ‬և‫ྺࢻݴ‬ኧ‫׫‬ǈࢻྺٝ৊ăሞ‫ॺࡗح‬ዾඖ‫ڦ‬ዷ

օႜൃᇑഄຫ๟ᅃ߲रຍჇჾ߸փසຫ๟ᅃ߲አዎჇ

ฉև‫ڦ‬Ӹࠅ๪ᇑჺ৯๪ă୍༱๟‫ۓ‬໒႙‫༹ڦ‬ଉǈໜጣ

ᄲ‫׭‬๨ন‫ڢ‬ଇ֨ǈ๾࣐‫ڦ‬ၭዹ઴ӝॺዾඖ‫ڦ‬ଇ߲և‫ݴ‬

ჾă໲཭೦କ߾ᄽ้೺‫ڦ‬ᇱᆶፆ߰ǈॽႎ‫ڦ‬ऐࣷᇑႎ

ጲว‫ڦ‬ฉืሞন‫ڢ‬Չႚ‫ׯ‬ᅃဣଚ‫ڦ‬ೝ໼ࢅᄞ໼ǈᇑഄ

ቕࢇሞᅃഐǈምْ՗၄କజጱତৎኄᅃᄲ໎ăॺዾඖ

‫ڦ‬੗ీႠ๼෇‫ڟ‬ई‫ܠ‬ईณԥᅍྮକ‫׭ڦ‬๨൶ᇘăᅃ߲

໯௬ၠ‫ڦ‬ন‫ڢ‬੣क़ओट૴ဣăन๑๟ჺ৯ዐ႐ాև‫ڦ‬

ኝ༹‫ڦ‬຤ೝჽቛĂཚࡗၭ؅‫ా܈‬ᇾํ၄‫ڦ‬ጲ඗֑࠼‫ڪ‬

‫׭‬๨‫ڦ‬੗‫׼‬ჄႠ৊‫ړײ‬඗ᄲԈઔ‫ܔ‬ጲวփ੗‫׼‬Ⴤኢ঳

෇੨ᄺሞዷᄲন‫ڢ‬ฉൣည੗९ǈԈઔথ‫ڦځ‬മ໼ࢅഄ

ࠌཞྺॺዾᆐሰକҾৢ‫ॆڦ‬བྷࣅ‫ྷݳ‬ăॺዾඖྔ૬௬

‫ڦ‬ዎ૙ăٗኄ߲ঙ‫܈‬঄ǈӎଠ೅ਖ਼օႜൃ‫ڦ‬՗၄੗ං

ฉ‫ۉڦ‬ጱೡ၂๖ăॺዾሞኝ༹༹ଉฉ๑ᆩࣨ෥‫ټ୼ڦ‬

‫ྲڦ‬፾ችገᆶ૧ᇀ໫३ॺዾ‫༹ڦ‬ଉǈ৊ᅃօۨᅭॆབྷ

੗‫ۅ‬ă

ዊߌ‫ंڦ‬ౡཱིǈഽࣅ՗‫ٳ‬କॺዾසཞᅃ੷਎็ǈԥ‫׭‬

๕ม൶ኄᄣ‫ڦ‬ዷ༶ă

ዐࡔ‫׭‬๨੗ᅜٗ‫ۼ‬ଳ঺६‫ڦڟ‬ᅃ߲௽ඓ‫ڦ‬ഔ݀๟ǖ ‫׭‬๨‫ڦ‬੗‫׼‬ჄႠժփਆ၌ᇀሞ੔र‫׭ڦူۯټ‬๨ᆘॲ

๨‫ీڦ‬ଉ໯‫ح‬ሁࢅาཪ‫ڦ‬૙౒ăኟ๟ኄၵ‫ت‬૙ӝᅃ۰

Ⴉ · ‫ܙٳ‬ยऺ‫ڦ‬ӎଠ೅ਖ਼օႜൃփৈሞ࿿૙ฉ૶

Ԩᆶ੗ీ๟ಇ໱‫ࢅڦ‬უ೨Ⴀ‫ॺڦ‬ዾՎ‫ׯ‬କਸ‫ڦݣ‬Ă‫׵‬

থକཎୟ၍ଇ֨ǈᄺሞঢ়षฉࢅአዎฉ૶থକᇱઠ݀

߸ႎă‫׭‬๨‫ڦ‬੗‫׼‬ჄႠ๯ံᆌ๟ᅃ߲ࠅࠌิऄ‫ڦ‬࿚༶ǈ

ํ‫ڦ‬Ăၠ‫׭‬๨ഩࢅዂᅪ‫ݔۆڦ‬ă

ቛփ਩࢚‫ڦ‬ଇ߲‫׭‬๨ೌ൶Ǆ཮ 7ǅăሞ࢔‫߾ܠ‬ᄽ‫׭‬๨

๟ሞ‫׭‬๨‫ڦ‬࿿૙੣क़ࢅ‫׭‬๨‫ڦ‬ਃ௷ኮक़ॺ૬ഐิऄኄ

ᆯ‫ · ڤ‬ஆဇࢅ੔ஆ‫ڻ‬ᆅଶ‫ܓཷڦ‬ยऺ‫߾ڦ‬ፕǉิ

૛ǈᅃ߲௽၂‫ڦ‬ዘ߾ᄽᅍׂ৽๟‫ح‬ሁ‫׭‬๨‫ڦ‬ཎୟăཎ

ᅃ઺ࠦ౨‫ڦټ‬࿚༶ă੗‫׼‬ჄႠ‫෉ڦ‬Ⴀ֫௬փৈ٪ሞǈ

ऄೝ࢚ዐ႐ྺ޺౰ࢅܹཡ‫ڦ‬૧ᅮፔ‫؜‬କ‫ࠋڦڟ܀‬၅Ǆ཮

ୟྫྫӝ‫׭‬๨‫ೌ߲ܠׯߪݴ‬൶ǈ൐๑߲߳ೌ൶ሞঢ়ष

ܸ൐዁࠲ዘᄲăŕ 4!Đ‫ٷ׺‬૧đǈ‫ۼ‬ଳ0Fbubmz-!UpsjopǄฝᆖ0Qipup;!Gjmjqqp!Hbmmjopǅ 5!ೢ‫ں‬ዿ቎ेॺǈ‫ۼ‬ଳ0Ijmm!Tjef!Ipvtf!Fyufotjpo-!UpsjopǄฝᆖ0 ! Qipup;!Cfqqf!Hjbsejopǅ 6!‫ۼ‬ଳ‫ٷ‬ბ‫ݴ‬ጱิ࿿रຍჺ৯ዐ႐ǈ‫ۼ‬ଳ0Dfoufs!pg!Npmfdvmbs!! ! Cjpufdiopmphz-!Vojwfstjuà!ej!Upsjop-!UpsjopǄฝᆖ0Qipup;!ቧ૧0 ! [IBOH!Mjǅ 7!߾ፕ.ิऄೝ࢚ዐ႐ǈ‫ۼ‬ଳ0Xpsl.Mjgf!Cbmbodf!Dfoufs)Djuuà!efmmb! ! Dpodjmjb{jpofǅ-!Upsjop!Ǆฝᆖ0Qipup;!Njdifmf!EďPuubwjpǅ 8!ӎଠ೅ਖ਼օႜൃǈ‫ۼ‬ଳ0Pmznqjd!Gppucsjehf-!UpsjopǄฝᆖ0Qipup;!ቧ ! ૧0[IBOH!Mjǅ

sculptural forms and provide a series of platforms

for children and programs for mothers mutually

Olympics, the Olympic Footbridge creates a heroic

and balconies that interact with the street. Even

supporting and enhancing each other. Verandas

connection from Via Giacomo Zini directly to

the more private entrance to the inner part of

on both sides of the street cutting through the

the Lingotto. Running relentlessly across scores

the compound is clearly visible from the street,

compound strengthen the notion of vicinity. The

of railway tracks and fearlessly powerful in its

including the reception and the electronic banners.

horizontal volumes and the day-lighting through the

structural expression (even with the name "the

The use of concrete through-out the building gives

intimate courtyards generate a sense of quietness

Olympic Arch"), the Footbridge is as much a political

the overall impression of a monolithic urban object

and the atmosphere of the family. The slightly

statement (in a good sense) as it is a technological

being penetrated and permeated by the dynamics of

angled perimeter reduces the scale of the building,

one. It breaks the old boundaries of the industrial

the street. By doing this, this potentially exclusive

further defines the idea of a family-like community.

age and injects equal opportunities and new

and oppressive big research complex yields to the

Hugh Dutton's Olympic Footbridge to the

incentives into the more-or-less forgotten side

Lingotto not only bridges the gap between the

of the city. The sustainability of a city definitely

The Work-Life Balance Center (Città della

either sides of the railway physically, but also

includes the curing of its unsustainable elements.

Conciliazione ) by the team led by De Rossi and Crotti serves women and children in a unique way (Figure 6). Located in the outskirt of Torino, it brings the nursing of young children and the working/further educating of mothers right next to each other. The balance between work and home is straightforwardly expressed in the layout of the building, where indoor spaces and outdoor courtyards appear alternately, with programs

bridges the gap between the more developed and

In this regard, the Olympic Footbridge has certainly

the less developed areas of the city politically (Figure

delivered an exemplary performance.

city with openness and honesty.

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

7). In many industrial cities, one prominent legacy

One inspiration Chinese cities can draw from

of the heavy industry era is the railway cutting

Torino is clear: the sustainability of a city is not only

right through the city, dividing it, differentiating

about progress in hardware powered by technological

it, eventually making one side richer and the other

advancements and scientific breakthrough. It

poorer. Many economic, political and demographic

is primarily about the urban life that links the

issues are rooted in this dividing effect of the

physicality of the city to its human inhabitants. The

railway. Taking the opportunity of the 2006 Winter

soft dimension of sustainability matters. ŕ

़٪ॺዾ‫ڦ‬ምາ੊/!ዘްĂ३ณࢅთ࣍๑ᆩ‫ڦ‬੗‫׼‬ჄႠ RECONSIDERING THE EXISTING. SUSTAINABILITY AS REUSE, REDUCE AND RECYCLE ‫ྂ·ڤྼٳ‬க໭·‫ݯ‬ન‫ܠ‬/Davide Tommaso Ferrando ໥‫ڤ‬ୄ ᅳ/Translated by SUN Delong ࡗඁ‫ڦ‬ຕๆ౎ዐǈምิሞॺዾํ७ዐደॷ๴‫ڟ‬ዘ

႐‫ں‬ዘႎยऺᅜඹభߛ‫ܠ܈‬ᄣࣅ‫ڦ‬ႎ‫ݛ‬ӄǈժᅺُ‫ࠀׯ‬

ᄽॺዾ‫༹ڦ‬ଉၥ३ǈምेฉᇑටࢅጲ඗‫ڦ‬փཞლ‫ࢻڦ׉‬

๫ǈኄᄲࡃᅺᇀට்නᅮሺ‫پ౎ܔڦ׊‬ডৎ‫ڦ‬࿿ዊᅍ

ገՎྺᅃ߲Đ‫׭‬ዐ‫׭‬đă߀ሰၜణፎዘ़ᆶक૙ǈԍା

‫ۯ‬ǈิ‫ׯ‬କᅃ‫؜ت‬ටᅪଙ‫ڦ‬Ă‫ټ‬ᆶփ੗າᅱ‫౒ुڦ‬Ⴀ‫ڦ‬ ‫׭‬๨ৠ࠵ ǖᇑࠅᇴዜྷሞॺ‫ڦ‬ਃዿॺዾྜඇփཞă

ׂ‫࠲ڦ‬ጀǈनණ๎‫ ڟ‬20 ๘ु‫׭‬๨કቧ‫ݭ‬ചକ‫ٷ‬ଉ‫ڦ‬ှ

କഄፌਏ༬෥‫ڦ‬೗ዊĊĊ500m ‫׭ڦ׊‬๨૬௬ǈंౡཱི

ዃॺዾǄᆮഄ๟߾ᄽॺዾǅăৎઠ‫ླڦ‬ऐຼࢭेਗକኄ

ዹ଄‫ڦ‬ఇ੷঳ࠓǈాབྷᇾ‫ࡀڦ‬ሶಇଚǈ‫ڍ‬ഄ‫ظ‬ႎႠ༹၄

ጲ 1912 ౎ਸᄽᅜઠǈਸ਼ૃభጇ‫ت৽׍‬ᇀփ܏‫ڦ‬

ᅃ൵๞ǈ๑‫ڥ‬ยऺ֧୼ᄲ੊୯ᅙᆶॺዾ‫ڦ‬໫३Ă৛०Ă

ሞ‫ۥ‬ևेॺ‫ڦ‬ଇ߲၂ᄅ‫ڦ‬ՔኾႠᇮ໎ ǖᅃ߲ࠃ৛ᆈࣷ௬

Վ߫ኮዐǈሞੀԲჱ౷ኄ߲‫ۼ‬ଳ۫ళ‫ڦ‬ၭጲዎ๨ደօ

߀ሰĂኝႪ‫ڪ‬ᅃဣଚঢ়षᅺ໎ăඁ౎ྰ౅ຯມ౎ቛ‫ڦ‬

‫ڦ‬ի૱Đಟಟđǈᅜतᅃ߲ඹభࣃ઴‫ߒڦ‬ཎĐၒጱđăጲ

ႚ‫ׯ‬କ‫߾ڦ֫ݴ‬ᄽॺዾඖဣཥă߾‫׍‬ሼጆோᆩᇀ዆ጇǈ

‫࠷ࡔڤ‬Ǆ३ณ๑ᆩǈዘް๑ᆩǈთ࣍๑ᆩ ǖॺዾፕྺ

2003 ౎ྜ߾ᅜઠǈ৑࠶๴‫ڟ‬ঢ়षླऐ‫ڦ‬ᆖၚǈଠ߭ྂ

ܸසৃǈࠀీ‫ܠ‬ᇮࣅ‫ڦ‬ገ႙ࡗ‫ײ‬ᅙ‫׼‬Ⴤ 20 ౎Ǆධ࿄ྜ

ጨᇸ ǅྺ‫د‬խኄᅃ࠵౒ፔ‫؜‬କዘᄲࠋ၅ǈनٗ‫׭‬๨ጹ ࢇ༹‫ڦ‬ምิ‫ݭڟ‬࿿‫ڦ‬თ࣍૧ᆩǈሞփཞ؅‫֫܈‬௬ํ၄ କ੗‫׼‬ჄႠǈഄዐቛ‫ ڦ؜‬16 ߲ၜణ‫ۼ‬๟ٗ၄٪ॺዾዐ धൽଳߌ‫ڦ‬ăܸฉ೺ဇӬცሗኾĖa+tėǄ߀ሰ ǖႪްǈ ምᆩǈთ࣍ ǅᄺཞᄣࠀփ੗ுǈ໲‫ܔ‬ඇ൰ 39 ၜణዐ֑ ᆩ‫ ڦ‬82 ߲߀ሰ֧୼ፔକศ෇ܸཪ‫ݴڦן‬ဆă ଠ߭ྂഛ‫׼׍כ‬Ⴤ 20 ౎ኮ৳‫ܠీࠀڦ‬ᇮࣅ‫ڦ‬ገ႙ ईႹ๟‫ۼ‬ଳ໯ᆶ߀ሰዐፌਏၡኙႠ‫ڦ‬ǈኄၵ߀ሰՔኾ ጣ‫ۼ‬ଳኟٗ‫ڇ‬ᅃ߾ᄽ‫׭‬ኔၠࢫ‫ޟ‬༬ዷᅭ‫׭‬๨ࡗ‫܉‬ăଠ ߭ྂኄ߲ऐႁ้‫౒ुڦپ‬࿿ሞ 1982 ౎࠲Կࢫǈ৽ԥ৛

‫ܔ‬ᇀٝ৊ዜՉ൶ᇘ‫ڦ‬Վ࣏߫๟ഐ‫ڟ‬କዘᄲፕᆩǈᅺܸǈ

‫ׯ‬ǅǈഄణ‫ڦ‬๟ሞ࿄૧ᆩ‫ڦ‬੣क़ዐዃ෇ंࢇ࿔ࣅࢅਃዿ

ႎ‫ڦ‬ଠ߭ྂ߾‫ॽ׍‬ደॷ‫ۼྺׯ‬ଳް႗‫ڦ‬ዐ႐ኮᅃă ‫ܠ‬ઙࠅᇴ๟ᆯ቞‫ ں‬39hm2 ‫ڦ‬മ߾ᄽ൶߀ሰܸઠ‫ڦ‬ǈ

‫ݛڦ‬ӄă৑࠶ॺ‫ׯ‬ၜణǄᅃ߲Ӹࠅ୍Ăᅃ߲ၭձ࿿࠷ ࢅᅃ߲য়࿐๪ǅሞࠀీतްሗ‫܈ײ‬ฉֶ՚࢔‫ٷ‬ǈ‫ڍ‬໲

࿋ᇀ‫ۼ‬ଳᅃ߲቟୼Ⴀ‫ڦ‬ምਸ݀൶ᇘĊĊĐभዹ 3đăፇ

்‫܀ݛںٗۼ‬༬‫ڦ‬৛หዐधൽଳߌǈኄ༹၄ሞ‫़ܔ‬٪

‫ࠅׯ‬ᇴ‫ ڦ‬5 ߲൶ੵሁ‫ܠ‬ઙࢋଇӂǈժ࿄ྜඇ๴ᇱᆶ঳ࠓ

ॺዾॏኵ‫ڦ‬ණኪĂ‫ܔ‬ൽጲභୗǄ࿮ஃഄ๟‫ޏ‬೦໦Ăබ

ຐ޻ǈ३݆‫تڦ‬૙‫ݛ‬๕़ত๖କ޿൶ᇱᆶ‫߾ڦ‬ᄽ࢓गǈ

ࣅई๟ॕᆘ ǅ‫ڦ‬੗࣮๭֌ଙतॺዾԨว‫ڦ‬૧ᆩǈ༹࣏

ᆼޯᇎഄႎ‫ڦ‬ᆩ཰ă঳ࡕጣํସටና‫ ݺ‬ǖᅃ߲ᆯ૶Ⴤօ

၄ሞᄽዷൎු૛ӎ · ਸ਼ૃభ‫ܔ‬ೖ൬ᅝຍሏ‫ڦۯ‬࿔ࣅൡ

ႜୟ০ፇ‫ྪڦׯ‬ஏǈև‫تݴ‬ᇀ‫ں‬ೝ௬ǈև‫ݴ‬໻ߛǈᆅ‫ڞ‬

ၠăጇ‫׍‬࿮੣‫ں‬੗ᆩ ǖഄ߸ႎࡗ‫ײ‬๟ᆶऐ‫ڦ‬ǈժᅜᅃ

ᆴਜ਼‫ح‬ሁ՚ዂ‫ंڦ‬ౡཱིࢅߒཎ‫ݭ‬Ⴒǈኄၵ‫ݭ‬Ⴒև‫ݴ‬ԥኲ

ዖയሞ‫ڦ‬ཞ้ᄺ๟ঢ়ष‫ڦ‬თ࣍‫ݛ‬๕‫ܔ‬ཞᅃ๚࿿঴ࠓĂ

࿿ޮ߃ժേ௴‫ں‬බ෇൶ᇘా‫ࠌࠅڦ‬ၜణဣཥዐă‫ܔ‬മ߾

༺‫ࢅپ‬ዘፇăŕ

In the last decades, re-processes have acquired a growing importance in architectural discourse, thanks to the rise of a new attention to the physical heritage of our recent past ǉ an attention primarily impulsed by the recognition of the critical stock of unused structures (especially industrial ones) that XX Century urban growth has dramatically left behind. The recent crisis seems to have reinforced this tendency, adding a set of economic reasons to design strategies that focus on shrinkage, downsizing, conversion and refurbishment of existing buildings. More recently, important contributions to the diffusion of such approaches ǉ that address sustainability at different scales, from the regeneration of urban complexes to the recycling of wasted materials ǉ have been given by the German Pavilion at last year's Biennale di Venezia (Reduce Reuse Recycle: Architecture as Resource ), which exhibited 16 projects taking inspiration from existing structures, as well as by the last number of the Spanish magazine "a+t" (Reclaim: Remediate Reuse Recycle ), which offers a deep and thorough analysis of 82 re-strategies pursued in 39 projects all over the globe. The twenty years-long transformation of the Lingotto car factory into a multipurpose center is probably the most symbolic of all the interventions that are defining Torino's on-going transition from one-company town to post-fordist city. A monument of the age of the machine, after its closure in 1982 the Lingotto has been meticulously redesigned

to host a new and highly diversified program that has managed to convert the complex into a "city within the city". The reuse project intervenes respectfully on the existing fabric, by preserving its most characteristic traits ǉ the 500 meters-long urban facade, the modular structure of concrete pillars and beams, the regular sequence of inner courtyards ǉ but declares its novelty by adding two visible and iconic elements on top of it: a glass "bubble" for elite meetings and a steel "chest" hosting an art gallery. Since its completion in 2003, the new Lingotto has slowly become one of the neuralgic centers of Torino's regeneration, being its simple presence an important impulse for the transformation of its surrounding areas, although the economic crisis is now slowing down the process. Parco Dora is a new park obtained from the conversion into public soil of 39 hectares of a former industrial district, located in a strategic redevelopment area of Torino known as Spina 3. Spanning on both sides of the river Dora, the five zones that compose the park have been partially liberated from their original structures, in a subtraction process meant both to reveal and give a new use to the traces of the area's industrial past. The result is indeed fascinating: a continuous network of pedestrian paths, partially at ground level and partially elevated, leads the park users through picturesque sequences of concrete and steel ruins, partially covered by growing vegetation and subtly integrated in the system of collective programs now

hosted within them. The volumetric reduction of the former industrial complex, in its unusual encounter with people and nature, has managed to produce an unexpected, strangely monumental urban landscape: whose quality, unfortunately, is not comparable with that of the residential buildings that are now being constructed around the park. In a permanent state of transformation since its first opening in 1912, the Fornace Carena is a layered system of industrial buildings progressively erected in Cambiano, a small municipality in the south-east of Torino. Once exclusively dedicated to brick production, the complex is now undergoing a 20 years-long (and still unfinished) process of functional diversiﬁcation, aimed at installing a mix of cultural and residential programs in its unused spaces. Although the already completed projects (an office, a little museum and a guardhouse) are quite different in function and complexity, they all draw inspiration from the unique Stimmung of the place, which they filter through the recognition of the value of the existing structures, the availability of recyclable materials coming out of the furnace (it doesn't matter if broken, melted or straight) as well as from the buildings themselves, and the cultural proximity of the owner Cesario Carena with the Arte Povera movement. There's no space for tabula rasa at the Fornace : its transformation goes on organically, in a suggesting ǉ and, of course, economically convenient ǉ cycle of decomposition, displacement and recomposition of the same matter. ŕ

ፕኁ०঻ǖ‫ྂ·ڤྼٳ‬க໭·‫ݯ‬ન‫ܠ‬ǈॺዾჺ৯ኁǈೠஃॆǈ‫ۼ‬ଳ ૙߾‫ٷ‬ბॺዾბձ๗ǈக‫ڤ‬૛૙߾‫ٷ‬ბॺዾბᇾॺዾბຬ๗ǈ ྪஏሗኾĖZeroundicipiùėዷՊतཞఁ࿔ࣅၹࣷዷဝă Davide Tommaso Ferrando is an architecture researcher and critic, Ph.D in Architecture and Building Design (Politecnico di

Torino) and Master in Advanced Architectural Design (Escuela Técnica Superior de Arquitectura de Madrid). He is editor-inchief of the web-magazine "Zeroundicipiù" and president of the namesake cultural association. ๭ߡන೺ǖ2013-04-08

๘হॺዾ 2013/05

2 2!ਸ਼ૃభጇ‫׍‬ǈ࣮๭֌ଙ0Gpsobdf!Dbsfob-!sfdzdmfe!nbufsjbmtǄฝᆖ0Qipup;!NPUPFmbtujdpǅ

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

ଠ߭ྂ߾‫ॺ߀׍‬ǈ‫ۼ‬ଳǈᅪ‫ٷ‬૧ LINGOTTO FACTORY CONVERSION, TORINO, ITALY, 1983-2003 ॺዾยऺǖ୿ፒ·ೄჱ౷ॺዾ߾ፕ๪ ARCHITECTS: Renzo Piano Building Workshop

๘হॺዾ 2013/05

2!ౕ᭻0Bfsjbm!wjfxǄฝᆖ0Qipup;!Tuvejp!Nfsmpǅ

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

བྷᇾ50Dpvsuzbse5

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བྷᇾ40Dpvsuzbse4

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๘হॺዾ 2013/05

࿋ᇀ‫ۼ‬ଳ‫ڦ‬ଠ߭ྂ߾‫׍‬ሼঢ়๟‫ݤ‬ჱ༬ഛ‫כ‬ዷᄲ‫ڦ‬ ิׂ‫ںׇ‬ǈ၄ሞධ඗๟၄‫ॺپ‬ዾፌਏ‫پ‬՗Ⴀ‫߾ڦ‬ᄽॺ ዾኮᅃă

ް႗઻߾‫ ׍‬Ǘᇑُཞ้ǈԍ‫ॺڦ׍߾઻׼‬ዾ߲Ⴀă ଠ߭ྂ߾‫׍‬๟୿ፒ · ೄჱ౷ॺዾ߾ፕ๪ဣཥႠ࠲ ጀ‫׭‬๨੣क़ዷ༶‫ڼڦ‬ᅃ߲ၜణă

ᆶ঳ࠓዐǈྷජႎ঳ࠓ‫ंڦ‬ౡཱི଄ԥᅃဣଚၞঌ‫߰ۈ‬૗ă ૝༗ዐำბၳࡕ‫ڦ‬Վࣅཚࡗۙኝഄᆯఢӱፇ‫ڦׯ‬ ऄ‫ۥۯ‬ಱᇮ໎ઠํ၄ă

߾‫ײ‬฾க༬ · ༬୛੔ٗ 1915 ౎ਸ๔କ‫ڦ׍߾ܔ‬ย

ঢ়ࡗ஦‫ײࡗॺ߀ڦ׊‬ǈኄፗ߾‫׍‬ԥࣄ‫ܠྺݴ‬ዖࠀ

· ൅ྑ౅ᇑகૃઙ · Үౝ૧ெຍ࠷ǈሞຒၠฉჽฦ

ऺǈ໱ٗԛெ߾ᄽॺዾዐइ‫ڥ‬ଳߌǈժᄂᆩକ࢘౅Բ

ీ ǖฆᄽ੣क़ǈዿ቎ǈ৶‫ی‬ǈᅜत‫ت‬ᇀᆫံ‫ں‬࿋‫ڦ‬࿔

዁ 6 ֫੣क़ǈጺ௬ओॽৎ 2 800m2ă໲ٗ‫ټ‬ᆶ๳೑‫ت‬

ਖ਼ሼሞ‫ޟ‬༬߾‫ߒڦ׍‬ীंౡཱི঳ࠓॺሰዐ๑ᆩ‫ڦ‬๮݆ă

ࣅࠀీăሞྔև‫ڦ‬঳ࠓԍ‫׼‬փՎ‫ڦ‬ཞ้ǈॺዾాևঢ়

‫૶ܾ֫ڦ‬઴ਸ๔ăᇑኮ၎ତ‫୍֫ڦ‬ԈࡤକӸࠅ๪ࢅঞ

ࡗକဥਗႠ‫ں‬ገՎǈᅜ஢ፁኄၵႎ‫ీࠀڦ‬Ⴔ൱ă

ბዐ႐ă֪๬‫ࢅ֫ڢכ‬໲ူև‫ڦ‬੣क़๟ྺଣ้ቛબ‫ޜ‬

ኄፗॺዾ࿋ᇀ౅ຯ௝૧‫ڻݛ‬൶ǈፖ஌ሞ౅ຯୟᇑ ‫ۼ‬ଳཎୟ‫ڦ‬ᅃཉኧୟኮक़ă ଠ߭ྂ߾‫༹ڦ׍‬ଉ‫ ٳ‬100 ྤ m3ǈ‫ ׊‬500mǈߛ 5 ֫ǈ

ٗ 1991 ౎ਸ๔዁ 2003 ౎঳ຐ‫ײࡗॺ߀ڦ‬ԥ‫ྺݴ‬

ခ‫ڦ‬ǈܸፌ‫֫ۥ‬ᆩᇀᆦ৳Ⴀቛ‫ר‬ăᆯᇀമ 5 ֫੣क़‫ۼ‬

3 ߲૶Ⴤ‫ڦ‬঩܎ ǖ௅ᅃ߲ྜ‫ڦׯ‬൶ᇘ‫ۼ‬੗ᅜ‫܀ڇ‬ሏᆐǈ

๟ٗԛ໴୍ాև‫ݴ‬૗‫؜‬ઠ‫ڦ‬ǈ‫ ڼ‬6 ֫ሞ֌ଙࢅ঳ࠓฉ

๟एᇀዘްዹĂ଄Ă୍ӱኄ 3 ዖࠓ‫ׯ‬ᇮ໎‫ڦ‬ఇຕࣅߒ

࿮Ⴗ‫ځڪ‬዁ኝ߲ၜణ঳ຐăቛબዐ႐ሞ 1992 ౎ਸటǈ

ሶྜඇփཞă

ীंౡཱིॺዾ‫ڦ‬ፌራံ૩ă

ܸࢫǈࣷᅱዐ႐ࢅ૝༗ሞ 1994 ౎ྜ‫ׯ‬ǈ৶‫ی‬ᇀ 1995

߾ፕ‫כ‬क़ᆯଇ߲‫ ࡗג‬500m ‫ڦ׊‬Ăᆩᇀ዆ሰഛ‫כ‬ ‫ڦ‬ጻၠᇮ໎ࠓ‫ׯ‬ǈ໲்ኮक़ᆼཚࡗ 5 ߲ඹభᇵ߾ยแ

౎ྜ‫ׯ‬ǈ‫ޜ‬ခዐ႐ĂӸࠅ੣क़ᅜतᅃ߲ྜඇᆩᇀฆᄽ

‫ߒڦ‬঳ࠓǈഄዐ๭భକ൅ྑ౅ᇑகૃઙ · Үౝ૧ெຍ

‫ڦ‬੣क़ሞ 2002 ౎ྜ‫ׯ‬ǈଷᅃ߲৶‫ی‬ሞ 2003 ౎ྜ‫ׯ‬ă

࠷‫ڦ‬ᆦ৳Ⴀቛ‫ר‬ă

‫࢙֫ܠڦ‬ၠᇮ໎૶থă1924 ౎ǉ 1926 ౎क़ǈሞጻၠ

1997 ౎ǈ‫ݤ‬ჱ༬णཷ࠶૙ጺևӭ࣮዁Ӹࠅ୍ă

ᇮ໎‫܋ڦ‬ཀྵሺेକଇ߲அ჉ೢ‫ڢ‬ă

ీࠕ༵ࠃഛ‫ײ߾כ‬ბ࿋‫߾ڦ‬ᅝბၯ‫ڦ‬ጺևᇀ 2002

‫ں‬௬֫‫ڦ‬ഛ‫כ‬੗ᅜ঺ُೢ‫ڢ‬኱‫ॺٳ‬ዾ࿭‫ۥ‬ฉ‫֪ڦ‬

ĐዩԐ࢈đ๟ᇑĐಟಟđ࿋ᇀཞᅃ֫‫ڦ‬ᅃ߲ 450m2

౎‫ׯ‬૬ǈཞ౎‫ׯ‬૬‫࣏ڦ‬ᆶெຍ࠷ă

ኄև‫ݴ‬൶ᇘٗฉևइ‫࠼ڥ‬ቷ ǖ࿭‫ྔڦۥ‬՗௬๟ཪ ௽‫ڦ‬ǈ੗ᅜཪࡗጲ඗࠼၍ăྺକ๑ቛ‫ڦ؜‬ፕ೗փԓ୞ ሞ኱พ࠼ዐǈሞ࿭‫ူڦۥ‬௬ยዃକᅃဣଚऄ‫ۯ‬୩ӱᅜ

๬‫ڢכ‬ă֪๬‫ڢכ‬Ԉࡤଇ߲‫ ࡗג‬400m ‫ڦ׊‬኱‫ࢅڢ‬ᇑ

߾‫ڦں‬ਸ‫้ݣ‬क़ྼ‫׼‬କ 16 ౎ă

ۙኝන࠼ăᅃ߲ᆯ༬๺ࢇ‫֌ׯ‬ଙ዆‫ڦׯ‬ԍࢺ֫ٗాև

ഄ၎૶‫ڦ‬ଇ߲ႜ๓้໏੗‫ ٳ‬90km/h ‫ڦ‬ಙ࿿၍ྖ‫ڢ‬ă

ኄ߲ॺዾጹࢇ༹ዐԈࡤ ǖ

ྜඇޮ߃࿭‫ۥ‬ă

ଠ߭ྂ߾‫׍‬ሞ 1982 ౎࠲Կă1984 ౎ǈ‫ݤ‬ჱ༬ࠅ

·Đಟಟđǖᅃ߲ྜඇཪ௽‫ࣷڦ‬ᅱ๪࿋ᇀଠ߭ྂ߾‫ڦ׍‬

ິਉӸକᅃْ߁౒৪ෘǈܸࢫሞ 1985 ౎ǈ྿ྂ୿ፒ ·

࿭‫ۥ‬ǈ֪๬‫ڢכ‬ฉ‫ݛ‬ă௬ओ 150m2ǈ኱০ 14mǈߛ 8mă

ೄჱ౷ॺዾ߾ፕ๪ॽኄፗॺዾٗᅃ߲߾‫߀׍‬ሰྺᅃ߲ ‫ీࠀܠ‬ዐ႐ă ኄ߲ၜణᆶଇ߲ణՔ ǖཚࡗገՎྺ‫ీࠀܠ‬ዐ႐ઠ

· 2 000 ፗ‫ڦ‬൅ྑ౅ · Үౝ૧૝༗ăᆫံ੊୯‫ڦ‬࿚ ༶ኮᅃ๟ԍኤ‫߰ڦڹן‬ำၳࡕ ǖ߾‫׍‬ᇱᆶ 4 ߲བྷᇾǈ૝ ༗ԥยዃᇀഄዐᅃ߲བྷᇾ‫ူڦ‬௬ǈႎ‫ڦ‬঳ࠓԥኝࢇ৊ᇱ

ሞĐዩԐ࢈đ‫ڦ‬ฉ‫ݛ‬ǈኧഐକᆯ 4 ֫႙ߒࢅ 1 600 ೌի૱ӱࠓ‫ ڦׯ‬1 000m2 ‫ۥڦ‬ಳă‫ۥ‬ಳᆯߒዹኧ‫׫‬ǈ ჈‫ޝ‬ሞࣃ઴ฉ‫ٷݛ‬ሀ 1m ‫ت‬ă ெຍ࠷ሞ 2002 ౎ 9 ሆ 20 නਸటǈྺଠ߭ྂ߀ሰ ߾‫ࣃײ‬ฉକਔࡽăŕǄ૚ැ႓ ᅳǅ

ԛೢ‫ڢ‬ Opsui sbnq

ആࣙࢾᇴ0Hbsefo!pg!xpoefst

བྷᇾ20Dpvsuzbse2

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

Torino's Lingotto building was once one of Fiat's major production facilities, and remains one of the modern architecture's most emblematic industrial structures. Its design began in 1915 by engineer Matté Trucco, who drew his inspiration from North American industrial architecture and employed the same methods Hennebique used for the construction of the reinforced concrete structures at the Ford factories. The building is located in the Nizza Millefonti district, nestled between Via Nizza and a branch of the Torino railway link. With a volume of one million cubic metres, a length of 500 metres and a height of 5 storeys, the Lingotto building was the first exemplar of modular reinforced concrete construction based on the repetition of three constituent elements: columns, beams and floors. The workshops were made up of two long longitudinal elements of over five hundred metres in length, used for manufacturing the automobiles, 8

which were joined by five multi-level traverse elements dedicated to the facilities for the personnel. Between 1924 and 1926, two spiral ramps were added at the ends of the long elements. This provided the automobiles on the ground floor with direct access to the test track, which was located on the building's roof. The track was comprised of two straight tracts of over four hundred metres in length, which were connected by two parabolic curves that could be travelled at 90 km/h. The factory was closed in 1982. In 1984, Fiat S.p.A. announced an idea competition and, in 1985, commissioned the Renzo Piano Building Workshop to convert the building from a factory into a multipurpose centre. The project had two objectives: to revive the factory by transforming it into a multipurpose centre and to maintain its architectural identity. The Lingotto building was the first project in which RPBW systematically addressed the theme of urban space. Through a lengthy restructuring process,

9 8!ଠ߭ྂ߾‫߀׍‬ሰࢫྔৠǈྭၠĐಟಟđ0Wjfx!pg!uif!Mjohpuup!Gbdupsz!bgufs!uif! ! sfibcjmjubujpo-!mppljoh!uif!ĐCvccmfđǄฝᆖ0Qipup;!Hjbooj!Cfsfohp!Hbsejoǅ 9!Đಟಟđǈ೪௬ 0Tfdujpo-!ĐCvccmfđ

๘হॺዾ 2013/05

: :!Đಟಟđǈాৠ 0Joufsjps!wjfx-ĐCvccmfđǄฝᆖ 0Qipup;!Njdifm!Efobodéǅ

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

๘হॺዾ 2013/05

the factory was divided into various functions:

-The "Bubble": a completely transparent

While the first five levels have been derived from

commercial spaces, dwellings and hotels, with

meeting room on the Lingotto building's roof, above

the interior of the north tower, the sixth level is

precedence being given to cultural use. While the

the test track. It offers an area of 150 square

a foreign element in terms of both materials and

structure's external aspect remained unaltered, its

metres, a diameter of 14 metres and a height of 8

structure.

interior was drastically modified in order to meet

metres.

these new requirements.

The "jewellery box" that houses the permanent

-The Gianni Agnelli Auditorium, seating up to

collection of the Giovanni and Marella Agnelli

The conversion process was carried out in

2 000 people. One of the priorities was to ensure

Pi c t u r e G a l l e r y i s a 450 s q u a r e m e t r e s t e e l

three consecutive phases, from 1991 to 2003: each

complete sound insulation: located beneath one

structure, located on the same level as the Bubble.

completed area was rendered operational without

of the factory's four courtyards, the new structure

The area receives lighting from above: the

awaiting the finalization of the entire project. In this

has been integrated into the existing structure

outer surface of the roof is transparent and let in

manner, the exhibition centre was inaugurated in 1992,

and encased by concrete beams, each of which is

the natural light. Beneath it, a system of mobile

followed by a conference centre and an auditorium in

isolated by a series of rubber cushions.

aluminium slats is used to adjust the lighting in

1994, a hotel in 1995, a service centre, several offices

The structure's acoustic variability is achieved

order to ensure that the works are not exposed

and an area devoted entirely to commercial spaces in

thanks to its mobile ceiling elements, which are

to direct sunlight. A protective layer made from

2002, and another hotel in 2003.

comprised of wood panels.

a special synthetic material completes the roof

In 1997, Fiat group's management headquarters

-The Giovanni and Marella Agnelli Picture

internally.

Gallery, extending vertically over six floors and

Above the treasure chest, protruding on all four

The headquarters of the Politecnico, which

occupying a total area of approximately 2,800

sides, is a 1 000 square metre canopy made up of

offered a degree in automotive engineering, was

square metres. The structure begins with the first

four layers of profiled steel and 1 600 glass plates.

floor arcades, where the ticket counter is located.

The canopy is secured by steel posts, which keep it

The subsequent floors house the offices and teaching

suspended about a metre above the gallery.

returned to the office block.

inaugurated in 2002, as was the Picture Gallery. The worksite remained open for a total of 16 years. Some of the complex's architectural elements include:

centre. The test track level and that just below it

The Picture Gallery was inaugurated on 20

contain a space for temporary exhibitions, while the

September 2002, thus concluding the Lingotto

uppermost level houses the permanent collection.

building's transformation process. ŕ

21!བྷᇾ0Wjfx!gspn!uif!dpvsuzbseǄฝᆖ0Qipup;!Hjbooj!Cfsfohp!Hbsejoǅ 22!ᅼૂ0ࣷᅱཐǈ೪௬0Tfdujpo-!dpodfsu.dpohsftt!ibmm 23!ᅼૂ0ࣷᅱཐǈాৠ0Joufsjps!wjfx-!dpodfsu.dpohsftt!ibmm!! ! !!Ǆฝᆖ0Qipup;!Hjbooj!Cfsfohp!Hbsejoǅ

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

๘হॺዾ 2013/05

27 24!൅ྑ౅ᇑகૃઙĄҮౝ૧ெຍ࠷ǈᅁৠ0Ojhiu!wjfx-!Hjpwbooj!boe! ! Nbsfmmb!Bhofmmj!Qjduvsf!Hbmmfsz 25!Үౝ૧ெຍ࠷ᅁৠǈူ௬๟ฆᄽև‫ݴ‬ਸ‫ݣ‬੣क़ฉ‫ڦ‬ႎ‫ڦ‬ի૱࿭‫ۥ‬0 ! Ojhiu!wjfx!pg!uif!Bhofmmj!Qjduvsf!Hbmmfsz!Mppljoh!epxo!po!ofx!hmbtt! ! sppg!pwfs!tipqqjoh!dpvsu!xjui!pqfojoh!dfousbm!qpsujpo !Ǆ24Ă25ฝᆖ0Qipup;!Fosjdp!Dbopǅ 26!൅ྑ౅ᇑகૃઙĄҮౝ૧ெຍ࠷ǈ֥཮0Tlfudift-!Hjpwbooj!boe! ! Nbsfmmb!Bhofmmj!Qjduvsf!Hbmmfsz 27!൅ྑ౅ᇑகૃઙĄҮౝ૧ெຍ࠷ǈాৠ0Joufsjps!wjfx-!Hjpwbooj!boe! ! Nbsfmmb!Bhofmmj!Qjduvsf!HbmmfszǄฝᆖ0Qipup;!Njdifm!Efobodéǅ

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

ଠ߭ྂ߾‫߀׍‬ሰ / Lingotto Factory Conversion,

M.Rossato Piano, A.Sacchi, P.Sanso, A.Stadlmayer,

ਗ‫ׇ‬ยԢ /Theater Equipment: Techplan

1983-2003 ৪ෘ /Competition: 1983

A.H.Temenides, K.Van Casteren, N.Van Oosten,

ቷ௽ /Lighting: P.Castiglioni

H.Yamaguchi

ೝ௬ยऺ /Graphic Design: P.L.Cerri, ECO S.p.A.

ᄽዷ /Client: Fiat S.p.A.

CAD ࣼ཮ /CAD Operators: S. Arecco, F. Bartolomeo,

๪ా / ৶‫ ی‬/Interiors/Hotel: F.Santolini, F.Mirenzi

ॺዾ฾ /Architects: Renzo Piano Building Workshop

M. Busk-Petersen, N. Camerada, M. Carletti, I.

๪ా / ࠔ࿿ዐ႐ /Interiors/Shopping Center: CIA

ยऺཷ‫ܓ‬/Design Team: S.Ishida (ࢇፕ/Associate), C.Di

Cuppone, R. Croce Bermondi, B.Lenz, L.Micucci, M.

၄‫࠶ׇ‬૙ /Site Supervision: Studio Vitone & Associati,

Bartolo, O.Di Blasi, M.Carroll, F.Doria, G.Fascioli,

Nouvion, P. Pedrini, M. Piano; I. Corte, D. Guerrisi, G.

F.Levi/G.Mottino, Studio Rousset

E.Frigerio, R.Gaggero, D.Hart, P.Terbuchte,

Langasco, L. Siracusa

R.V.Truffelli

ఇ႙ /Models: D.Cavagna, O.Aubert, C.Colson,

൅ྑ౅ᇑகૃઙĄҮౝ૧ெຍ࠷ / The Giovanni and

ย ऺ ศ ࣅ ࢅ แ ߾ ঩ ܎ /Design Development and

P.Furnemont, Y.Kyrkos

Construction Phase: 1991-2003

ࠥ࿚ /Consultants:

Marella Agnelli Picture Gallery, 2000-2002 ᄽዷ /Client: Lingotto S.p.A. + Palazzo Grassi

ᄽዷ /Clients: Lingotto S.p.A. + Pathé + Palazzo Grassi ยऺཷ‫ ܓ‬/Design Team:

঳ࠓᇑ‫ޜ‬ခ /Structure and Services: Ove Arup & Partners, AI Engineering, Fiat Engineering

ࢇ अ ට त ޶ ሴ ॺ ዾ ฾ /Partners, Partners and

‫ޜ‬ခ / ᆖᇾ /Services/Movie Theater: Manens Intertecnica

ፕኁ /associate in charge) with A.Belvedere, K.

Architects In Charge: M.Carroll, M.Cucinella,

‫ޜ‬ခ / ცᅅბၯ /Services/Dental School:

van Casteren, D.Dorell, F.Florena, B.Plattner ( ࢇ

S.Ishida, B.Plattner, M.Salerno, S.Scarabicchi,

Prodim+Teksystem

अට /partner) and A.Alborghetti, M.Parravicini,

R.V.Truffelli, M.van der Staay, M.Varratta, P.Vincent

ำბ /Acoustics: Arup Acoustics, Müller BBM, Peutz

A.H.Temenides; C.Colson, Y.Kyrkos, O.Aubert ( ఇ႙ /

A.Belvedere, M.Cattaneo, D.Piano, M.Pimmel

models)

with P.Ackermann, A.Alborghetti, E.Baglietto ( ࢇ

& Associés ‫ݞ‬आ /Fire Prevention: PI Greco Engineering

अට /partner), L.Berellini, A.Calafati, A.Carisetto,

ሰॏ੦዆ /Cost Control: Davis Langdon Everest, Fiat

࿭‫ۥ‬঳ࠓ /Roof Structure: RFR

G . C o h e n , F. C o l l e , P. C o s t a , S . D e L e o , A . D e

Engineering, GEC Ingénierie

ዷᄲ঳ࠓत‫ޜ‬ခ /Primary Structure and Services:

ॺዾ฾ /Architects: Renzo Piano Building Workshop ยऺཷ‫ ܓ‬/Design Team: M.van der Staay ( ޶ሴࢇ

ࠥ࿚ /Consultants:

L u c a , D . D o r e l l , S . D u r r, F. F l o r e n a , K . F r a s e r,

૬௬߾‫ ײ‬/ ഛ‫ײ߾כ‬ბၯ /Facade Engineering/Car

Fiat Engineering

A.Giovannoni, C.Hays, G.Hernandez, C.Herrin,

Engineering School: Emmer Pfenninger Partner

‫ݞ‬आ /Fire Prevention: PI Greco Engineering

W.Kestel, P.Maggiora, D.Magnano, M.Mariani,

࿭‫ۥ‬঳ࠓ / ᅝຍࣃ઴ /Roof Structure/Art Gallery:

ቷ௽ /Lighting: P.Castiglioni

K.A.Naderi, T.Nguyên, T.O' Sullivan, M.Parravicini,

RFR

ࠥ࿚ॺዾ฾ /Consulting Architect: Studio Inarco

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2:!ଠ߭ྂ৶‫ی‬ǈాৠ0Joufsjps!wjfx-!Mjohpuup!Ipufm !!Ǆ29Ă2:ฝᆖ0Qipup;!Hjpshjp!Dsbwfspǅ 31!‫ۼ‬ଳ߾ᅝბၯాৠ0Joufsjps!wjfx-!Qpmjufdojdp!ej!UpsjopǄฝᆖ0Qipup;!Njdifm!Efobodéǅ

๘হॺዾ 2013/05

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

‫ܠ‬ઙࠅᇴǈ‫ۼ‬ଳǈᅪ‫ٷ‬૧ PARCO DORA, TORINO, ITALY, 2004-2013 ॺዾยऺǖઙጦ+ࢇअටৠ࠵ॺዾत‫׭‬๨ࡀࣄ๚ခ໯ LEADING ARCHITECTS: Latz + Partner Landscape Architects Urban Planners

๘হॺዾ 2013/05

2!ྼ໴૧0Wjubmj!Ǆฝᆖ0Qipup;!Psofmmb!Psmboejojǅ

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

ఎܻ໴ઙ‫੷ں‬

ྼ໴૧‫੷ں‬ ᅺञຯ༬‫੷ں‬ ࣀ‫ڢ‬ঙ‫੷ں‬

௝ഄଠ‫੷ں‬

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๘হॺዾ 2013/05

ৠ࠵ዘ໒ጲว

ፕྺࠅᇴᇑ‫ڢ‬ୟኮक़‫ڦ‬ೡቱăᅃଚ጑࠵‫ߒڦ‬ዹኧ‫׫‬ጣ

‫ڦڟ‬ՔኾႠৠ࠵ǈժ൐ాևႚ‫ׯ‬କᅃ߲ห௞‫ڦ‬ႎ๘হă

19 ๘ु఍‫ۼ‬ଳ߾ᄽࣅਸ๔ǈႹ‫׍߾ܠ‬ᄂጣ‫ܠ‬ઙࢋ

ٗն߭ැୟᆅၠ࿋ᇀࠅᇴዐ႐‫ྼڦ‬໴૧‫ڦ‬໻ืօႜ

‫ڦ֫گ‬Đઢཐđ࠼၍ලࢅǈ࠼‫ټ‬ᄂጣօႜୟǈ௮ࣃ‫؜‬

‫ڢ‬ă

ᅜമ‫ٷ‬ཐ‫୾ྔڦ‬ખ၍ă

ԥॺሰഐઠă20 ๘ु‫؛‬ǈໜጣ‫ݤ‬ჱ༬ߒཎ‫׍‬ᅜत௝ഄ ଠ୾໹‫ॺڦ׍‬ยǈ߾ᄽࣅ‫ฺ้ۦٳڸ‬೺ă1980 ౎‫پ‬ǈ

ٗߛ‫ت‬੗ᅜੂ‫ڟ‬ห฽‫߾ڦ‬ᄽॺዾĊĊ7 ۰ߛ໴Ă

ኄၵ߾‫׍‬ໜጣ߾ᄽ‫ٷ‬ၢཉܸ࠲Կăኄ๑‫׭‬๨ዐ႐ചዃ

ԥ߀ॺྺႎ฽ྂྑܻྂঞ༗ዓ୍‫ڦ‬ჶٕᅜतྼ໴૧‫ڦ‬

କ‫ٷ‬௬ओ೦Өփਾ‫׭ڦ‬๨ᆩ‫ں‬ǈᅜतႹ‫ܠ‬ଭ႓‫ݭ‬ച‫ڦ‬

ߛເߒዹĊĊኮक़ࢅၿ‫ڦ‬၎ࢻፕᆩă

ཱི‫ں‬ă

௝ഄଠ മ௝ഄଠ୾໹‫܎ںڦ׍‬ԥ߀ሰ‫ׯ‬କᅃೌ࠽ગ‫֥ڦ‬ ‫ࠅں‬ᇴǈᅺഄৠ࠵ࢅ‫ں‬ஸܸ༬ኙး௽ăᅃೌႎॺ‫חڦ‬

ྼ໴૧ࢅఎܻ໴ઙୟ

မ‫ٶ׾‬ਸକ‫ܠ‬ઙࢋ‫ڦ‬Չহ Ǘਸྌଙᆩᇀ዆ፕ‫ו‬ၠ‫ڢ‬ୟ

1998 ౎ǈᅃ߲‫׭‬๨߸ႎၜణഔ‫ۯ‬କǈᆩᅜዘ໒ኄ

࿋ᇀമྼ໴૧ߒ‫ٷ׍‬ཐ‫ڦ‬਎႙঳ࠓႚ‫ׯ‬କସටጣ

ࢅॺዾ‫ڦ‬Խᅹ‫ۓںٷڦ‬໒ăᄂࢋཚ‫ڢ‬੗ᅜ૶থ຤௬ࢅ ੵ‫ൃߒ׾‬ǈᅜतཚྫ‫ܔ‬ӂྼ໴૧‫ڦ‬ටႜൃăᅃଚଚփ

ၵࢫ߾ᄽ้‫ٷپ‬ၢཉᅍା‫ںڦ‬൶ǈժ൐ޯᇎ໲்ඇႎ

௚‫ڦ‬Ă؊஢ิഘ‫ࠅڦ‬ᇴዐ႐ăॺዾ‫ྔڦ‬՗ೄࢅ‫ٷ‬և‫ݴ‬

‫ీࠀڦ‬ăᆯᇀ‫ܠ‬ઙࠅᇴԈઔକᅃၵओट‫߾ڦ‬ᄽᅍׂৠ

࿭‫ۥ‬ԥָႂࢫǈ30m ߛ‫ࢤڦ‬෥ߒዹඖ၄ሞੂഐઠၟᅃ

ཞຏዖ‫ڦ‬ຏఢԥዖኲሞ‫ۓںٷ‬໒‫ڦ‬റೢฉ༵ࠃጣຏᅹă

࠵ǈ໲ၡኙጣ‫ܔ‬ᇀ‫ݒ‬ᆙ‫׭‬๨Վദ‫ాڦ‬և‫׭‬๨ৠ࠵‫ڦ‬ඇ

ೌĐ࿄ઠ‫٘ڦ‬ଠđăவ௢‫֥ڦ‬ఢࢅࠅࠌิऄᅙঢ়থ࠶କ

ᅃཉĐߛୟđ‫ۅۥٳڟ‬ǈට்੗ᅜٗఫ૛ྭၠᅺञຯ

ႎ঴‫܁‬ă ࠅᇴԈઔ 5 ߲‫܀‬૬൶ᇘǈഄዐ 3 ߲ᅜሼঢ়࿋ᇀُ ‫߾ڦت‬ᄽࠅິంఁă‫ܠ‬ઙࢋĂዷᄲ‫ڦ‬঍ཚ߅၍ࢅႎዿ ቎൶‫ت‬ᇀዷ‫ںڞ‬࿋ǈ‫ڍ‬๟ǈഄኈํ‫ڦ‬Ă‫܀‬ᅃ࿮ܾ‫ڦ‬༬ ‫ۅ‬ሶᇸᇀ߾ᄽࣅࡗྫ‫֘ڦ‬गă ࠅᇴ 5 ߲‫ݴ‬൶ኮक़‫૴ڦ‬ဣत໲ᇑዜՉ‫ں‬൶‫૶ڦ‬থ

ኄೌටሰ࣍ৣǈ਎‫ंڦٷ‬ౡཱིߛ໴ࢅए‫إ‬ኟሞՎ‫ׯ‬ਨ

༬ࢅྼ໴૧ǈᅜत۫Չ‫໋ڦ‬ಧेܻ‫ו‬฽ঞ༗ࢅဇՉ‫ڦ‬

௴‫ڦ‬ᆴૂ‫ׇ‬ă

ҮܻԚຯ෷ăٗᇺ‫ت‬੗ᅜੂ‫ࠅڟ‬ᇴဇళ֨‫ڦ‬ૐඐ໴ǈ

ධԍା࿭‫ٷڦۥ‬ཐև‫ݴ‬ᅙঢ়Վྺ༵ࠃቼԸ‫ࠀܠڦ‬ ీऄ‫ۯ‬൶ă

໲ॽԥ߀ሰ‫ׯ‬੗৊෇‫ڦ‬ำ࠼‫ۓ‬໒ă ࣀ‫ڢ‬ঙ

ሞԛ௬ǈዹྪᅃ኱ฦၠዖኲጣਸࢾຏఢ‫֥ೌٷڦ‬

ሞࣀ‫ڢ‬ঙǈ‫ݤ‬ჱ༬ߒ‫׍‬ჽฦ዁ኝ߲൶ᇘǈཞ้

‫ں‬ăࠅᇴాև‫ڦ‬੣क़ᆯႎ‫ࠅڦ‬ୟ໣‫ྷڢ‬ජăᄂ཰ยᆶ

ੵሁକࢋୁă‫ా੷ں‬ৈ฻ူޮ߃କኄև‫ࠅݴ‬ᇴ‫ ڦ‬3/4

๟ႎࠅᇴ੗‫׼‬Ⴤ૙౒‫ڦ‬ዘᄲᇮ໎ă޿૙౒‫ڦ‬ణՔ๟ं

઴ॐࢅ‫ٷ‬ຏ‫׎੻ڦ‬օ‫૶ڢ‬থጣଣৎ‫ڦ‬ਃዿ൶ă໲փৈ

‫ंڦ‬ౡཱིୟ௬ǈॕࠦ‫ंڦ‬ౡཱི็ӱॽٗ‫ܠ‬ઙࢋฉԥൣ

ࢇ߳և‫܀ڦݴ‬૬༬‫ۅ‬ǈժे෇ႎᇮ໎ഽࣅഄ༬‫ۅ‬ǈ‫ظ‬

༵ࠃକସටᇊሇ‫ৣ࣍ڦ‬ǈཞ้༵ࠃକྭၠኄೌᆯ‫ݭ‬ച

‫أ‬ǈ‫ڍ‬๟ࢋୁධԍାഄंౡཱིࢋ‫ض‬ă຤௬ٗ࢒Ӂ‫ت‬ฉ

ሰ‫؜‬ཥᅃ‫ࠅڦ‬ᇴ༹ᄓă

߾ᄽᆩ‫߀ں‬ሰܸ‫ڦׯ‬ৠ࠵‫܀ڦ‬༬๫ঙă

ื‫ڟ‬੗९‫ت‬ǈୁࡗፈ੥‫ڦ‬഻༹ǈ৽සཞ‫ࣚࡗح‬࿯‫ိڦ‬

ٗဇ֨‫ࠅࡗح‬ᇴߒཎ႐ሤ‫ڦ‬ටႜཀൃǈ࢙࠻ೀ૶

ࠢăਸ‫ڦݣ‬຤‫ڢ‬ଇ֨๟ᆶྷ഻‫ڦ‬օ‫ڢ‬ăሞࢋଇӂᆩਸ

‫ں֥ڦ‬ǈฦၠႎ‫ڦ‬Đ‫׭‬๨ᄞ໼đăᅃೌᄂጣ໣‫ڢ‬഻‫ڦ‬ዖ

ྌଙႪॺ‫ڦ‬ೝ໼ฉዖኲ‫ڦ‬बӥੑຏǈඟට࣮ၙഐٗ

‫ڦܠ‬ᅃ‫ت‬ăፌߛ‫ت‬৛႐ยऺ‫ࢅׇ࠽ڦ‬օ‫૶ڢ‬থጣೀତ

ኲຏఢ‫ٷڦ‬ၽೢ૶থጣࠅᇴ‫ڦ‬ଇ߲ߛֶǈፑᆸଇՉ਩

മॺዾ࿿‫ྪ߭ڦ‬ăຏᅹྺփཞ‫ڦ‬ऄ‫ࠃ༵ۯ‬କᅹԽ‫ׇڦ‬

‫ׯॺڦ‬൶ᇘǈժ൐ႚ‫ׯ‬କဇ֨ࠅᇴ‫෇ڦ‬੨ăೢ‫ࢅڢ‬໼

ᆶସටᆇၡศਗ਼‫ྼڦ‬໴૧ૐඐ໴ă

໯ǈౢৢ‫ڦ‬քዃྺጲᆯ‫ڦ‬຤‫ظڢ‬ሰକྜெ‫ڦ‬ԝৠăሞ

ᅺञຯ༬ ᅺञຯ༬๟ࠅᇴዐ൶ᇘፌု‫׊‬Ăยऺ૙౒ጀ෇ፌ

঩ᄂጣ 6m ‫ߛڦ‬഻ฦၠళ֨൶ᇘǈ໲ྺ‫ܠ‬ዖփཞ‫ڦ‬ऄ ‫קࢅۯ‬າᐜၙ༵ࠃକ੣क़ă ସටᆇၡศਗ਼‫ံڦ‬മ֫უऐ‫ڹڦ‬ፗ঳ࠓԥገࣅྺ ຤ৠࢾᇴǈॺዾ࣯࣋‫ాڦ‬ևᄺԥገࣅྺĐ‫ހ‬Կ‫ࢾڦ‬ᇴđǈ

໴ࢅౄॾ੡၄ሞ‫ۼ‬ᆩᇀඹభ߅৫‫ڦ‬຤ă໲்๟ᇐ ຤‫ت‬૙ဣཥ‫ڦ‬ᅃև‫ݴ‬ǈٗ࿭‫ࢅۥ‬ਸ‫ڦݣ‬຤ࠏĂ຤ർ՗ ௬๭णᇐ຤ǈժሞ຤༕ࢅႺ຤‫׾‬ዐ٪‫ئ‬ă

৹ॺዾ‫ڹڦ‬և঳ࠓฉॺሰ‫ڦ‬օ‫૶ڢ‬থକࣀ‫ڢ‬ঙ‫ڦ‬ళԛ ଇ֨ă ࣀ‫ڢ‬ঙ‫ڦ‬ళևᇀ 2011 ౎ྜ‫ׯ‬ǈժᇑ৙‫ۼ‬ᅱۨກ

ᅁक़ቷ௽๑ኄၵ߾ᄽु౒ԘՎྺዜՉ‫ں‬൶‫ۼ‬੗ੂ

ᅃዂǈํ၄༐ዐࢅǄĐଭᆖၚđǅăŕǄྦྷࡦు ᅳǅ

7/8!௝ഄଠǈၳࡕ཮0Qfstqfdujwft-!Njdifmjo

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

A landscape reinvents itself The industrialization of Torino began at the end of the 19th Century along the banks of the River Dora. It reached its zenith in the early 20th century with the construction of the Fiat Ferriere Piemontesi and the Michelin tyre factory. The factories shut down in the general decline of the industry during the 1980s. They left a large area of urban dereliction in the city center, in addition to many small pockets of disused land. An urban renewal programme was launched in 1998 to regenerate these areas of post-industrial dereliction and to give them a new use. Due to the positive inclusion of its industrial heritage the Parco 9

Dora signifies a new understanding of inner urban landscapes that reflects the transition of society. The park comprises five separate areas, three of which are named after the industrial companies that used to occupy the site. It is dominated by the River Dora, main traffic arteries and new residential areas, although its true and unique character is derived from the remnants of its industrial past. The connection between the park's five areas and the links into the surrounding neighborhoods were an essential element in the sustainable concept for the new park. The aim was to incorporate the individual character of each area, to strengthen and enhance them with new elements and create a unified park experience.

Ingest Ingest is the narrowest area of the park with the most design input. At the uppermost level carefully designed squares and promenades link into the adjacent built-up areas and form the entrance points in the west of the park. Ramps and steps along six-meter high walls lead to the southern part, which offers space for many different activities as well as contemplation. The impressive substructure of the former laminating works was transformed into water gardens and the gutted building into a "hortus conclusus", which screens the park from the road. A line of imposing steel columns supports the elevated walkway that leads across Via Borgaro to Vitali in the center of the park. The elevated viewpoint reveals the harmonious interplay of sacred and industrial architecture ǉ the seven towers, the industrial chimney that was

transformed into the campanile at the new Santo Volto church and the tall steel columns at Vitali. Vitali and Corso Mortara The huge structure of the hall at the former

9!ᅺञຯ༬ǈ຤ৠࢾᇴ0Xbufs!hbsefo-!JohftuǄฝᆖ0Qipup;!Mbu{!,!Qbsuofsǅ :!ᅺञຯ༬ǈ৹ॺዾాև‫ࢾڦ‬ᇴ0Hbsefo!jo!pme!cvjmejoht-!JohftuǄฝ! ! ᆖ0Qipup;!Psofmmb!Psmboejojǅ 21!ᅺञຯ༬ǈೝ௬0Qmbo-!Johftu 22!ᅺञຯ༬ǈ೪௬0Tfdujpo-!Johftu 23!ᅺञຯ༬ǈߒዹኧ‫ڦ׫‬໻ืօ‫ڢ‬तᇺ‫ߛڦت‬໴0Fmfwbufe!xbmlxbz! ! tvqqpsufe!cz!tuffm!dpmvnot-!boe!wjfx!up!uif!upxfst-!JohftuǄฝᆖ0 ! Qipup;!Boesfb!Tfssbǅ

๘হॺዾ 2013/05

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

๘হॺዾ 2013/05

24ǉ27!ྼ໴૧0WjubmjǄ24ฝᆖ0Qipup;!Boesfb!Tfssbǈ25ฝᆖ0Qipup;!Gbcsj{jp!! ! [bofmmj!3122ǉUpsjopǈ26Ă27ฝᆖ0Qipup;!Psofmmb!Psmboejojǅ 27

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

Vitali steel mill forms the fascinating and vibrant

with pergolas and tree canopies links across it to the

surfaces in open rills and channels, and stores it in

center of the park. After the outer skin and large

adjacent residential area. Not only does it provide

pools and cisterns.

sections of the roof had been dismantled, the

a pleasant environment but also offers exceptional

Night-time illuminations turn the industrial

30-metre high red steel columns now look like a

views of the landscape that has developed since the

monuments into widely visible landmarks and create

"futuristic jungle". Lush vegetation and public life

demise of the industries.

a mysterious new world on the inside. The lower

have taken over this artificial environment, the vast

The Passerella crosses the steel heart of

level of the "blue hall" is softly lit, light bands follow

concrete towers and foundations are being turned

the park from the west, traverses the adjoining

the walkway and trace the outline of the former hall.

into fantastic playgrounds.

meadows and leads to the new "city balcony". A wide ramp with tree planting along the tunnel

Michelin The site of the former Michelin plant is

wall connects the two levels of the park which are

developed into a spacious meadow park that is

The section of the hall that still has a roof has become a sheltered multi-functional event space. In the north, the grid of the columns extends towards a large meadow with the trunks of flowering

flanked by the impressive Vitali cooling towers. The towers and the slurry basins now hold clean

characterized by its landscape and topography. A newly constructed tidal pool opens up the edge of the

trees. The space within the park is contained by the

water. They are part of the stormwater management

Dora; the excavation material is used in a sheltering

wall of the new road tunnel. A broad promenade

system that collects rainwater from roofs and

earth sculpture towards the road and the buildings. A

๘হॺዾ 2013/05

path along the river allows access to the water, steel

A concrete slab covering three-quarters of this

Walkways erected on the old substructure connect

bridges cross the pool and link up with a footbridge

section of the park is all that remained. The solid

the north of Valdocco with the south.

to Vitali on the opposite bank. Rows of different tree

slab will be removed above the Dora, but the

The southern section of Valdocco was completed

species are planted on the shallow slopes of the earth

river kept in its concrete bed. Water rises out of

in 2011 and, in line with the Kyoto Protocol,

sculpture where they provide shadow. A "high route"

darkness into the light of day and flows through

implemented carbon neutrally ("impatto zero"). ŕ

follows the crest and offers views of Ingest and Vitali,

the pierced wall, like through a wild gorge. The

as well as impressive vistas to the Superga pilgrimage

opened up water course is flanked by walled-in

ᄽዷ /Client: ‫ۼ‬ଳ๨‫׭‬๨߀ሰև /Città di Torino,

church in the east and the Alps in the west. The

promenades. On the terraces, which have been

Division of Urban Renovation ଶ ြ ย ऺ / ৠ ࠵ ॺ ዾ /Lead Design/Landscape

widely visible landmark of the cooling towers in the

constructed with excavation material on both sides

south-west of the park will become a walk-in light

of the river, hundreds of trees are reminiscent of

Architecture: Latz+Partner Landscape Architects

and sound sculpture.

the grid of the former buildings. Their canopies

Urban Planners

Valdocco In Valdocco, the Fiat steel works extended

provide shady spaces for diverse activities, and the

ၜణ࠶૙ / ຤࿔‫ں‬૙ /Project Management/ Hydrology:

tranquil setting creates the perfect backdrop for

STS Servizi Tecnologie Sistemi S.p.A.

over the entire site as well as across the river.

the "technical ravine" of the freed water course.

ॺዾ /Architecture: Studio Pession ߾‫ ײ‬/Engineering: Studio Cappato Meluzzi ቷ௽ยऺ /Light Design: Pfarré Lighting Design ౫ᅝ /Agronomy: Dario Grua ᅝຍ /Art: Ugo Marano ྿้ྂक़ /Commission: 2004 ਸ‫้ݣ‬क़ /Opening: 2011.05Ǆ‫ڼ‬ᅃ঩܎ /First partsǅ ਰ߾้क़ /Completion: 2013 ጺ௬ओ /Total Area: 39hm2

28!ࣀ‫ڢ‬ঙ0WbmepddpǄฝᆖ0Qipup;!Boesfb!Tfssbǅ 29!ࣀ‫ڢ‬ঙǈၳࡕ཮0Qfstqfdujwft-!Wbmepddp 2:!ࣀ‫ڢ‬ঙ0WbmepddpǄฝᆖ0Qipup;!Boesfb!Tfssbǅ 31/32!߀ሰമ0!Cfgpsf!sfopwbujpoǄ31!ฝᆖ0Qipup;!Mbu{!,!Qbsuofs-!32! ! ฝᆖ0Qipup;!Djuuà!ej!Upsjopǅ 31

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

ਸ਼ૃభጇ‫׍‬ኝॺǈੀԲჱ౷ǈ‫ۼ‬ଳǈᅪ‫ٷ‬૧ FORNACE CARENA RENOVATION, CAMBIANO, TORINO, ITALY, 2001ॺዾยऺǖൎු૛ӎ·ਸ਼ૃభǈELASTICO๚ခ໯ǈ MOTOElastico๚ခ໯ ARCHITECTS: Cesario Carena, ELASTICO, MOTOElastico ਸ਼ૃభጇ‫׍‬๟߲ᆛᆶ 101 ౎૦๏‫ڦ‬ጇ‫׍‬ǈ࿋ᇀᅃ

ઠǈႎࠀీࢅऄ‫ۯ‬ᄺደօ෇ጂǈഄዐԈઔ ǖํᄓᅝຍǈ

߲ਐ‫ۼ‬ଳ 10km ‫ڦ‬ၭኔĊĊੀԲჱ౷ăሞഄ૦๏ዐǈ

ॺዾࢅยऺ߾ፕ๪ǈ‫ۉ‬ᆖጎዃǈࣷᅱᇑቛબǈਗᇾᄇ‫؜‬ǈ

ጇ‫ڦ‬዆ሰփ܏৊օǈٗ 20 ๘ु‫ڼڦ؛‬ᅃፗಱ࿭ገᅎ

ᅜत‫ڞ‬બऄ‫ۯ‬ǈࠌཞፇ‫ׯ‬କ MUNLAB ‫ాڦ‬ඹ Ǘቕཱིิ

‫ڟ‬ඹభံ৊ऐഗࢅฏᄬ‫ڦ‬ႎॺዾኮዐă‫׼‬Ⴤ‫߫ڦ‬ႎٝ

ༀձ࿿࠷ሶ๟ᅃ߲ዂ૰ᇀԍࢺ૦๏ժยऺੀԲჱ౷ቕ

๑߾‫ ׍‬4 ‫܈‬કॺǈժ‫ڞ‬ዂरຍၠႎॺዾ࿿ዐദᅎă௅

ཱི࿔ࣅዐ႐࿄ઠ‫ڦ‬ᆦ৳ऐࠓă

ْദᅎ‫ࣷۼ‬ାူփཞዖૌ‫ॺڦ‬ዾ ǖᅃၵᅙԥᆩፕ֞‫ئ‬ǈ

ਸ਼ૃభጇ‫׍‬૦ঢ় 101 ౎‫ڦ‬૦๏ࢫධๆ‫ݴ‬ऄሂǈ࣏

ᅃၵሶԥ‫ݭ‬ചăཞ้ǈሞ޹ৎ‫ׇ็֑ڦ‬ǈਸ֑൶‫ڦ‬փ

૧ᆩ޹ৎ֑็‫ڦׇ‬ቕཱིิׂఇ዆೗ăጲ 2004 ౎ഐǈႎ

܏ገᅎᄺႚ‫ׯ‬କ‫ೌٷ‬ၢཉ൶ǈኄၵ൶ᇘ‫ܔ‬ᇀቕཱིྌਢ

ጺ༹ࡀࣄዐएԨுᆶሺेႎ‫ీࠀڦ‬ǈᅜ߸ࡻ‫ں‬஢ፁႎ

ᅙࡹ࿮ᆩ‫ت‬ă

‫࠶ࢅׂิڦ‬૙ᄲ൱ă

1980 ౎‫پ‬఍ǈ࿔ࣅፇኯĐ‫ޡ‬ఫຯᆦ৳੣क़đਸ๔ ٗጲ඗ࢅ࿔ࣅଇ‫ݛ‬௬ጣ๮ኝ߲ॺዾፇඖ‫߾ॺ߀ڦ‬ፕă ሞࡗඁ‫ ڦ‬20 ౎ዐǈႪް‫߾ڦ‬ᄽ੣क़ደॷԥ૧ᆩഐ

ଷᅃՉ๟փ‫ׂۯ‬ă ߾‫׍‬և‫ݴ‬Ԉࡤ໯ᆶ၄ᆶิׂยแĂ࠶૙և‫ݴ‬तධ ሞਸྌ‫ׇ็֑ڦ‬ă փ‫ׂۯ‬๟߳ዖምิࠀీ‫ڦ‬ፇࢇǈසิༀձ࿿࠷Ă ࣃ઴ĂLoftĂ߾ፕ๪Ă߾ፕ‫ݙ‬तᅃ߲ጲ඗୴ዞă ኝ߲߀ሰධሞ৊ႜ ǖᅃၵၜణᅙঢ়ྜ‫ ׯ‬Ǘଷᅃၵ ධሞํแ Ǘ࣏ᆶᅃၵሞਸ݀ዐ Ǘณև‫࣏ݴ‬ᆶ‫ࠓځ‬າă ਸ਼ૃభӸࠅ୍ ႎ‫ڦ‬Ӹࠅ୍ԥยዃሞᅃ߲ሼԥᆩઠ‫ئ‬٪࿄৊෇ิ

ጺ༹ࡀࣄ

ׂዜ೺‫ڦ‬ቕཱི‫ڦ‬৹֞ཤాăၜణྼ‫׼‬କᇱઠག؊੣क़

2003 ౎ǈ‫ޡ‬ఫຯۭ๚ࣷਦۨዘႎยऺኝ߲ॺዾፇ

‫ڦ‬ቕܑཱི‫ڦ‬ႚ༹ǈժሞഄฉे෇ႎࠀీăฆခक़ࢅӸ

ඖ‫ీࠀڦ‬քਆăᇱᆶጨׂԥ‫ྺݴ‬ଇ߲և‫ݴ‬ǖᅃՉ๟‫׍‬൶Ǘ

ࠅ੣क़֠ሞܑཱི੣क़ူăၽೢ‫ت֫ۥٳڟ‬ǈ๟ᆯᇱᆶ

๘হॺዾ 2013/05

ࠊႚ࿭‫ڦ߃ޮۥ‬ᅃ߲ࣷᅱ๪ࢅᅃ߲ࠅᇦăࠊ‫ۥ‬ฉ‫ڦ‬ᇶ ۴ႚ‫ׯ‬କ୞໼ࢅཀ࠼ǈܸᅃ߲‫ڦ׊׊‬ቕཱིẹᇉ੗ᅜ๭

ణධሞ৊ႜ ǖኄ๟ᅃ߲ਸ‫ײࡗڦݣ‬ǈփ܏‫ں‬๢ᆌժघ

૙‫ٷڦ‬႙ഖ੷ă

݀ MUNLAB ‫ڦ‬ႎ‫ڦ‬Ⴔ൱ă

णᇐ຤Ǆኄ๟ྺକु౒‫ྺࡽن‬Đẹᇉđ‫ڦ‬௝ၶܻ‫ٷ‬๽ǈ

MUNLAB MUNLAB ሞਸ਼ૃభጇ‫׍‬ፌࠟ઻‫ڦ‬ᄺ๟‫ݭ‬ചፌ৳‫ڦ‬

໱ሞሏᆐ߾‫׍‬ຕ౎ኮࢫᅎਃ‫ݥ‬ዞǅăܾ֫๟߾ፕ੣क़ǈ

ยแዐă߀ॺ߾‫ײ‬๔ᇀ 1980 ౎‫پ‬఍ǈ৹ऊ‫ސ‬தฏᄬԥ

ྺକ዆ጇՂႷਸྌ‫ٷ‬ଉ‫ཱིڦ‬ගǈܸሞ 101 ౎‫ڦ‬ሏ

ਜ਼ࢽ੗ᅜཚࡗᅃ߲ᆯምิቕཱི೬‫ڦׯ‬ೢ‫ܾ֫ٳڟڢ‬ă

ൎු૛ӎ · ਸ਼ૃభ߀ሰ‫ׯ‬ᅃ߲ቛબࣃ઴ă߀ॺ֧୼ዷᄲ

ᆐዐǈ߾‫ߛ׍‬ഽ‫ں܈‬ਸ֑କ޹ৎ‫ׇ็֑ڦ‬ăᅃ‫ڟྌڋ‬

ᅃ߲ߛߛ‫ڦ‬ᇶཤ༹૛௬๟ጆᆩ࿐ิक़ă

୴ዞ

Ԉઔ 3 և‫ ݴ‬ǖ1ǅ઻ॺዾ‫ॺ߀ڦ‬ǈԈઔඁ‫أ‬໯ᆶփՂᄲ

କփీᆩᇀิׂ‫ཱི֫ڦ‬ǈ৽࣑߲ࣷ‫ݛں‬ምྌǈାူକ

ਸ਼ૃభয়࿐๪

‫ॺेڦ‬ժႪް഻༹๴໦և‫ ݴ‬Ǘ2ǅኲ෇ඹభႎࠀీ‫ڦ‬ႎ

‫ڦݭࣚೌٷ‬൶ᇘăഄዐᅃၵ൶ᇘԥᇐ຤ག஢ǈՎ‫ׯ‬କ

ኄᅃၜణ৆ତႎӸࠅ୍ǈ໲૧ᆩᇱฏᄬ‫ڦ‬৹ྔ੕

ॺև‫ݴ‬ǈኄၵႎ‫ॺेپړڦ‬ᇑ၄ᆶॺዾ௽၂‫ݴ‬ਸ Ǘ໲

ጪᄢ‫ܠںړ‬ዖ‫ۯ‬ኲ࿿‫ڦ‬ጲ඗ࢶռăጲ඗ጺ๟ጲ݀‫࣬ں‬

‫׶‬ሜႎࠀీ ǖয়࿐ዿ໯ǈLoft ᅜत֞ੰ ăᇱᆶ࿭‫ڦۥ‬

்๑ᆩᆖၚডၭ‫ڦ‬၄ᆶׂ೗ፕॺ֌ǄԲස‫ޡ‬ఫຯഖ੷ǅǈ

ްೝ࢚ǈ‫ڍ‬ኄዖ٤ෑ‫ิڦ‬ༀဣཥᄺႴᄲศ‫܈‬ԍࢺăൎ

߀ሰඟጲ඗࠼ీቷ෇ॺዾăኲ࿿ࢅ֥‫ں‬ᄺԥభ෇๪ాǈ

ժሞ੗ీ‫ࢪ้ڦ‬૧ᆩ࣮๭‫ॺںړٗڦ‬ዾ࿿ָ‫֌ڦأ‬ଙǈ

ු૛ӎ · ਸ਼ૃభᇑᅃ಼౫ბॆĂኲ࿿ბॆĂᅝຍॆᅜ

ܸ࠽ߢ໴ࢅয়࿐੦዆๪๰ྭሞྔăྔ഻‫ڦ‬Ⴊް૧ᆩକ

Բසǈߒ଄Ă‫ࢅ઀ش‬ի૱ Ǘ3ǅႎ‫ڦ‬๪ాยऺ‫ܠ‬ᆩ֢ٚ

त‫ۯ‬࿿Һࡻኁࢇፕǈඓ૬କ‫׊‬೺‫ڦ‬ኝዎ֧୼ăŕǄ໥

ഄ໱ॺዾ࿿‫࣮ڦ‬๭ॺ֌ǈܸႎॺ༹ଉྔޮ߃ጣਏᆶक

ॺ֌ǈᅜᇑ၄ᆶॺዾ‫ࢩڦ‬ዘႚ‫ׯ‬ᆶ඀‫ܔڦ‬Բă߀ሰၜ

‫ڤ‬ୄ ᅳǅ

2!ਸ਼ૃభӸࠅ୍ྔৠ0Fyufsjps!wjfx-!Dbsfob!PggjdftǄฝᆖ0Qipup;!Cfqqf!Hjbsejopǅ

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

5 3!ౕ᭻0Bfsjbm!wjfx 4/5!઻ቷೌ0Ijtupsjdbm!qipupt Ǆ3.5© Gpsobdf!Dbsfob!Bsdijwfǅ 6!ዡ֪཮0Bypopnfusjd!esbxjoht ! 2.઻ጇ‫׍‬0Pme!csjdl!gbdupsz)2:18* ! 3.઻߾‫׍‬કॺ0Pme!gbdupsz!fyufotjpo)2:71* ! 4.၄ሞ‫׍߾ڦ‬0Dvssfou!gbdupsz)2:91.* ! 5.ႎ߾‫׍‬ยแ0Ofx!gbdupsz!gbdjmjujft

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24.ᇶ࣍ᅝຍጎዃ0Uif!djsdmf!bsu!jotubmmbujpo 25.ཚၠձ࿿࠷‫ڦ‬ཚ‫ڢ‬0Qbui!up!nvtfvn 26.NVOMBCิༀձ࿿࠷0Uif!NVOMBC!fdpnvtfvn 27.ቲ‫֕ځ‬ཐ0Sfdfqujpo!sftubvsbou 28.থ‫ځ‬ยแ0Iptqjubmjuz!gbdjmjujft 29.‫ࠅ୍ۥ‬ᇦ0Mpgu!bqbsunfout 2:.ํᄓ๪.߾ፕ๪.Ӹࠅ๪0Mbct.tuvejpt.pggjdft

๘হॺዾ 2013/05

7 7!ਸ਼ૃభӸࠅ୍ྔৠ0Fyufsjps!wjfx-!Dbsfob!PggjdftǄฝᆖ0Qipup;!Cfqqf!Hjbsejopǅ

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

The Fornace Carena is a 101 year old brick factory located in Cambiano, a small town 10 kilometers away from Torino. During its history, the brick production of the factory evolved and moved from the ﬁrst canopy of the beginning of the century, to new buildings designed to accommodate state of the art machineries and kilns. This continuous innovation caused four different building extensions and technology "migrations" into new constructions. Every "migrations" left behind different kinds of buildings: some of them have been used as storage, some of them have been abandoned. At the same time, in the nearby quarry, also the active extraction areas were shifting, leaving behind a large depressed area, not usable anymore for clay excavation purposes. A t t h e e n d o f t h e 1980' s , t h e c u l t u r a l 8

association La Fornace Spazio Permanente started

working on the renovation of the entire complex both from a naturalistic and a cultural point of view. I n t h e p a s t 20 y e a r s n e w f u n c t i o n s a n d activities started to occupy and reuse the restored industrial spaces: experimental art, architecture and design studios, movie sets, conventions and exhibitions, theater performances and guided tours supported the constitution of the MUNLAB, the Clay Ecomuseum, a permanent institution aimed to preserve the history and to design the future of Cambiano Clay Culture. The Carena Brick Factory, after 101 years of history, is still very active and produces molded products using the clay of the nearby quarry. Starting from 2004, as a consequence of the new master plan, few functions were relocated to better satisfy the new production and administration requirements. :

18 3

2 4

22 24

18 1

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๘হॺዾ 2013/05

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

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ձ࿿࠷Ӹࠅ๪ Nvtfvn!pggjdf

ձ࿿࠷‫ݝ؞‬ Nvtfvn!ljudifo

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๘হॺዾ 2013/05

Masterplan In 2003, the Fornace board of directors decided

the rainwater (in memory of uncle Michele, who

walls' portions. 2) The insertion of new volumes

run the factory for several years and then moved to

hosting new functions. These new contemporary

to redesign the functional layout of the entire

Africa: his nickname was Crocodile). The first floor

containers are visibly separated from the original

complex. The original property has been divided into

holds the worker facilities and a ramp covered with

structure; they use low impact current production

two parts: Factory on one side and the Immobiliare

recycled clay elements takes the clients to the first

materials (such as the Fornace blocks)and, when

(real estate) on the other.

floor. A tall cylinder contains a special WC.

possible, recycled materials coming from local

The Factory includes all the current production facilities, the administration and the active quarry. The Immobiliare is divided into a mix of

Carena Guardhouse This project is located next to the new office

demolitions such as steel beams, window frames

building and it uses the old drying kilns as an

rough construction materials to create a interesting

and glasses. 3) New interior design often build using

reinvigorating functions such as the Ecomuseum

ancient shell to host new organisms: the residence

contrast with the massive original structures. The

and Gallery Spaces, Lofts, Studios, Workshops and a

for the guards, a loft and a warehouse. The original

transformation project is currently ongoing: it is an

natural oasis.

roofs have been remodeled to allow natural lighting

open process continuously adapting to the new and

The whole transformation is now on the move:

into the building. Also plants and grass are welcome

stimulating requirements of the MUNLAB community.

some of the projects have been completed, others

inside while a signboard tower and the guardians'

are under construction and some are still under

booth peek outside. The outside walls have been

Oasis In order to make bricks you have to dig a large

restored using recycled materials from other

amount of soil and in 101 years of activity the

development. Few are yet to be imagined. Carena Ofﬁces The new offices are located in an old silo used

construction, while the new volumes will be covered

Factory intensively exploited the nearby quarry.

with large size texturized blocks.

Once the excavation reached non-productive

MUNLAB The MUNLAB is located in the oldest, and long

ground, it moved to the next field, leaving behind

cycle. The project keeps the volume of the pile of clay that used to fill the space and climbs on it

time dismissed, facilities of the Fornace Carena. The

filled with rainy water and they became natural

with new functions. The executive rooms and the

renovation process started at the end of the 80's with

lakes hosting different types of local plants and

to keep the clay before it entered the production

large abandoned areas. Some of these areas were

office spaces lay or hide under the ghost trace of

the transformation of the old Hoffmann kiln into an

animals. Nature was spontaneously rebalancing,

the pile. The slope reaches the top floor where the

exhibition gallery by Cesario Carena. The renovation

but this delicate eco-system needed some further

original vaulted roof covers a meeting room and an

strategy can be divided into three main elements.

protection. Cesario Carena, together with a team

apartment. Circular holes in the vault form terraces

1) The renovation of the old structures, removing all

of agronomists, botanists, artists and animal lovers,

and skylights, while a long clay crocodile collects

the unnecessary additions and restoring the damaged

defined a long-term renovation strategy. ŕ

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

ጺ༹ࡀࣄǈੀԲჱ౷ǈ‫ۼ‬ଳ /Masterplan, Cambiano, Torino, 2003ၜణ޶ሴ / Project: Cesario Carena+ 2003-2005: ELASTICO(Simone Carena, Stefano Pujatti, Alberto Del Maschio) 2006-: MOTOElastico (Simone Carena, Marco Bruno)+ Giorgio Chiosso ਸ਼ૃభӸࠅ୍ǈੀԲჱ౷ǈ‫ۼ‬ଳ /Carena Offices, Cambiano, Torino, 2001-2005 ၜణ޶ሴ /Project: ELASTICOǄSimone Carena, Stefano Pujatti, Alberto Del Maschioǅ+ Cesario Carena ยऺཷ‫ ܓ‬/Design Team: Manuela Luis y Garcia, Luca Macri', Davide Musmeci, Ester Musso, Giovanni Tironi, Ivan Martini, Alex Morassut, Roberto Boella ਸ਼ૃభয়࿐๪ǈੀԲჱ౷ǈ‫ۼ‬ଳ /Carena Guardhouse, Cambiano, Torino, 2006ၜణ޶ሴ /Project: MOTOElasticoǄSimone Carena, Marco Brunoǅ+ Cesario Carena + LSB + Giorgio Chiosso + Marco Giubilato/Claudia Costanzovi ยऺཷ‫ ܓ‬/Design Team: Heejung Moon MUNLABǈੀԲჱ౷ǈ‫ۼ‬ଳ /MUNLAB, Cambiano, Torino, 2006ၜణ޶ሴ /Project: Cesario Carena + MOTOElastico (Simone Carena, Marco Bruno) ֧୼ࡀࣄ /Strategic Planning: Munlab Board of Directors ยऺतแ߾ཷ‫ ܓ‬/Design and Construction Team: Francesco Audenino, Romano Bravo, Agostino Rigoni 33!ਸ਼ૃభয়࿐๪ྔৠ0Fyufsjps!wjfx-!Dbsfob!Hvbseipvtf 34!ਸ਼ૃభয়࿐๪ాৠ0Joufsjps!wjfx-!Dbsfob!Hvbseipvtf Ǆ33Ă34!ฝᆖ0Qipup;!Cfqqf!Hjbsejopǅ 35!ਸ਼ૃభয়࿐๪ೝ௬0Qmbot-!Dbsfob!Hvbseipvtf 36/37!֑็‫ׇ‬ǈ୴ዞ0Rvbssz-!PbtjtǄฝᆖ0Qipup;!Tjtup!Hjsjpejǅ

๘হॺዾ 2013/05

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

‫ں‬൶ᇑඇ൰ኮक़/!ႎெ๋ბ‫ڦ‬੗‫׼‬ჄႠ BETWEEN LOCAL AND GLOBAL. SUSTAINABILITY AS NEO-GASTRONOMY ‫ྂ·ڤྼٳ‬க໭·‫ݯ‬ન‫ܠ‬/Davide Tommaso Ferrando ໥‫ڤ‬ୄ ᅳ/Translated by SUN Delong

1986 ౎ǈೄү௏༬ન߭൶‫ڦ‬քઙ๨Ǆ‫ۼ‬ଳᅜళ

૦๏ኪ๎तഄዜՉ‫ิڦ‬ༀဣཥă

ժॽ໲்ገՎ‫ྺׯ‬ၜణ‫ڦ‬ዷዡ၍ĊĊ੗ᅜຫ๟ၕኔण

50kmǅਉႜକᅃ‫ׇ‬ሞ‫ࡔৃړ‬ाฉᆖၚศᇺ‫ڦ‬ऄ‫ ۯ‬ǖऻ

஥๋ቾბ‫ڦ‬ᅃ߲‫ݥ‬኱থ‫ڍ‬ᆶ඀‫ׂڦ‬೗৽๟ Eataly

ኁਸ਼ܻ஍ · ಧ༬૛౅ጨዺ ArciGola ၹࣷੇᅱ੺֕ሞᅪ

๋೗ᇑ೯༥৶ዐ႐ ǖᅃ߲ 1.1 ྤ m2 ‫ڦ‬ጆோᆩᇀᆫዊ

‫ٷ‬૧‫ڦ‬ணჽă3 ౎ኮࢫǈኄᅃ࠽ྺටኪ‫ڦ‬ሏ‫݀ۯ‬ቛ‫ׯ‬

๋೗‫ڦ‬ၩ‫ݯ‬तኪ๎೵त‫ڦ‬ฆᄽࣃ઴ă‫ڼ‬ᅃ಼‫ ڦ‬20 ‫߲ܠ‬

ฆ‫׉ׇ‬फ஢ࠥਜ਼ǈᆮഄ๟ሞዜ఍ǈઠُ‫ت‬ᅙ‫ྺׯ‬

஥๋ሏ‫ۯ‬ă஥๋ၹࣷग़ࠥெ๋ᇑิༀ ǖएᇀഄණ๎‫ڟ‬

ฆ‫ی‬ᅙሞᅪ‫ٷ‬૧ĂெࡔतනԨਸᄽǈ‫ۼ‬ଳ Eataly ๟ഓ

‫ۼ‬ଳට‫ڦ‬Ղፔኮ๚ăኟᅺၜణ‫ࠀׯڦ‬ǈॺዾඖ‫ڦ‬કॺ

ெ๋ᇑ࣍ৣĂ࿔ࣅĂአዎኮक़‫ߵڦ‬Ԩ૴ဣǄႎெ๋ბ

ᄽॆӎຯਸ਼ · ݆૧ా‫ํࠀׯڦڼ‬ᄓǈ໱‫ࠀׯڦ‬ኮ‫ت‬๟

ৎ೺࣏ᆯཞᅃॺዾ฾֧ࣄྜ‫ׯ‬ǈԈࡤᅃ߲ᇨାߴᅜ࣍

๨ฉ‫ڦ‬ә૔ࠊ઴ǈഄසࣃ๕‫༹ڦ‬ᄓᅺ‫ר‬ଚฆ೗‫ڦ‬๫ਥĂ ‫ة‬ਥतႭਥِघܸ߸े‫޷ݿ‬ă

‫౒߁ڦ‬ǅǈ޿ፇኯٗ߳ଶᇘླྀ‫ۯ‬ᆃ๋ঞᇣǈྼࢺ๋೗ࠃ

ቴ‫ڟ‬କᅃዖ໚඗ᆶኛᅱĂ‫ڍ‬ସට႑‫ޜ‬൐੗ް዆‫ݛڦ‬๕ǈ

ԍ‫ݛ‬๕ྺ༬෥‫ڦ‬ऄ‫ޜࢅۯ‬ခ‫ڦ‬ǄଇԠ‫ڦٷ‬ǅฆᄽೝ໼ă

ᆌ‫ܠڦ‬ᄣႠǈժ൐ॽ੗‫׼‬Ⴤ‫ׂิڦ‬ኁᇑ໱்໯࿍‫ڦ‬Đ૴

ઠ঳ࢇ‫ڦݛں‬஥๋࿔ࣅᇑඇ൰๋೗ׂᄽăၜణॺሞᅃ

ସටࡻആ‫ڦ‬๟ǈ‫ۼ‬ଳ Eataly ၜణཚࡗ‫گ‬रࢅᆶব዆‫ڦ‬

ࢇิׂኁđĊĊఫၵକ঴๋೗ઠᇸࢅิׂ཰০‫ڦ‬๴ࡗ

߲ 20 ๘ुራ೺‫ࢤڦ‬ጇ৶‫׍‬ዐăཚࡗԍା‫ٷ‬և‫ݴ‬ᇱᆶ঳

‫ݛ‬๕༹၄କ‫ݛں‬ණཞǄெ๋ࢅׂᄽฉǅ‫ڦ‬੗‫׼‬Ⴤॏኵǈ

ঞᇣ‫ڦ‬ၩ‫ݯ‬ኁĊĊ૴ဣഐઠă஥๋ሏ‫ۯ‬ᆅ෇‫ڦ‬ெ๋ბ

ࠓժेࠦ੣क़ব‫ۅ‬ǈၜణᅜᅃዖࠁ৤‫ڦ‬ጩༀᇑᅜ၍Ⴀ

ܸႎ‫୴ڦ‬෥ଭ๳ࠅᇴඐՎ‫ׯ‬କ੗‫׼‬ჄႠ‫ڦ‬ඇ൰ࣅఇ႙ǈ

ႎ๫ঙኼሞཚࡗԍࢺ‫ں‬൶๋೗‫ܠ‬ᄣႠᅜत౫ᄽ‫د‬ཥઠ

ಇଚၭᇾྺ༬ኙ‫़ڦ‬ᆶ߾ᄽॺዾඖ‫ࣆܔ‬ăኄၵབྷᇾ‫ׯ‬

঳ࡕ৽๟ FOA ๚ခ໯‫࢙ڦ‬՟ஓཀྵၜణࢅக૛ӎ · ੰဇ

঴ਦ੗‫׼‬ჄႠ࿚༶ǈසৃǈ໲੗ᅜᅈ੍Փք๘হ 150

ྺแे߅ᇨ‫ࢃڦ‬႐వ༶ǈܸेॺߒࠡॐࢅի૱‫ڦ‬࿭‫ۥ‬

ాઙ‫ ڦ‬3M ጺևၜణ‫้ڦ‬ช‫ڍ‬ඐփఫ஺ସට႑‫ंڦޜ‬

߲ࡔॆ‫ࠃڦ‬ᆌฆྪஏăഄዕटణՔ๟ԍࢺ‫ݛں‬ม൶‫ڦ‬

੗ᅜॽ໲்ཥᅃഐઠǈׂิକఇࢵ๪ాྔ੣क़‫ڦ‬ቧ૰ǈ

ࢇ༹ăŕ

In 1986 the small municipality of Bra, in the Langhe district of Piemonte (50 km south of Torino),

historic knowledge of local communities and the

creating an ambiguous tension between indoor

ecosystems that surround them.

and outdoor space, and transforms them into the

hosted an event whose consequences are today

An interesting product of the Slow Food

main distribution axis of the project ǉ a sort of

measurable at a global scale: as a protest against

philosophy, although not a direct one, is the Eataly

town market version of a Parisian passage, whose

the spread of fast foods in Italy, the journalist Carlo

food and wine center: a 11 000 sqm commercial

picturesque experience is enriched by the ensemble

Petrini funded the ArciGola association, which three

gallery entirely dedicated to the consumption and

of visual, tactile and olfactory stimuli of the

years later would become the widely known Slow

knowledge of quality food. First member of a group

exposed goods.

Food movement. Slow Food is an organization that

of more than 20 shops already opened in Italy, USA

Thanks to the success of the initiative ǉ the

stands at the crossroads of ecology and gastronomy:

and Japan, Eataly Torino is a successful experiment

structure is often full of clients, especially during

by recognizing the fundamental ties that link food

of the entrepreneur Oscar Farinetti, who has the

weekends, and visiting it has already become

to environment, culture and politics (a concept

merit of having found a convincing and repeatable ǉ

part of Torino's to-do list, an expansion of the

known as "neo-gastronomy"), it acts in a wide

although not devoid of contradictions ǉ way to join

complex has been recently planned by the same

variety of ﬁelds to promote food education, defend

the local dimension of the Slow Food culture with

architects, consisting in a (twice as big) commercial

biodiversity in food supply and connect sustainable

the global dimension of food business. Set within

platform reserved for activities and services that

producers to what they call "co-producers" ǉ

the former spaces of an early XX Century, red-brick

are characterized by an environmentally friendly

educated consumers who are informed about where

liquor factory, the project establishes a respectful

approach. Curiously, while the project for Eataly

and how their food is produced. The new way of

dialogue with the existing industrial complex,

Torino expresses the sustainable value of local

looking at gastronomy introduced by the Slow Food

by preserving most of its original structures and

identity (both gastronomic and industrial) by means

movement, which today can count on a worldwide

confirming its suggestive spatial articulation,

of a sober and low-tech approach, the project for

network of supporters from over 150 countries,

characterized by a linear sequence of small

the new Green Retail Park turns to a global model

addresses sustainability in terms of preserving

courtyards. These courtyards become the neuralgic

of sustainability, resulting in a fashionable but not

the diversity of regional foods and agricultural

center of the intervention, thanks to the addition of

so convincing hybrid between FOA's Yokohama Port

traditions. The final aim is to protect both the

a steel and glass roof that unites them perceptually,

Terminal and Mario Cucinella's 3M Headquarters. ŕ

๭ߡන೺ǖ2013-03-29

๘হॺዾ 2013/05

2 2!Fbubmzǈิ࿿‫ܠ‬ᄣႠ0Fbubmz-!cjpejwfstjuzǄฝᆖ0Qipup;!Q/Upobupǅ

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

FBUBMZᅃ೺ࢅܾ೺߾‫ײ‬ǈ‫ۼ‬ଳǈᅪ‫ٷ‬૧ EATALY, PHASE 1 AND 2, TORINO, ITALY, 2003ॺዾยऺǖాߦ૛ӎ·ք୨ॺዾ๚ခ໯ ARCHITECTS: Negozio Blu Architetti Associati ኄᅃೀତଠ߭ྂ߾‫ڦ׍‬മ߾ᄽ൶ް႗ၜణᅙ૦ঢ় 10

ի૱‫ۥ‬ಳ૶থକĐ๋೗ࢅ೯༥৶٩ግđ‫ڦ‬ᅃဣଚᆶ‫ۥ‬

౎ǈഄምਸ݀ࡗ‫ײ‬एᇀଇ߲ዷᄲ঩܎ ǖᅃ೺ᇀ 2007 ౎ྜ

‫ڦ‬ন‫ׇ࠽ࢅڢ‬ăླྀၨߛዊଉ‫ׂݛںڦ‬೗๟ᅃၜ࠲॰ᅺ

ǈ ߾ǈԈઔॽᅃ߲઻ᅪ‫ٷ‬૧௬๋‫߀׍‬ሰྺ৶‫ی‬Ǆ7 000m2ǅ

໎ǈ໲ᅜᅃዖ੗‫׼‬Ⴤ݀ቛ‫ڦ‬ఇ๕ԍࢺକ‫ں‬൶‫ڦ‬ว‫ݻ‬ණ

ᅜतॽਸ਼ಃ౷੮Ҹ৶‫߀׍‬ሰྺ Eataly ‫ڦ‬๯๋߲೗ࢅ೯

ཞǈժॽၩ‫༹ݯ‬ᄓᆅ‫ڞ‬ၠᅃዖ߸޶ሴඪ‫ڦ‬ༀ‫܈‬ă

༥৶ዐ႐Ǆ1.1 ྤ m2ǅǗܾ೺ධሞํแዐǈॽॺ‫ׯ‬ᅃ߲ ႎ‫୴ڦ‬෥ଭ๳ዐ႐Ǆ2 ྤ m2ǅă

୴෥ଭ๳ࠅᇴዷᄲᆩઠਉӸฆᄽࢅ‫ޜ‬ခऄ‫ۯ‬ǈሞ ฆ‫ࣄࡀڦی‬ĂยऺĂॺሰᅜतยแ࠶૙‫ݛ‬௬ᆮഄ༹၄

౔ሰ‫د‬ཥ੮Ҹ৶‫઻ڦ‬৶‫׍‬ሞၡኙႠࢅ੣क़Ⴀฉट

କ‫ࣉ࠲ڦৣ࣍ܔ‬ăႎॺዾ‫ݴ‬քሞๆጴօႜ൶ዜྷǈᇑ

ਏᆫ๞ ǖཚࡗ༑໭ႎ‫ڦ‬ெ๋ऄ‫ࠕీۯ‬ԍ٪‫ۼ‬ଳ๋೗߾

ᇱᆶࠅࠌ੣क़૶থǈႚ‫ׯ‬କ૶Ⴤ‫ڦ‬ᅓਃ੣क़ă࿭‫୴ۥ‬

ᄽ‫ऻڦ‬ᅬǈܸଷᅃ‫ݛ‬௬ǈཚࡗഽࣅ๪ా੣क़‫׭ڦ‬๨ࣅ

ೢႚ‫ڦׯ‬ኲ࿿՗ೄ཭‫؜‬କ‫׭‬๨؅‫܈‬ฉ‫୴ڦ‬෥૙౒ǈཞ

༬Ⴀ‫ټ‬ઠ‫؜ڦ‬ටᅪଙ‫ڦ‬ၳࡕǈీࠕ‫׭޷ݿ‬๨ิऄă੣

้ǈ໲࣏ీࠕই‫֑گ‬౱ࢅ዆ૐ‫ׯ‬ԨĂ୳຤‫פأ‬ᅜत༵

क़ժ‫ݥ‬ԥยۨྺ‫ڇ‬ᅃࠀీ Ǘ໲ํाฉ๟ᅃ߲ण๨ǈ֖

ߛ࠼ࢇፕᆩ‫ࠀڦ‬ၳăरຍࢅዖኲยऺඓԍକీᇸ૧ᆩ

࠵ኁփৈీࠔச๋೗ǈ࣏ీ݀၄ 8 ߲ዷ༶֕࠷Ă႑တ

୲ăŕǄ໥‫ڤ‬ୄ ᅳǅ

໼Ă‫؞‬ᅝბၯĂࣷᅱ๪ࢅᅃ߲ձ࿿࠷ ǖᇾ஌ฉेॺ‫ڦ‬

๘হॺዾ 2013/05

The rehabilitation of a former industrial area

world of "tasting" and to enhance the unexpectedly

adjacent to Lingotto factory has been a 10 years-

architectural urban feature of the interior as a

The Green Retail Park has been conceived to

long redevelopment process, based on two main

source of enrichment for the city. This space is

host commercial and service activities distinguished

steps: the phase 1, completed in 2007, consisted of

not devoted only to one function: it is indeed

for environmental care in store planning, design,

the recovery of an old pasta factory as a hotel (7 000

a marketplace where visitors can buy food but

construction and facilities management. The new

sqm) and of the vermouth Carpano factory as the ﬁrst

also find eight theme restaurants, information,

buildings gather around a cross-shaped pedestrian

Eataly food and wine centre (11 000 sqm); the phase

cooking schools, conference rooms, a museum:

area, forming a continuous and livable space

2, still ongoing, envisages the construction of a new

the courtyards covered by new glass roofs provide

connected with existing public spaces. The sloping

green retail centre (20 000 sqm).

towards a more responsible approach.

access to a series of sheltered streets and squares

green roofs form a vegetal skin that highlights the

The old factory of traditional vermouth wine

of a "food and wine village". The promotion of high-

green concept on an urban scale and allows reducing

provided a strong symbolic and spatial opportunity:

quality regional products is considered a key factor

heating and cooling costs, water and dust ﬁltering,

to preserve the memory of Torino's food industry

in a form of sustainable development safeguarding

improving photosynthesis process. Technology and

by experimenting new activities related with the

local identities, orienting the consumer experience

plants design ensure energy efﬁciency. ŕ

2!ᅃ೺߾‫ྔײ‬ৠ0Fyufsjps!wjfx-!qibtf!2Ǆฝᆖ0Qipup;!Gjmjqqp!Hbmmjopǅ

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

3!ਸ਼ಃ౷৶‫ྔ׍‬ৠǈ߀ሰമ0Fyufsjps!wjfx!pg!Dbsqbop!gbdupsz-!cfgpsf!! ! sfopwbujpoǄฝᆖ0Qipup;!Gjmjqqp!Hbmmjopǅ 4!ᅃ೺߾‫ײ‬๯֫ೝ௬0Qibtf!2-!qmbo-!mfwfm!1 5!ᅃ೺߾‫ܾ֫ײ‬ೝ௬0!Qibtf!2-!qmbo-!mfwfm!2 6!ਸ਼ಃ౷৶‫ా׍‬ৠǈ߀ሰമ0Joufsjps!wjfx!pg!Dbsqbop!gbdupsz-!cfgpsf!! ! sfopwbujpo 7!ᅃ೺߾‫ాײ‬ৠ0Joufsjps!wjfx-!qibtf!2Ǆฝᆖ0Qipup;!Gjmjqqp!Hbmmjopǅ 5

๘হॺዾ 2013/05

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

๘হॺዾ 2013/05

ၜణᅃ೺ ǖਸ਼ಃ౷߾‫߀׍‬ሰྺ Eataly ๋೗ࢅ೯༥৶ዐ ႐ǈ‫ۼ‬ଳ /Project phase 01: Transformation of the Carpano factory into Eataly center for food and wine, Torino ᄽዷ /Client: Eataly Distribuzione s.r.l. -Torino ॺዾत๪ాยऺ /Architectural Design and Interior design: Negozio Blu Architetti Associati (Gustavo Ambrosini, Cristiana Catino, Paola Gatti, Carlo Grometto, Mauro Penna) with Giovanni BartoliǄքਆ ֥ӄ /draft layoutǅ ࢇፕ /Collaboration: Maurizio Bussone, Federico Cortese ॺሰ࠶૙ /Construction Manager: Cristiana Catino ጺ௬ओ /Total Surface: 11 400m2 ॺዾඹओ /Volume: 47 000m3 ยऺ้क़ /Design: 2003–2007 แ߾้क़ /Construction: 2005–2007 23

ၜణܾ೺ ǖ୴෥ଭ๳ࠅᇴǈ‫ۼ‬ଳ /Project phase 02: Green Retail Park, Torino ᄽዷ /Client: Eataly Distribuzione s.r.l. -Torino ॺዾยऺ /Architectural Design: Negozio Blu Architetti Associati (Gustavo Ambrosini, Cristiana Catino, Paola Gatti, Carlo Grometto, Mauro Penna) ࢇፕ /Collaboration: Maurizio Bussone, Paola Damiani, Marta Fantini ጺ௬ओ /Total Surface: 20 000m2 ॺዾඹओ /Volume: 80 000m3 ยऺ้क़ /Design: 2012-2013

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

8!ᅃ೺߾‫ాײ‬ৠ0Joufsjps!wjfx-!qibtf!2Ǆฝᆖ0Qipup;!Gjmjqqp!Hbmmjopǅ 9/:!ᅃ೺߾‫ײ‬೪௬0Tfdujpot-!qibtf!2 21!ᅃ೺߾‫ײ‬ళ૬௬0Tpvui!fmfwbujpo-!qibtf!2 22!ᅃ೺߾‫ాײ‬ৠ0Joufsjps!wjfx-!qibtf!2Ǆฝᆖ0Qipup;!Q/!Upobupǅ 23!ܾ೺߾‫ײ‬ዡ֪཮0Bypopnfusjd!esbxjoh-!qibtf!3

มࣷཷ༹‫ݒڦ‬ऍ/!ࠅࠌዿ‫߾ࠌࠅࢅݝ‬ፕ੣क़ዐ‫ڦ‬੗‫׼‬ჄႠ THE COMMUNITY STRIKES BACK. SUSTAINABILITY AS COHOUSING AND COWORKING ‫ྂ·ڤྼٳ‬க໭·‫ݯ‬ન‫ܠ‬/Davide Tommaso Ferrando ૚ැ႓ ᅳ/Translated by LI Ruoxing ණྺ web 3.0 ࢅม঍ྪஏࣷඟ࿢்Ӧྃሞࠅࠌ੣

‫ݝ‬৆ඍல‫ܜ‬ժዃăٗኄ߲ঙ‫ੂ܈‬ǈዘႎ๑ᆩᅙ‫ݭ‬ച‫ۼڦ‬

ेॺ‫ ڦ‬3 ֫ࠅࠌ߾ፕ੣क़ഴᇀᅃፗ࿋ᇀ‫׭‬๨Չᇹ‫ټں‬Ă

क़ዐ৊ႜ࿿૙঍ୁႴ൱‫݆ၙڦ‬Ⴔᄲምኇጡă๚ํฉǈ‫ړ‬

ଳ 2006 ౎ӎଠ೅ਖ਼٩ዐ‫ڦ‬ᅃ۰ॺዾ๟ᅃ߲‫׉ݥ‬ਏᆶ֧୼

‫ڍ‬ᄺ໙๟ዐ႐‫߾ڦ‬ᄽॺዾዐăሞኄ૛ǈ ႎᅃ‫پ‬ጲᆯኰᄽኁĂ

࣍ৣዐ‫ڦ‬रຍยแඟ࿢்ీࠕᆩ޶‫ڥڅ‬ഐ‫ڦ‬੗ᅎ‫ۯ‬ยԢ

Ⴀ‫ڦ‬ਦۨ ǖᇱᆶ঳ࠓएԨቚႎǈኝႪ‫ׯ‬Ԩᇺ‫گ‬ᇀೝ਩ॏ

‫܀‬૬ኰᄽኁࢅၭ႙ࠅິీࠕቴ‫૸ڟ‬ॏժ൐ਏᆶघ݀Ⴀ‫ڦ‬

ᇑ๘হ၎૴ဣĂඟႎ‫߾ڦ‬ፕࢅม঍ఇ๕ీࠕሞॆ૛ฯ዁

߭ǈኄ‫ܔۼ‬ሆፀ‫ټ‬ઠᆶ૧‫ڦ‬ᆖၚǈཞ้ǈᅃ߲ӷ‫ݭ‬ച‫ڦ‬

߾ፕ࣍ৣઠਸ๔໱்ጲम‫ڦ‬๚ᄽăटณ‫ॺڦ‬ሰᇮ໎ཚࡗ

ဠҺ‫ڦ‬৶ӕዐׂิ‫ࢪ้ڦ‬ǈ࢔‫ܠ‬ሞॆ߾ፕ‫ڦ‬ටࢅྪᆷਸ

ม൶ׂิକႎ‫ิڦ‬ऄഘတǈժ൐࣏ሐࡤጣሞ࿄ઠ৊ႜ߸

ႎးܸ‫֒ܠ‬Ǆ৑࠶ᆶ้໿ࡗጎ๦Ⴀǅ‫ڦ‬ยऺ‫ںࠀׯ‬՗‫ٳ‬

๔ߌ๴‫ڟ‬ᅃዖႴᄲዘႎॺ૬ഐగၵኈኟ‫ڦ‬มࣷཷ༹‫ڦ‬Ⴔ

‫ܠ‬ཞૌၜణ‫ڦ‬੗ీႠăॺሰ֫௬‫߾ڦ‬ፕ‫׉ݥ‬०‫ڇ‬ǈᅺྺ

କ‫߾ࡀ׉ݥ‬ፕ੣क़ዐ௽၂‫ీڦ‬ଉߌǈժᇑజ༹‫߾ڦ‬ᄽ঳

൱ăᅺُ࢔ඹᅟ૙঴ǈሞࡗඁ‫ڦ‬बๆ౎ዐǈႹ‫׭ܠ‬๨‫ׯ‬

ৈႴᄲ࢔ณ‫تڦ‬૙ ǖ၄ᆶ‫ڦ‬ዿ቎‫ڇ‬ᇮঢ়ࡗ०‫ۙڦڇ‬ኝ‫ׯ‬

ࠓॺ૬କᅃዖྲ௴‫ܔڦ‬Բăྺକ๢ᆌႎ႗ࠅິཷ༹੺໏

ྺᅃዖĐࢇፕđऐ዆ྪஏ‫ڦ׊ׯ‬ᄩદăĐࢇፕđऐ዆๟

ྺᅃ߲ႎ‫ࢇंڦ‬ਃዿၜణǈᇑُཞ้ǈᅃፇࠅࠌࠀీ੣

Վࣅ‫ڦ‬Ⴔ൱ǈኄ߲ၜణ࠲ጀᇀ‫ܠ‬ᄣႠࢅଳऄႠǈཚࡗ༵

ᅃዖํᄓǈྺဠ࣌ᇑ໱ටࠌၛ੣क़‫ڦ‬ට்༵ࠃ૸ॏĂଳ

क़ԥҾዃሞጆᆩ‫ݝ‬क़ዐईኁĐઘऎ੣क़đ Ǆසጽ઴ࢅೝ໼ǅ

ࠃ߳๕߳ᄣ‫ڦ‬੣क़ࢅ‫ޜ‬ခǈᅜ༬՚ۨ዆ઠ஢ፁ๑ᆩኁ‫ڦ‬

ऄࢅ‫ݥ‬ኟࡀ‫ิڦ‬ऄࢅ߾ፕ‫ڦ‬঴ਦ‫ݛ‬ӄă߸ጚඓ‫ں‬ຫǈ‫ݴ‬

ዐăٗኄ߲ঙ‫ੂ܈‬ǈኄ߲ၜణፌᆶॏኵ‫ݛںڦ‬ժփሞፌ

༬Ⴀăएᇀُǈփཞጆᄽ‫ڦ‬ටփৈ੗ᅜሞኄ߲ॺዾዐย

ၛ๟ኄၵ‫ٯ‬แዐ੗‫׼‬ჄႠ‫࠲ڦ‬॰ǈᅺྺৈৈཚࡗඟᅃ߲

ዕ‫ॺڦ‬ሰ‫ࡕׯ‬ዐǈܸ๟ሞ໲‫ڦ‬੣क़ࢅมࣷ࠶૙ዐǖ ᅃ‫ݛ‬௬ǈ

ۨ໱்૙ၙ‫߾ڦ‬ፕ੣क़ǈසࡕࠅິഐօ‫ࡕׯ‬ଆࡻǈ໱்

੣क़‫ڦ‬๑ᆩኁ‫ܠ‬ᄣࣅǈ৽ཞ้ྺ‫گ‬๭෇঩༵֫ࠃକ‫ݛ‬Ս

࢔‫ܠ‬౮૰ԥጀ෇ॽୟᅟຯ · ੃ۨᅭ‫ڦ‬Đ‫ޜ‬ခ੣क़đገ࣑ྺ

࣏੗ᅜᆛᆶሞॺዾాദᅎࢅક‫ڦິࠅٷ‬ऐࣷăኄ߲ॺዾ

‫ޜڦ‬ခǈժघ݀କႎ႙ྪஏ‫ิڐڦ‬ă

ࠅࠌĐԥ‫ޜ‬ခ੣क़đǗଷᅃ‫ݛ‬௬ǈኝ߲৊‫ײ‬සࡕுᆶม঍

‫ڦ‬ኈኟࢃ႐ຼࢭժփ๟Ӹࠅጞǈ ܸ๟ዜྷ‫ࠌࠅڦ‬੣क़ဣཥǖ

Đெৠđมࣷዿ቎๟‫ۼ‬ଳࠅࠌዿ‫ݝ‬ऐ዆‫ڦ‬ਸ‫ံ܋‬૩ ኮᅃăُၜణਸ݀‫้ڦ‬೺ኟኵ‫ۼ‬ଳዿ‫ݝ‬๨‫ڦׇ‬ᅃ߲࠲॰ ้೺ǈ‫้ړ‬ǈ‫ ࡗג‬3.5 ྤ༫੣‫ੰݝ‬٪ࢅᇺ࿄ీ঴ਦ‫ڦ‬ዿ

ਓૂև‫ࢇڦ‬ፕ๟փీሏገ‫ڦ‬ǈม঍ਓૂև޶ሴཚࡗٝ৊

ኄ૛݀ิ‫ݥ‬ኟ๕‫ڦ‬၎ᇜǈ‫ټ‬ઠႜᄽྪஏ‫ࠓॺڦ‬ǈ༹၄ࠅ

၎ᇜĂႚ‫ࢇࢅׯ‬ፕ‫ࢇׇڦ‬ઠࠈࠦତ૛‫ڦ‬มཷă

ࠌ߾ፕ༹ᄓ‫ྔܮڦ‬ॏኵ Ǘኄ૛݀ิएᇀยၙ‫ࠌࠅڦ‬ऄ‫ۯ‬ǈ

Đ߾ਏၒđ‫ۼ‬ଳӸࠅํᄓ๪๟ 3 500m2 ‫ײ߾ॺेڦ‬ǈ

ٝ৊ࠌၛǈܸ༵ٗߛĐ߾ਏၒđዐ߾ፕኁ‫ڦ‬৪ኛ૰ăŕ

Those who think that web 3.0 and social networks

Seen from this point of view, the choice to reuse one

a marginal ǉ although quite central ǉ area of the

are liberating us from the need of physical interaction

of the already-abandoned buildings of the Torino 2006

city. Here, new generations of young freelances,

in collective space, should probably think twice. In

Olympic Village was quite strategic: being the original

independent professionals and small companies, can

fact, as soon as our environment became equipped

structure almost new, refurbishment costs were kept

ﬁnd a cheap and stimulating work environment where

with technologies capable of connecting us to the

significantly lower than the average, with a positive

to start up their own businesses. The fresh and colorful

rest of the world by means of affordable and portable

effect on the monthly rent, while a new sparkle of

(although sometimes too ornamental) design of the

devices, allowing the birth of new models of work

life was given to a semi-abandoned neighborhood

few architectonic elements introduced, succeeds in

and socialization that could be performed from one's

with the potential to host more projects of this kind

expressing the palpable energy of the unconventional

home or ǉ say ǉ favorite bar, many home-workers

in the future. In terms of construction, very little was

workplace, and establishes a subtle contrast with the

and e-friends started to feel the urge to reconstruct

done because very little was needed: existing units

hosting industrial structure. Having to accommodate

some kind of real community around them. It therefore

have been easily adapted to a new mix of residential

the needs of a rapidly changing community of young

comes as no surprise that in the last decades, a lot of

programs, while a set of collective functions have

entrepreneurs, the project focuses on diversity and

cities have become the cuddle of a growing network of

been installed in dedicated rooms or in "junk spaces"

flexibility in order to offer a vast catalog of spaces

"co-" initiatives: experiments that offer cheap, ﬂexible

such as corridors and landings. The most valuable

and services that can be customized ad hoc to meet

and informal solutions both for living and working

feature of the project, in this sense, isn't to be found

the users' profiles. Thanks to this fact, not only

to those who find it convenient to share spaces and

in the ﬁnal architectonic output, but in its spatial and

can different kinds of professionals set their ideal

experiences with other people. Precisely, sharing is

social management: on one side, a strong effort has

workplace inside the structure, but they also have the

the key to the sustainability of these operations, as

been put into the transformation of what Louis Kahn

chance to move and expand their companies within it,

they both provide accessible services to lower-income

called "serving spaces" into collective "served spaces";

in case their start-ups turned out to be fruitful. Still,

classes and stimulate the creation of creative networks,

on the other side, the whole mechanism wouldn't

the real core of the structure seems not to be the work

simply by diversifying the users of one same space.

work without the tangible presence of the Social Club

desk, but the system of collective areas that gravitate

Buena Vista Social Housing is one of the first

cooperative, which is responsible for the consolidation

around it: that's where informal encounters can lead

co-housing initiatives to be launched in Torino. Its

of the neighbors' community through the promotion of

to the construction of those professional networks

development coincides with a critical period in the

occasions of encounter, formation and cooperation.

that are the extra value of the coworking experience;

city's housing market, paradoxically characterized by

Toolbox Torino Ofﬁce Lab is the latest addiction

and that's also where collective activities, aimed at

a stock of more than 35 000 empty apartments and a

of a 3 500 sqm, three floors coworking space,

sharing and improving the competences of the Toolbox

housing emergency which is still far from being solved.

carved into a former industrial building placed in

coworkers, take place on a scheduled basis. ŕ

๭ߡන೺ǖ2013-03-29

๘হॺዾ 2013/05

2 2!Đெৠđมࣷዿ቎ǈण༹ࢾᇴ0Cvfob!Wjtub!Tpdjbm!Ipvtjoh-!uif! ! dpmmfdujwf!hbsefoǄฝᆖ0Qipup;!USBǅ

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

Đெৠđมࣷዿ቎ǈ‫ۼ‬ଳǄᇱӎଠ೅ਖ਼٩ǅǈᅪ‫ٷ‬૧ BUENA VISTA SOCIAL HOUSING, TORINO (FORMER OLYMPIC VILLAGE), ITALY, 2012 ॺዾยऺǖTRAॺዾ๚ခ໯ ARCHITECTS: TRA_shared architecture

Đெৠđมࣷዿ቎๟ᅃ߲ႎ‫ڦ‬มࣷዿ቎ၜణǈᆯ

Buena Vista is a new social housing project

‫ۼ‬ଳ‫ݥ‬ᆕ૧ႠഓᄽࢇፕྪஏĊĊĐม঍ਓૂևđླྀ‫ۯ‬

promoted and managed by Social Club, the Torino

Club with a 13 years contract signed in June 2012.

ࢅঢ়ᆐăጺ௬ओ 4 200m2ǈྺཞ๚ĂྔࡔბิĂࢇፀ

network of non-profit cooperative firms. 4 200

On the 15th of September 2012 the first students

a public Foundation that has rented it to Social

‫౎ׯ‬ටࢅ‫ڼ‬ෙׂᄽ‫گ‬๭෇‫߾ڦ‬ටॆབྷ༵ࠃକ 44 ༫‫؜‬ፀ

square metres for 44 units offered at affordable

occupied their rooms, and two months later the

‫ݝ‬ǈժᅜᅃዖ༬๺‫ิڦ‬ऄ༹ᄓंࢇ‫ݛ‬๕ࡤభକᅃ߲৛

rents to co-workers, foreign students, adult co-

whole building was inhabited. Refurbishment works

หदթ࣒ኁၭ႙ม൶ǈඟ࣒ኁ்ሞኄ૛༹ᄓ‫ڟ‬ዘႎබ

housers and families of low-wage workers of the

have been fully carried out by small construction

෇มࣷ‫ڦ‬ਸ‫ݣ‬ᆷࡻ࣍ৣă

third sector, in an unique social mix of lives and

and technical plants ﬁrms of the third sector. Some

experiences that include a small community of

of the workers implied have chosen Buena Vista as

‫ࠅأ‬ᇦኮྔǈĐெৠđมࣷዿ቎࣏༵ࠃକ‫ܠ‬ዖม൶ ยแǈ૩සǈࡤᆶࡕᇴ‫ڦ‬࿭‫ࢾۥ‬ᇴĂဢᅊ‫ܠࢅݝ‬ጸঞ੣क़ă Đெৠđมࣷዿ቎‫ڦ‬ኟ௬ጎ‫ۅ‬ጣ‫ۼ‬ଳনཀྵᅝຍॆྴ ໭‫ظڤ‬ፕ‫ڦ‬ᅃ‫ ޗ‬150m ‫ࠌࠅڦ׊‬ᅝຍፕ೗ǈኄ๟ཚࡗ

mentally-ill people that experience here reinsertion

their new home. The building was been officially

in an open and friendly environment.

inaugurated on the 9th of November 2012. ŕ

More than ﬂats, Buena Vista offers community

݀ഐ‫׭‬๨ᅝຍৠ࠵Đoffđऄ‫ ڦۯ‬Paratissima ֖ᇑፇ

facilities and amenities as the rooftop garden with

ኯ‫ࠌࠅڦ‬৪ෘዐ჋‫ڦ؜‬ፕ೗ă

orchard and fruit garden, the laundry, a multi-

Đெৠđมࣷዿ቎๟ᅃ߲‫ׯگ‬ԨĂߛ໏‫߀ڦ܈‬ሰၜ ణǈᇱॺዾ๟࿄ঢ়๑ᆩ‫ ڦ‬2006 ౎۬ӎࣷሏ‫ۯ‬ᇵዿ໯ǈ ‫׼‬ᆶُॺዾ‫ࠌࠅڦ‬एূࣷሞ 2012 ౎ 6 ሆॽ໲ፀߴĐม

religious space. The front has been decorated with a 150mt. long public art work by the Turinese street artist

঍ਓૂևđǈࢇཞᆶၳ೺ྺ 13 ౎ă2012 ౎ 9 ሆ 15 නǈ

Vesod, selected through a public competition

‫ڼ‬ᅃ಼ბิ෇ዿഄዐǈଇ߲ሆኮࢫǈ໯ᆶ‫ݝ‬क़‫ۼ‬ԥፀ‫؜‬ă

organized in partnership with Paratissima , the "off"

߀ሰ߾ፕඇևᆯ‫ڼ‬ෙׂᄽ‫ڦ‬ၭ႙߾‫ࢅײ‬रຍยԢࠅິ

events producer of the city art scene.

ํแǈഄዐᅃၵ߾ፕටᇵ჋ስĐெৠđมࣷዿ቎ፕྺ

Buena Vista is the low-cost and high-speed

໱்‫ڦ‬ႎॆăُॺዾሞ 2012 ౎ 9 ሆ 9 නਉႜକኟ๕‫ڦ‬

refurbishment of an unused Olympic house for

஌‫ׯ‬ᅏ๕ăŕǄ૚ැ႓ ᅳǅ

athletes of the 2006 Winter Games, owned by

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๘হॺዾ 2013/05

໯ᆶ඄ PXOFSTIJQ YY!Nbs{p!Gpvoebujpo

21౎‫؜‬ፀत࠶૙ၹᅱ ufo.zfbs!sfou!boe!nbobhfnfou!bhsffnfou

ཨጨ ॺዾतॆਏ߸ႎ JOWFTUNFOUT Cvjmejoh!boe!gvsojuvsf! sfgvscjtinfou

มࣷ࠶૙ ม঍ਓૂևǄई၎࠲ၹࣷǅ TPDJBM!NBOBHFNFOU Tpdjbm!Dmvc!)ps!sfmbufe!tpdjfuz*

ॺዾ࠶૙ Cvjmejoh!nbobhfnfou

‫؜‬ፀ࠶૙ Sfou!nbobhfnfou

‫پ‬૙ට߶৊ gpmmpx.uispvhi!pg!bttjhofft

ጨূ ‫ظ‬ᄽබጨ GVOE tubsu.vq!gjobodjoh

ॺዾ࠶૙तන‫ࢺྼ׉‬ Cvjmejoh!nbobhfnfou!boe psejobsz!nbjoufobodf

ม঍Đோ‫ݝ‬đ Tpdjbm!Đdpodjfshfđ

‫ݝ‬ਜ਼ Mpehfst

ม൶ഔ‫ۯ‬ Dpnnvojuz!tubsu.vq

ऄ‫ۯ‬0‫ޜ‬ခၹۙ B d u j w j u j f t0t f s w j d f t! dppsejobujpo

ኧ‫׼‬๯‫ظ‬৛ห Tvqqpsu!up!uif jojujbujwft

ࠅࠌ੣क़ጲ࿢࠶૙ Dpnnpo!tqbdft! tfmg.nbobhfnfou

ൡདऄ‫ۯ‬ ‫ݞ‬ኹփࢅၿ Mjtufojoh!bdujwjuz Ejtdpse!qsfwfoujpo

‫پ‬૙ට྿ᇵࣷ0ཷ༹ Ǆྼࢺ0࠶૙ǅ Dpnnjuufft0hspvqt!pg!bttjhofft )nbjoufobodf0benjojtusbujpo*

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

5/6!૴ࢇዿ቎0Dp.ipvtjohǄฝᆖ0Qipup;!USBǅ 7!ዿ‫ݴݝ‬ದ཮๖0Tdifnbujd!ipvtjoh!ejtusjcvujpo

ࠌཞ߾ፕ੣क़

๘হॺዾ 2013/05

ॺዾ฾ /Design Architects: TRA-shared architecture ೝ௬त๫ਥยऺ /Graphics and Visual Design: WELAIKA ǉ Giorgio Bongioanni, Giorgia Cilli ጺ‫ॺ׶‬ฆ /General Contractor: Dinamo, Gineprouno ৠ࠵ํแ /Green: Agridea

ॆਏ዆ሰ / Furniture: Triciclo

ഄ໱֖ᇑኁ /Other Involved Subjects: Davide ZiveriǄม঍ਓૂև /Social Clubǅ, Vesod BreroǄᅝຍॆ /Artistǅǈม঍ਓૂևतၹࣷ /Social Club and associations (Abele Lavoro, Acli, Acmos, Almaterra, Agridea, Airone, ass. e coop. Arcobaleno, Terremondo-Asai, Biloba, CH4, Croma, Educazione Progetto EtaBeta, Ginepro Uno, Ici Arca, Il Margine, Il Ponte, l'Arcobaleno, la Rosa Blu, Luci nella città, Marca, Mondo Nuovo, Movimento consumatori, Oltre il muro, Orso, Parella, Progetto Muret, Stranaidea, Terra del Fuoco, Triciclo), Programma Housing della Compagnia di San Paolo, Fondazione XX marzo 2006, Città di Torino, Circoscrizione 9, Banca Etica, Paratissima, Edisu, EAP, IUC ጺॺዾ௬ओ /Gross Floor Area: 4 200m2 8

8!ਓૂև0Dmvc!ipvtfǄฝᆖ0Qipup;!USBǅ 9!ࠅࠌ੣क़཮๖0Tdifnbujd!dpnnpo!tqbdf :!ࠅࠌ෇੨཮๖0Tdifnbujd!dpnnpo!fousbodf

ሰॏ /Cost: € 17M

ၜణํ၄ /Realization: 2012.07-2012.10

21!೪௬཮๖0Tdifnbujd!tfdujpo 22!ࠅࠌ୞໼཮๖0Tdifnbujd!dpnnpo!ufssbdf

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

Đ߾ਏၒđ‫ۼ‬ଳӸࠅํᄓ๪ǈ‫ۼ‬ଳǈᅪ‫ٷ‬૧ TOOLBOX TORINO OFFICE LAB, TORINO, ITALY, 2010 ॺዾยऺǖਸ਼໽ૢబ·‫ڻ‬ჱፄ‫ڻ‬ ARCHITECT: Caterina Tiazzoldi

๘হॺዾ 2013/05

2!ࠌཞ߾ፕ੣क़0Dp.xpsljoh!tqbdfǄฝᆖ0Qipup;!Tfcbtujbop!Qfmmjpo!eb!Qfstbopǅ

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

Đ߾ਏၒđ๟ሞᅃፗ߾ᄽॺዾዐํ၄‫ڦ‬ᅃ߲ࠌཞ߾ ፕ੣क़ă ኄ߲ၜణԥණྺీࠕ஢ፁ‫ت‬ᇀዘ‫ٷ‬Վ߫঩܎‫׭ڦ‬ ๨‫ڦ‬Ⴔ൱ă ‫ړ‬ԴऻԨऺ໙ऐࢅ࿮၌ྪஏ๑߾ፕీࠕሞඪࢆ‫ں‬ ‫ۅ‬৊ႜǈ๊஺ᄣ‫ڦ‬ጆᄽႠ੣क़๟ට்Ⴔᄲ‫ڦ‬Ǜසࢆॽ ๑ᆩኁ‫ܠڦ‬ᇮࣅᇑኝ༹ยऺ၎঳ࢇǛසࢆۙব‫ܔ‬ᇀม ࣷႠࢅຳ௢Ⴀ‫ڦ‬Ⴔ൱ǈᅜत‫ܔ‬ᇀ‫ݣ‬຿ᇑጆጀ‫ڦ‬Ⴔ൱Ǜ ٗࠀీ‫ڦ‬ঙ‫܈‬঄ǈኄ߲ၜణ‫ظ‬ሰକᅃ߲Ԉࡤ 44 ߲ ‫܀‬૬߾ፕ໼ᅜतഄ໱‫ޜ‬ခࢅऄ‫ڦۯ‬ਸ‫ݣ‬੣क़ăഄణՔ ๟ंౡཱི঳ࠓఇຕԍ‫׼‬փՎă ॺዾ‫ڦ‬ዷੵԥᅃဣଚᆩፕ‫ئ‬࿿ࡋࢅ‫ݣ‬ዃยԢ‫ڦ‬र ຍ੣क़‫ڦ‬Đࡗ୳༹đጻၠ‫ݴ‬૗ăᅃՉ๟߾ፕ੣क़ǈଷ ᅃՉ๟ጽ઴ࢅࠀీĐ࢈ጱđǈഄዐԈࡤࣷᅱ๪Ă‫ٶ‬ᆇ๪Ă ‫ݥ‬ኟ๕ࣷᅱ੣क़ĂᆰၒĂዐབྷࢅ‫ݝ؞‬ኄᄣ‫ࠌڦ‬ၛยแă ٗยऺࡗ‫ڦײ‬ঙ‫܈‬ઠੂǈణՔ๟ᄲۙব๑ᆩኁ‫ܠ‬ ᇮࣅ‫ڦ‬Ⴔ൱ᇑยऺ‫࠻૶ڦ‬Ⴀăኄ߲ၜణ‫౒߁ڦ‬ᇸᇀਸ਼ ໽ૢబ · ‫ڻ‬ჱፄ‫ڻ‬ሞ‫ۼ‬ଳ૙߾‫ٷ‬ბࢅߣ୿Բჱ‫ٷ‬ბ‫ڦ‬ NSU ჺ৯ํᄓ๪ჺ݀‫ڦ؜‬ፇࢇĐ๢ᆌႠࠓॲđఇ႙ă ཚࡗ֑ᆩᅃዖ‫܀‬༬‫ڦ‬ยऺ݆ሶׂܸิ‫ܠ‬ᄣࣅ‫ڦ‬঴ਦ‫ݛ‬ ӄă࢈ጱ૛ऺࣄ‫׶‬ሜ‫ీࠀڦ‬ਦۨକփཞ֌ଙ‫ڦ‬๑ᆩǈ 3 3!മ໼0SfdfqujpoǄฝᆖ0Qipup;!Tfcbtujbop!Qfmmjpo!eb!Qfstbopǅ 4!ೝ௬0Qmbo 5!ጻ೪௬0Mpohjuvejobm!tfdujpo 6!Ⴉတཐ0Mpvohf 7!ࠌཞ߾ፕ੣क़0Dp.xpsljoh!tqbdf Ǆ6Ă7ฝᆖ0Qipup;!Ebwjef!Hjhmjpǅ

ᆯُ๑ᅃဣଚፌ‫؛‬၎ཞ‫༹ڦ‬ଉ‫ڥ‬ᅜ‫ࣅݴ‬ă࠲ᇀำĂඤ ࢅ๫ਥ‫ڦ‬փཞႴ൱๟๑༹ଉ݀ิ༬ۨገՎ‫ڦ‬ᇱᅺă փཞ๘হࢅ࿔ࣅ‫ࢅڦ‬ၿࠌ٪๟ُၜణ‫ڦ‬ణՔă‫ܔ‬ గᅃ߲‫܀‬༬ᇮ໎৊ႜՎࣅ‫ت‬૙‫ڦ‬ᇱሶᄺሞၜణ‫ڦ‬ഄ໱ և‫ݴ‬ᆶ໯༹၄ ǖࣷᅱ๪ጲ඗ၞঌ‫ں‬ӱ‫ڦ‬փཞჿ෥ǈ߰ ᅼཱ֫ᇑၭ႙‫߰ࣆۉ‬क़‫ڦ‬঍༺ǈᅜतႚ‫࢈ׯ‬ጱྔ՗֌ ዊ‫ڦ‬ഘಟ‫ڦ‬փཞ႙ࡽĂჿ෥ࢅཪ௽‫܈‬ă ยऺ‫౒߁ڦ‬๟ᅜ࿮ຕՎࣅ‫ݛڦ‬๕ઠ‫ܔ‬टณ‫ڦ‬ᇮ໎ ेᅜሏᆩǈᆯُǈᅃ߲०‫ڦڇ‬ဣཥ‫ڥ‬ᅜิ‫ׯ‬࿮൬‫ڦ‬੗ ీႠઠᆌ‫ܔ‬๑ᆩኁ‫ܠ‬ᇮࣅ‫ڦ‬Ⴔ൱ă ኄ߲߁౒࠻‫ڟן‬௅ᅃ߲ยऺ‫ڦ‬჋ስă෇੨‫ڦ‬഻༹ᆯ ᅃ߲०‫ڇ‬ӣ࢈ጱ‫ ڦ‬500 ዖՎ༹ࠓ‫ׯ‬ăኝ༹ยऺཚࡗ֖ຕ

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ࣅ෉ॲิ‫ׯ‬ᅃ߲०‫ڇ‬ຕጴఇ႙‫ڦ‬࿮ຕዖፇࢇࠓ‫ׯ‬ăཞᄣǈ ߵ਍௅߲࣍ৣዐ੣ഘ঍࣑‫ڦ‬Ⴔ൱ǈ੣ۙྪஏᄺ๟ཚࡗ‫ڇ‬ ᅃ‫֖ڦ‬ຕࣅఇ႙ઠऺ໙ഘ੥‫ڦ‬࿋ዃࢅ‫ٷ‬ၭă ཞᄣ‫ڦ‬ᇱሶᄺᆩᇀ‫ܔ‬੗‫׼‬Ⴤ‫ڦ‬ଳऄႠ੣क़‫࠶ڦ‬૙ ዐǈኄዖଳऄႠժ‫ݥ‬एᇀ࿿૙੣क़‫ڦ‬Վࣅǈܸ๟एᇀ ᅃၵࠀీǄࢇፕ੣क़Ăࣷᅱ๪Ă‫ݝ؞‬ĂዐབྷĂཕ‫כ‬ǅ ‫ڦ‬ፇࢇ໯इ‫ڦڥ‬๑ᆩฉ‫ܠڦ‬ᄣႠăኄዖଳऄႠ੗ᅜิ ‫ׯ‬࿮ຕ‫ׇ‬ৠăणዐ੦዆‫࠼ڨ‬Ă৊‫ޜࢅ؜‬ခǄ‫ٶ‬ᆇĂ‫ࣆۉ‬ǅ ‫ڦ‬ጲ‫ࣅۯ‬ဣཥ๑௅ᅃ߲๑ᆩኁీࠕᆛᆶᅃ߲एᇀጲम Ⴔ൱ܸยऺ‫ڦ‬ದዃăᆯُǈ੣क़‫࠶ڦ‬૙ᇑᅈ਍๑ᆩኁ ದዃઠਦۨࠀీ‫ڦ‬ጲ‫ࣅۯ‬ဣཥ৆௢၎࠲ăཚࡗኄዖ‫ݛ‬ ๕ǈጲ‫ࣅۯ‬ဣཥඟ࿢்ీࠕՆ௨ට்ᅺ੣क़๑ᆩ‫ݛ‬๕ ׂܸิ‫ڦ‬ఊ։ăጲ‫ࣅۯ‬ᅙঢ়‫ۯࢻߛྺׯ‬Ⴀ੣क़‫ڦ‬ᅃዖ มࣷࣅ߾ਏăŕǄ૚ැ႓ ᅳǅ 4

ৢኹ

੗‫ٳ‬Ⴀ

ऺ໙ऐೡట

߰ᅼ

ำકො

๫ਥ߰૗

ཪ௽

߰ඤ

࠼၍ࢅᅽᆖՎࣅ

๘হॺዾ 2013/05

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

Toolbox is a coworking space realized in an industrial building. The project is believed to meet the needs of a city in a phase of substantial transformation. At a time when, with a laptop and a Wi-Fi connection, it is possible to work from anywhere,

specialization or differentiation through the use of

combinatorial functions (co-working, meeting

different materials according to the programmatic

rooms, kitchen, patio, parking). It is a flexibility

function hosted in the box. The specialization

permitting the derivation of an almost limitless

of a generic volume occurs in accordance with a

number of scenarios. An automated system for

specialization generated by sound, thermal, and

centralized control of lighting, access, and services (printers, telephones) allows each user to have

visual requirements.

the question emerging is what professional space

The goal was to convey a harmonious coexistence

a profile designed according to their needs. The

is needed for. How is it possible to design a space

of different worlds and cultural references. The

management of the space is therefore related

combining users' plurality with the coherence of

principle of variation and transformation of a

to an automated system that allows or denies

the whole design? How is it possible to mediate

unique element was also pursued in other parts

the use of certain functions in accordance with

between a need for socialization and privacy,

of the project by differentiating the colors of

users' proﬁles. In this way the automated system

between relaxation and concentration?

natural rubber ﬂoors in the meeting rooms, sound

allows us to reduce direct friction between people

From the functional point of view, the project

insulation coating alternating with small telephone

with regard to the modality of use of the space.

consists in the creation of an open space with

pods and finally by varying the sizes, colors and

Automation has become a tool of socialization in

44 individual workstations combined with other

levels of transparency of the bubbles that form the

a space in which interaction between users is very

services and activities. The goal has been to keep

external texture of the box-bar.

strong. ŕ

the modular concrete structure unaltered.

The concept uses a very few items in endless

The main span of the building has been divided

variations, a single system developing an infinite

ጺ֫ຕ /Total Storeys: 1

lengthwise by a series of "ﬁlter volumes" used as

range of possibilities to respond to the plurality of

ॺዾ௬ओ /Floor Area: 1 200m 2

technical spaces for storing lockers and equipment.

users' needs.

ยऺ / ྜ߾้क़ /Design /Completion Date: 2010.02

On one side, there is the co-working space, on the

This concept has driven every design choice.

ยऺཷ‫ ܓ‬/Design Team: Caterina Tiazzoldi, Monica

other side, the corridors and the functional "box"

The walls of the entrance have been achieved with

Pianosi, Mauro Fassino, Chiara Caramassi, Lorenza

containing shared facilities such as meeting rooms,

500 variations of one single white box. The overall

Croce

print rooms, informal meeting spaces, mailboxes, a

design was obtained with parametric software

patio and a kitchen.

generating endless configurations from a single

From the perspective of the design process

digital model. Similarly, conditioning grids have

the goal was to mediate between the plurality

been obtained from a single parametric model

of users' needs and the coherence of the design.

that recalculates the size and position of the holes

The concept of the project derives from the

based on the exchange of air required in each

combinatorial Adaptable Component model

environment.

developed by Caterina Tiazzoldi within the context

The same principle was also applied in the

of the research Lab NSU at the Politecnico di

management of space oriented towards sustainable

Torino and Columbia University. The variety of

flexibility, a flexibility which is not based on

solutions is obtained by use of a unique design

the transformation of physical space but on a

rule. A set of initially identical volumes acquire

variety of uses obtained through the use of a few

8!֑࠼৞0Mjhiu!qbujp 9!ٗాᇾྭၠ‫ݝ؞‬0Qbujp!wjfx!upxbse!uif!ljudifo :!‫ݝ؞‬0Ljudifo Ǆ8ǉ:ฝᆖ0Qipup;!Tfcbtujbop!Qfmmjpo!eb!Qfstbopǅ 21!ෙྼ཮๖0Usjejnfotjpobm!wjfx!ejbhsbn 22!ጽ઴0DpssjepsǄฝᆖ0Qipup;!Ifméoé!Dbozǅ 23!ጽ઴ǈ੗ੂ‫ࢤڟ‬෥ࣷᅱ๪ࢅ෉ఢࣷᅱ๪0Dpssjeps!wjfx!po!uif!sfe!! ! boe!uif!dpsl!nffujoh!sppn 24!۹ैຳට‫ࣆۉ‬क़0Qpe!qsjwbuf!qipof!dbmmt Ǆ23Ă24ฝᆖ0Qipup;!Tfcbtujbop!Qfmmjpo!eb!Qfstbopǅ

๘হॺዾ 2013/05

‫ݝ؞‬ Ⴉတ൶ ‫ٶ‬ᆇ๪

ాᇾ

മ໼

ਵ‫ݦ‬क़

‫ࣆۉ‬क़

ࣷᅱ๪

ோཐ

෇੨

‫֠ئ‬क़

ࠌཞ߾ፕ൶ ࣷᅱ๪ 21

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

๴࣌ᆓ‫ڦ‬੣क़/!ၹۙ߾ፕࢅॆབྷิऄ‫ڦ‬੗‫׼‬ჄႠ A WELCOMING SPACE. SUSTAINABILITY AS CONCILIATION BETWEEN WORK AND FAMILY LIFE ‫ྂ·ڤྼٳ‬க໭·‫ݯ‬ન‫ܠ‬/Davide Tommaso Ferrando ྦྷࡦు ᅳ/Translated by WANG Hanni

৑࠶Đዘႎၹۙ߾ፕࢅॆབྷิऄđᅃَሞৎ౎ઠ

ᆯ‫ۼ‬ଳ‫ٷ‬ბೝ‫ڪ‬ऐࣷ྿ᇵࣷᇀ 2001 ౎ഔ‫ۯ‬ჺ৯໯

๴࣌ᆓ‫ڦ‬Ăዐक़ጒༀ‫ࠌࠅڦ‬੣क़‫ڦ‬ට༹؅‫܈‬ǈᅜतට

Վ‫ڥ‬ሁઠሁዘᄲǈഄํራሞ 1980 ౎‫پ‬ǈ‫ړ‬໲๯ْᆩᇀ

इ‫ڦڥ‬ፌዕ‫ࡕׯ‬ǈĐ߾ፕǉิऄೝ࢚ዐ႐đ๟޿ଶᇘᆅ

்໯ຄဒ‫ڦ‬ၽ࿭‫ࢅۥ‬਒‫؃‬ႚ‫ڦ‬ோ઴‫ڦ‬ႚၡĊĊ ᅃ߲‫ۼ‬

௮ຎႹ‫ܠ‬౰Ⴀ๬཮ཞ้ज़޶๚ᄽࢅॆབྷ‫ڦ‬ມዘሴඪ໯

ଶ႙‫ڦ‬ၜణǈ໲ኼሞྺ޿‫ٷ‬ბ‫ڦ‬ბิࢅࠧᇵǈᅜतྺኄ

ଳॺዾბၯ‫׼ڦ‬৳Đ‫ں‬Քđǈሞኄ߲ӄ૩ዐǈੂഐઠԲ

փ‫ڥ‬փ௬‫ڦܔ‬ઓవ้ǈ޿ຍᇕ৽ᅙঢ়ԥభ෇౹௑ᅱ‫ײ‬ă

۰ॺዾ໯ሞ‫ۼڦ‬ଳ๨঎‫߭ڦ‬୛૧ჱຯ੔‫ॆڦ‬བྷǈ༵ࠃ‫ܠ‬

໲ጲว‫ڦ‬ፇኯ߸؊‫ںݴ‬ᐱ๥କ޿ჺ৯ऐࠓ‫ڦ‬৛หăٗ

‫ৃړ‬ǈ߾ፕࢅॆབྷ঳ࠓሞఇ๕तႴ൱ฉ‫߀ڦ‬Վᅙደॷ

ᄣፇࢇ‫ڦ‬มࣷ‫ޜ‬ခăٗཀྵਸ๔ၜణ֧ࣄनႴᄲጲ‫ظ‬Ǆ߸

๪ాǈ๚ํฉǈኄ߲ၜణԥҾಇሞփࡀሶ‫ڦ‬ĂҾᅥ‫ڦ‬

ሺेକჺ৯ऐࠓࢅࠅິଇ‫ݛ‬௬‫ڦ‬႗඀ǈ2010 ౎ǈ౹௑

փᆩຫ੊୯‫ڟ‬੣क़ࢅ้क़‫ݛ‬௬ǈ࿄ઠ๑ᆩኁႴ൱‫ڦ‬փ੗

੣क़Ⴞଚዐǈੂຼுᆶሞ໯ᆶ൧઄ူࢬᆌൣည‫ీࠀڦ‬

‫ॆڦ‬བྷፇኯ૴௑ǄCOFACEǅ݀ഐକඟ౹௑ኸۨ 2014

ᇨଙǅǈॺዾ฾‫ڦ‬ඪခժփඹᅟăྺକ๑޿ၜణ߸ᆶጕ൱ǈ

இडă༬՚๟ᆽܹᇴǈ໲௚ࠆӯ‫ڦ‬քਆ๴ 4 ߲ସටᇊ

౎ྺዘႎۙ঴߾ፕᇑॆབྷิऄ౹ዞ౎‫ڦ‬ሏ‫ۯ‬ăአዎ֧

჋ۨକჺ৯ऐࠓĂยऺ฾ࢅ‫ࠣ׼‬ටࠌཞ֖ᇑ‫ײࡗڦ‬ǈፌ

ሇ‫ڦ‬ዐ႐ాᇾ໯ኧದǈሞాᇾዜྷքዃକঞ๪ǈժ൐

୼Ԉઔǈሞહ‫ۯ‬૰๨‫ׇ‬ሺे౰Ⴀߖ࿋ǈྺ໳்༵ࠃଳ

ࢫᅜ‫ۼ‬ଳ૙߾‫ٷ‬ბბิፇኯ‫߾ڦ‬ፕ๪‫ڦ‬ჺ৯ྺ঳ຐǈঢ়

໲்‫ڦ‬੣क़Ǆཞ้੊୯ߌኪࢅำᅼཉॲǅᇑ࿭‫ۥ‬೪௬

ऄ‫้ڦ‬क़Ҿಇǈᅜतࠞ૤ᆽྂยแ‫ํڦ‬၄ǈኄၵ‫ٯ‬แ

ࡗ༪ஃǈፌዕඓۨକ޿ၜణ‫ڦ‬ዷᄲᇱሶă

‫ڦ‬Վࣅႚ‫ׯ‬କຼᆶຼ࿮‫ࣆܔڦ‬ă඗ܸǈ޿ၜణᅙঢ়ྺ

਩ཚࡗሺഽႠ՚ೝ‫ڪ‬ᅜࠓዾ߸े੗‫׼‬Ⴤ‫ڦ‬มࣷă‫ڍ‬๟ǈ

੊୯‫ڟ‬໲்ሞ‫׭‬๨ዐ‫ڦ‬٪ሞǈ߾ፕǉิऄೝ࢚ዐ

༬ۨ‫ڦ‬ᆩࢽ‫ظںࠀׯ‬ሰ‫؜‬କഽ‫ڦٷ‬ม൶ǈኄၵᆩࢽ் ओट๢ᆌ‫ٷڟ‬ၭ๚ॲዐǄᆯᇀঢ়षླऐǈ໲ᄲॕ‫׼‬ፌ

ߵ਍ᅃ‫ݻ‬ৎ೺౹௑྿ᇵࣷ‫ׯ‬ᇵ߾ፕ࿔ॲǈ޿ଶᇘ‫߾ڦ‬

႐‫ڦ‬ଇ۰ॺዾǄড‫ٷ‬ᅃ۰ፌ‫؛‬ԥۨྺঞბࢅԍᇣዐ႐ǈ

ፕ৊‫࣐ײ‬஥ǈ‫ੇܔ‬ঢ়षླऐ‫ڦ‬უ૰‫ڞ‬ዂኍ‫ॆܔ‬བྷิऄ

ডၭᅃ۰ඹభᅃဣଚ੗Վ‫ڦ‬ഄ໱ࠀీऄ‫ۯ‬ǅҾৢܸࢅ

‫ڦ؛‬๑ంᅙঢ়නᅮઓవǅǈኄཚ‫׉‬ӵໜጣ‫ް׉ݥ‬ሗ‫ڦ‬ၜ

ࢅ߾ፕิऄ‫ڦ‬๢‫ړ‬ೝ࢚አ֧ঢ়‫׉‬ԥླྀ‫ํ׿‬แă

ၿ‫اں‬૬ሞ঎൶࣍ৣक૙ዐǈኄࡃࠀᇀ໲்໯၌ۨ‫ڦ‬

ణ࠶૙ሏᆐăŕ

Although it has become increasingly important

Final outcome of a research started in 2001

their suburban context, thanks to the human size of

in recent years, the term "reconciliation of work and

by the Equal Opportunities Committee at the

the welcoming, in-between public space they deﬁne,

family life" has been on the European Union agenda

Università di Torino , the Città della Conciliazione is the pioneering project for a public facility meant to offer a diversified set of social services both to students and employees of the University, as well as to the families of Grugliasco ǉ the small municipality in the outskirts of Torino where the building is set. With a program to invent from scratch (not to mention the unpredictability of the future users' needs, both in terms of space and time), the architects' task was everything but easy, and to make the project even more ambitious, a participated process was chosen to produce a preliminary confrontation between institutions, designers and stakeholders, which culminated in the organization of a workshop with the students of the Politecnico di Torino, out of which the principal guidelines for the project were eventually deﬁned. Considered in their urban presence, the two buildings of the Città della Conciliazione (the bigger one is primarily dedicated to education and childcare, while the smaller one hosts a changing catalog of other activities) stand quietly and harmoniously in

since the 1980s, when it was first used to bring to the fore the obstacles that many women had to face when trying to combine their careers and family responsibilities. In recent times, changes in the pattern and demands of work and family structure have gradually increased the interest on the matter of both institutions and companies, and in 2010 the Confederation of Family Organizations in the European Union (COFACE) has started a campaign to have the EU designate 2014 as the European Year for Reconciling Work and Family Life. Political measures that increase women's participation in the labor market, provide flexible time arrangements and stimulate the realization of childcare facilities, all contribute in constructing a more sustainable society through the enhancement of gender equality. Though, according to a recent European Commission staff working document, progress in this field is slowing down, as the pressure to fight the economic crisis is often postponing the adoption of adequate family and work life balance policies.

as well as to the familiar imaginary that their pitched roofs and zigzagged porticoes manage to conjure ǉ a long lasting "trademark" of Torino's architecture School that, in this case, seems more adequate to interpret the spirit of the institution than its own organization. From the inside, in fact, the program is arranged in irregular sequences of cozy spaces that don't seem to respond in all cases to a clear functional logic. This is particularly true for the kindergarten, whose labyrinthine distribution is dictated by the presence of the four ǉ delightful ǉ central patios around which the classrooms are disposed, and whose spatiality (in both perceptive and acoustic terms) is the result of an unresolved dialogue with the changing section of the roof. Nevertheless, the project has already succeeded in creating a strong community of dedicated users, who are enthusiastically adapting themselves to the smaller and bigger incidents (due to the crisis it is becoming every day harder to stick to the original mission of the structure) that often follow the management of such complex programs. ŕ

๭ߡන೺ǖ2013-03-29

๘হॺዾ 2013/05

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‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

߾ፕǉิऄೝ࢚ዐ႐-!߭୛૧ჱຯ੔ǈ‫ۼ‬ଳ-!ᅪ‫ٷ‬૧ CITTÀ DELLA CONCILIAZIONE, GRUGLIASCO, TORINO, ITALY, 2005-2009 ॺዾยऺǖ‫ۼ‬ଳ૙߾‫ٷ‬ბॺዾᇑยऺဣǈAtcၜణ๚ခ໯ ARCHITECTS: Department of Architecture and DesignǉPolitecnico di Torino, Atc Projet.to ltd

๘হॺዾ 2013/05

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‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

‫ۼ‬ଳ‫ٷ‬ბೝ‫ڪ‬ऐࣷၹࣷ੤಄ٗ࿄ଙ‫ڟ‬ǈ‫ߴ݀ݴ‬ሞ ‫ۼ‬ଳ๨঎‫ڦ‬ᅃ߲ႎ‫ٷڦ‬ბၯᇴా߾ፕ‫ڦ‬౰ႠঞᇵĂჺ ৯ᇵĂձ๗ิࢅԨ੔ิ‫ֱۙڦ‬࿚ਝీࠕൽ‫ڥ‬සُ၂ዸ ‫ڦ‬ၳࡕă޿ֱۙ‫ڦ‬঳ࡕ཭‫؜‬ቛ๖କ౰Ⴀ݀ਥጲमሞೝ ࢚߾ፕĂბသᇑॆབྷิऄǄ༬՚๟ᇣᆶ౎ᆽጱ౰้ǅ ዐ໯‫ڦت‬ट‫܋‬ઓవ‫ڦ‬൧ৣă ߾ፕǉิऄೝ࢚ዐ႐ኟ๟ٗኄᅃ၎‫ܔ‬փഐᄅ‫ڦ‬ঙ ‫ॺ݀؜܈‬૬‫ڦ‬ăኄ૛‫ڦ‬੗‫׼‬Ⴤ߁౒ൽጲ߾ፕᇑॆབྷิ ऄ၎঳ࢇ‫ڦ‬ఇ๕ă๚ํฉǈኄ߲ 5 000m2 ‫ॺీࠀܠڦ‬ ዾశઔକᆊܹࢺ૙ऐࠓĂॆབྷᇲዺዐ႐ǈᅜतࠃ๑ᆩ ኁ৊ႜॳ੃ࢅ࿔ࣅऄ‫ڦۯ‬੣क़ă 3 ߲ੵბ੔ǄԈઔঞᇣĂঢ়ᆐࢅॺዾ֫௬ǅ‫߾ڦ‬ ፕፇԥፇॺǈᅜლ൱Ղᄲ‫ڦ‬ঢ়‫ݯ‬ጨዺǈժ൐ॽኄ߲޷ ᇀ‫ظ‬ሰႠ‫ڦ‬ၜణᆅ෇ิऄăኄၵཷ‫߾ڦܓ‬ፕԈઔॽࠅ ࠌऐࠓ໯༵ࠃ‫ڦ‬ኪ๎޲ዮํแǈժ௮ࣃ‫؜‬ᅃ߲ፌ‫ڦ؛‬ ሏႜ֧୼ăኄ߲֧୼Ԉઔሞഄ໱ඪခዐǈॺዾยऺཷ ‫֖ࢅܓ‬ᇑ‫ڦ‬฾ิ৊ႜᆴຫऄ‫ۯ‬ᅜඓԍࡔాࢅ౹ዞ‫ڦ‬ঢ় ‫ݯ‬ጨዺă ሞ‫ۼ‬ଳ૙߾‫ٷ‬ბॺዾᇑยऺဣ‫ڦ‬ኸ‫ူڞ‬ǈፌዕ‫ڦ‬ ၜణ‫ڥ‬ᅜํแǈኄ‫ڥۼ‬ᅮᇀॽ‫ڦ୍ٷ‬໯ᆶ࿄ઠ๑ᆩኁ 3

਋णഐઠ༪ஃॺዾยऺยၙ‫ڦ‬ड़੮ࡗ‫ײ‬ǈ༬՚๟‫ܔ‬ᇀ ঞბ੣क़ࢅքਆ‫ํڦ‬ᄓႠࢅ࠲૴ຌႠăኄ๟ᅃ߲ਏᆶ टߛมࣷॏኵ‫ڦ‬ၜణࢅࡗ‫ײ‬ǈኻ੗ပǈኄᅃૌ႙‫ڦ‬ၜ ణሞ‫ڦৃړ‬ᅪ‫ٷ‬૧࣏ுᆶ‫ڟڥ‬ᆌᆶ‫ڦ‬೵तǈཞ้ǈ໲ ᄺ๟ᅃ߲ቛ๖କ঍ୁ‫ڦ‬ዘᄲႠ‫ڦ‬ၜణă ၜణ‫ํڦ‬၄࣏ঢ়ࡗକᅃີփࠐ‫ڦ‬ဦবยऺǈ‫ړ‬඗ǈ ኄփ‫ڇڇ‬๟ྺକጕ൱ဦবǈ๚ํฉǈ໯ᆶ֖ᇑยऺ‫ڦ‬ ට‫ۼ‬ထྭీඟ๑ᆩኄᅃยแ‫ڦ‬ᇵ߾ࢅბิߌ๴‫ॺڟ‬ዾ ሞྺ໱்‫ޜ‬ခă߾ፕǉิऄೝ࢚ዐ႐ኟ๟ሞၹۙੂຼ ᆶ؋཭‫ڦ‬ඪခĂႴ൱ࢅ೺ྭ้ǈ༹၄ႚༀბ૰ଉ‫ڦ‬૰ኤă ŕǄྦྷࡦు ᅳǅ

3!ౕ᭻0Bfsjbm!wjfxǄฝᆖ0Qipup;!Njdifmf!EďPuubwjpǅ 4!ೝ௬0Qmbo 5!೪௬0Tfdujpo 6!ဇ૬௬0Xftu!fmfwbujpo 7!ྔৠ0Fyufsjps!wjfx 8!ాᇾ0Qbujp Ǆ7/8!ฝᆖ0Qipup;!Hjvmjb!Dbjsbǅ

๘হॺዾ 2013/05

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

The Equal Opportunities Committee at the

other tasks, architectural design workshops with

ᄽዷ /Client: Città di Grugliasco (Torino)

Università di Torino probably never imagined that

students and staff in the field and lobbying action to

ยऺཷ‫ ܓ‬/Design Team: Antonio De Rossi, Massimo

a questionnaire handed out to female teaching

secure National and European funding.

Crotti, Marie-Pierre Forsans, Liliana BazzanellaǄ‫ۼ‬ଳ

staff, researchers, PhD students and undergraduates

The final project ǉ carried out under the

૙߾‫ٷ‬ბॺዾᇑยऺဣ /Department of Architecture

working at a new university campus in the outskirts

guidance of the Department of Architecture and

and Design ǉ Politecnico di TorinoǅCarlo Novarino,

of Torino could ever have had such an outcome. The

Design at Politecnico di Torino ǉ came to life

Sebastiano Ciavarella (Atc ၜణ๚ခ໯ /Atc Projet.to ltd)

results highlighted the extremely difficult situation

thanks to a painstakingly inclusive process that

ࢇፕኁ /Collaborators: Francesca Camorali, Andrea

that women found themselves in when trying to

brought all future users of the edifice together to

Delpiano, Ilaria Fattori, Jessica Jacqueminaz, Chiara

balance their work, or study obligations, with their

discuss architectural design hypotheses, especially

LucchiniǄ‫ۼ‬ଳ૙߾‫ٷ‬ბॺዾᇑยऺဣ /Department of

family life, especially if they had young children.

when it came to the experimental and relational

Architecture and Design ǉ Politecnico di TorinoǅCarlo

From this relatively humble beginning was the

nature of the educational spaces and layout. This

Bongiovanni, Vittorio Schettini (Atc ၜణ๚ခ໯ /Atc

Città della Conciliazione (the work-life balance

is truly a project, and a process, of great social

Projet.to ltd)

centre) born. The concept of sustainability here

value, the type of which is, unfortunately, not as

ย ऺ ඪ ခ /Program: ᆽ ܹ ᇴǈ ࢺ ૙ ბ ၯǈ ࿔ ࣅ ‫ޜ‬

takes the form of a union between work and home

common as it should be in today's Italy and one

ခ ൶ǈ ॆ བྷ ‫ ޔ‬ዺ ዐ ႐ǈ ॳ ੃ ዐ ႐ǈ ֕ ཐǈ ਵ ‫ ݦ‬ཐ /

life. In fact, this 5 000m2, poly-functional building

that, furthermore, places real importance on

Kindergarten, nursery school, cultural services

houses nursery schools for infants, support centres

networking.

area, support centre for family, welness centre,

for families as well as areas dedicated to user

Meticulous detail has been paid to making

restaurant, coffee bar

this project work, but certainly not simply for the

‫܎ں‬௬ओ /Site Area: 14 130m2

Three interdisciplinary work groups were

sake of doing so, in fact, it has always been the

ॺዾ௬ओ /Building Area: 4 852m2

formed (educational, managerial and architectural)

desire of all involved that the staff and students

୴‫ں‬௬ओ /Green Area: 4 100m2

wellbeing and cultural activities.

to find the necessary funding and bring this

who use the facility feel it serves them. The Città

ሰॏ /Cost: € 5.47M

innovative project to life. These groups' work

della Conciliazione is, if nothing else, proof of the

‫ॺ׶‬ฆ /Construction Company: Gruppo Sae ltd and

included putting the know-how that public

power of morphology when it comes to reconciling

Fyb Costruzioni ltd (Torino)

institutions had to offer into action and outlining an

seemingly contrasting obligations, needs and

ยऺ঩܎ /Design Period: 2005-2006

original operational strategy, which included, among

expectations. ŕ

ॺሰ঩܎ /Costruction Period: 2006-2009

9!ྔৠ0Fyufsjps!wjfx :/21!ాৠ0Joufsjps!wjfx Ǆ9ǉ21ฝᆖ0Qipup;!Njdifmf!EďPuubwjpǅ

๘হॺዾ 2013/05

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

‫ࣷۼٷ‬ዐ‫ڦ‬Ⴊ‫ڢ‬ᇾ/!มࣷঢ়षᅪᅭ‫ڦ‬੗‫׼‬ჄႠ A METROPOLITAN MONASTERY. SUSTAINABILITY AS SOCIAL ECONOMY ‫ྂ·ڤྼٳ‬க໭·‫ݯ‬ન‫ܠ‬/Davide Tommaso Ferrando ິகૅ ᅳ/Translated by SIMA Lei ీྜ‫ڦׯ‬ඪခĊĊᅺྺ޿ऐࠓྜඇுᆶᆩᇀႪްॺዾ

ঞ๪੗ᅜԥ‫ ྺݴ‬5 ߲ডၭ‫܀ڦ‬૬ঞ๪ǈీ‫ݛ‬Ս‫ں‬ፀߴഄ

‫ڦ‬ᇨ໙ǈ‫ڍ‬ᆼႴᄲॺ૬ᅃ߲ްሗ‫ڦ‬ဣཥઠ৊ႜഄට‫ڢ‬

໱ऐࠓ๑ᆩăଷᅃ߲ၭܸᆶ඀‫ڦ‬ยऺ༹၄ሞ Ser.Mi.G. ঞ

ഄऄ‫ۯ‬ణ‫ڦ‬๟ྺକ໯ሞม൶ࢅՉᇹටඖ‫ݘ࠽ڦ‬૧ᅮăኄ

ዷᅭऄ‫ۯ‬ǄԈઔ௨‫๋ݯ‬࿿ಋ‫ݣ‬ĂᅅଐጧკĂᅅଐ࿿ጨ

༗‫෇ڦ‬੨ ǖ঍‫ंڦٱ‬ౡཱིೝ໼ܑ۞ഐററ‫ڦ‬຤‫׾‬ǈฉ‫ݛ‬

ዖঢ়षႚ๕ཚ‫׉‬ሞྺ࿚༶ǄԈઔมࣷĂঢ়षई࣍ৣ‫ݛ‬௬

‫ڦ‬๭݀Ă๭ାୁષኁ‫ڪ‬ǅᅜ߀฀ม൶࣍ৣǈཞ้ඟኄ

ሶቼԸጣߒࢅի૱֌ዊ‫ڦ‬ԋԋ‫ڦ‬࿭‫ۥ‬ăሞኄ߲ยऺዐǈ

‫ڦ‬ǅᅱ༶ლቴႎ‫ڦ‬঴ਦ‫ݛ‬ӄ‫ײࡗڦ‬ዐ݀ቛܸઠǈᅜ‫ޜ‬ခ

ፗമਬႁੰገ႙ྺĐࢅೝ‫ڦ‬ਬ߾‫׍‬đă‫ڍ‬๚ํኤ௽ႜ฼

ਏᆶၡኙႠ‫ڦ‬ณଉ‫ڦ‬຤ᆩᅃዖਸ਼஍ · ຯਸ਼ಃ๕‫ڦ‬ยऺߌ

ఫၵᅺྺዖዖᇱᅺփీၛ๴‫ڟ‬ଇዖዷᄲঢ়ष༹Ǆຳටঢ়

ᇀჾǈሞኮࢫ‫ڦ‬ब౎ዐǈSer.Mi.G. ‫ڟڥ‬କ‫ׯ‬ഥฉྤට

ၠူୁ༞ǈᇑਬႁ‫ٷ׍‬ཐ‫ڦ‬ெૢ੣क़ॺ૬ഐ৛ዂ‫ڦ‬੣क़

षࢅࠅᆶঢ়षǅ‫ޜ‬ခ‫ڦ‬ටඖăᅺُǈมࣷঢ়षᄺԥ‫ྺ׬‬

‫ڦ‬ӻዺઠํ၄ഄᇼৠĊĊཚࡗณଉ‫ٗڍ‬࿄ཕኹ‫ڦ‬ຳට

‫ࣆܔ‬ăܸၜణྺᅃ໯ႪްბၯࢅᆽܹᇴҾಇ‫ڦ‬੣क़ሶሞ

Đ‫ڼ‬ෙঢ়ष༹đ ăܸፕྺՎ߫‫ڦ‬ओटํ७ኁǈཞ้ᆼփᅜ

ਘሽࢅ‫ܔ‬ᇱᆶॺዾዐ‫߳ڦ‬ዖ੗࣮๭֌ଙ‫ڦ‬ም૧ᆩǈၜ

ᇱઠ‫ڦ‬கਏ๪ዐǈ޿੣क़ඟටߌ‫ޯڟ‬ᆶ؋ऍ૰ᆼփ੗າ

มࣷঢ়ष੗ᅜۨᅭྺঢ়षዐ़‫ݥ‬ຳᆶᅨ‫ࠅݥ‬ᆶ‫ڦ‬և ‫ݴ‬ǈ໲๟ᅜኾᇼኁ‫ޜ‬ခྺए‫ݥڦإ‬ᆐ૧ፇኯ‫߾ڦ‬ፕ‫ࡕׯ‬ǈ

ᆐ૧ྺణ‫ڦ‬ǈมࣷঢ়षԥණྺ‫ܔ‬ᇀมࣷ‫ڦ‬ഽฺĂ੗‫׼‬Ⴤ

ణ‫ࡀڦ‬ఇࢅణՔᅃ኱ሞક‫ٷ‬ǈፌዕํ၄କඇ༫ದዃ‫ڦ‬

ᅱ ǖኄᅃ 19 ๘ु‫ॺڦ‬ዾዐᆶև‫ގݠݴ‬࿄ྜ‫ߒڦׯ‬ॐ঳

݀ቛĂ‫ݏ‬ඵĂऄሂࢅԈඹႠ‫ۼ‬ഐጣዘᄲፕᆩĊĊሞሦ๴

ॺ‫ׯ‬ăසৃǈSer.Mi.G. ᅙঢ়‫ྺׯ‬କᆛᆶ 700 ‫ܠ‬ఁኾᇼ

ࠓǈ๟‫ॺ؛ړ‬ሰ้ᇨย‫ڍ‬ᆼዐ཰ԥൽၩ‫ڦ‬ǈ঳ࠓ‫ڦ‬ገ࣑

2009 ౎ඇ൰ূබླऐ‫׊ڦ‬೺ᆖၚ‫ڦ‬၄ৃมࣷ߸๟සُă

ኁ൐ඇ౎࿮Ⴉ‫ڦ‬Đ‫ۼٷ‬๨ዐ‫ڦ‬Ⴊ‫ڢ‬ᇾđǈժසཞऐࠓ࠶

‫ت‬ยዃକᅃ߲ձ࿿࠷ăሞኄ߲ยऺዐǈྼ‫ॺ׼‬ዾᇱᆶ঳

૙ኁ்ሼঢ়Ⴧ‫ڦ׬‬ᅃᄣǈĐ৽ၟᅃ߲ኈኟ‫ٷڦ‬ঞ༗đă

ࠓժ๑ኮሞ๪ా৑ଉ੗९‫ڦ‬ፔ݆ǈࢅॺዾ૬௬ฉॽԈઔ

Ser.Mi.G.Ǆᅪ‫ٷ‬૧൞౎‫د‬ঞ‫ޜ‬ခ‫ڦ‬໫ႀǅ৽๟ᅃ ߲‫ݥ‬ᆐ૧ऐࠓǈᆯมࣷऄ‫ॆۯ‬үాຯྂ · ӎ૧ྴஆ‫ׯ‬

໚඗ Ser.Mi.G. ጺև‫ڦ‬੣क़‫كٗܠٷ‬٦‫ీࠀڦ‬ዷᅭ

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૬ᇀ 1964 ౎ă1983 ౎ǈ޿ऐࠓइ‫ۼڥ‬ଳ๨ᅱࣷ‫ڦ‬Ⴙ੗ǈ

‫݀؜‬ઠยऺǈഄዐ‫ڦ‬ᅃၵև‫ݴ‬ධ඗༹၄କ߸ްሗ‫ॺڦ‬ዾ

ࡖഐઠ‫ڦ‬ፔ݆ႚ‫ׯ‬း௽‫ܔ‬ቷăܸణമ੺ᄲਰ߾‫ڦ‬ፌႎ‫ڦ‬

ॽഄጺևยሞ‫ۼ‬ଳ‫ڦ‬৹ਬႁੰዐĊĊ޿ॺዾ๟ᅃ߲ᅙ

૙౒ă૩සǈ‫ٷࣆܔ‬ბ৽๟ᅃ߲ᆩᇀჺ༪ࣷ‫ڦ‬ଳऄ੣क़ǈ

߀ሰၜణ๟ᅃ߲ॺሰሞᇱ Ser.Mi.G. ૝༗‫ڦ‬ቼԸ঳ࠓኮ

ঢ়ԥ‫ݭ‬ച‫ॺڦ‬ዾ௬ओ 4 ྤ m ‫ڦ‬ጹࢇ༹ǈ࿋ᇀն߭‫ܠ‬ઙ

ยዃሞᇱਬႁੰ‫ܸ׊‬቏‫ڦ‬ᅃᅵዐǈᆯᅃ߲‫ٷ‬ঞ๪ࢅዐᄕ

ူ‫ڦ‬Ǆ੗ీ໿ࡗᇀǅքৠ๕‫ڦ‬ঞ༗ǈഄॺሰ‫ׯ‬Ԩᅺྺ‫ܠ‬

൶ᇘ‫ڦ‬ዐ႐൶ࢅ‫௷ܠ‬ፃ൶ăኄၜ߀ሰबࢭ๟ᅃ߲փ੗

‫ڦ‬և‫֫ॄݴ‬ፇ‫ׯ‬ăཚࡗᅎ‫߰ݴۯ‬੣क़ᆩ‫ڦ‬ጎዃဣཥǈ‫ٷ‬

ॆ‫׶‬Ԉฆ‫ࠅڦ‬ᅮႠ֖ᇑܸ੦዆‫گ׉ݥڥ‬ăŕ

The social economy can be deﬁned as that part

the central and multiethnic area of Borgo Dora. The

of moving partitions, it can be divided into ﬁve smaller

of economy which is neither private nor public, but

mission was apparently impossible: to refurbish the

and independent classrooms, which can be conveniently

the product of the work of volunteerism-based, non-

whole structure with no budget at all, in order to host

rented to other organizations. A small but fascinating

proﬁt organizations that undertake activities for the

within it a complex system of humanitarian activities

intervention is the entrance to the Ser.Mi.G. Chapel: a staggered system of concrete platforms banked up

greater good of local communities and marginalized

(soup kitchen, medical consultations, gathering

groups. This kind of economy usually develops in

and shipment of medical supplies, homeless center

a pool of shallow water and covered by a thin roof of

consequence of the need to find new solutions to

etc.) that would improve the social conditions of

steel and glass. Here, the symbolic quality of water

problematic (social, economic or environmental)

the neighborhood and transform the former military

is declined in a Carlo Scarpa fashion, establishing a

issues, and to satisfy the needs of groups of people

arsenal in an "arsenal of peace". Easier done than said,

delicate dialogue with the beautiful space of the arsenal

who, for different reasons, don't have access to the

during the following years thousands of people showed

entrance hall. Impacting ǉ but less convincing ǉ the project for the insertion of a restoration school and

services provided by the ﬁrst two sectors of economy

up at the Ser.Mi.G. door to help make the vision come

(the private and the public). For this reason, that of

true: slowly but unstoppably, through private donations

kindergarten in the former sellerie (tack rooms): a

the social economy is also known as "third sector".

and by taking advantage of all the recyclable materials

XIX Century building to which an unfinished steel

Being a territorial operator of change addressed at

found in the building, the project kept growing in

frame had been added as part of a previously

achieving non-proﬁt aims, it is generally believed that

dimension and ambition, eventually reaching its actual

planned ǉ but then abandoned ǉ transformation

the social economy plays an important role in the

conﬁguration. Today, the Ser.Mi.G. is a "metropolitan

of the structure in a museum. Here, the choice to

creation of strong, sustainable, prosperous, active

monastery" counting on 700 volunteers who keep it

maintain the original structure as visible as possible

and inclusive societies ǉ even more so today, in the

open 24/7: "what all cathedrals should be", as those

from the inside seems contradicted by the design of

light of the long-term effects of the 2009 global crisis.

who make it run are used to declare.

a redundant skin of perforated metal that overwraps

Ser.Mi.G.(Italian acronym for Youth Missionary

Although the majority of the spaces of the Ser.Mi.G.

the building's volume ǉ steel frame included. The

Service) is the name of the non-profit organization

are designed in purely functional terms, there's a

latest addiction, now on its way to completion, is

funded in 1964 by the activist Ernesto Olivero, who

number of interventions that have been the object of a

a (maybe too) scenographic church built inside the

in 1983 obtained permission by the City Council of

more complex architectural thought. The University of

shed structure of the former Ser.Mi.G. auditorium,

Torino to build the headquarters of his group in the

Dialogue, a ﬂexible space dedicated to seminars, is a big

the costs of which have been kept signiﬁcantly low

former spaces of the military arsenal of the city ǉ

classroom with a central mezzanine built inside a long

thanks to the pro bono participation of many of the

an abandoned complex of 40 000 sqm located in

and narrow wing of the arsenal. By means of a system

contracted companies. ŕ

๭ߡන೺ǖ2013-03-29

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2 2!Tfs/Nj/H/ǈ߾ፕዐ‫ڦ‬ኾᇼኁ0Tfs/Nj/H/-!wpmvouffst!bu!xpsl

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

TFS/NJ/H/;മ‫ۼ‬ଳਬႁ‫׍‬तዜՉॺዾ߀ሰǈ‫ۼ‬ଳǈᅪ‫ٷ‬૧ SER.MI.G.: RENOVATION OF THE FORMER TORINO ARSENAL AND SURROUNDING BUILDINGS, TORINO, ITALY, 2001-2013 ॺዾยऺǖ੔ఎ૧ӎॺዾ฾߾ፕ๪ ARCHITECTS: Studio Comoglio Architetti

๘হॺዾ 2013/05

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ፕྺมࣷଶᇘ‫ڦ‬ኾᇼኁፇኯǈSer.Mi.G.Ǆ൞౎‫د‬ ঞ๗‫ޜ‬ခǅሞࡗඁब౎ዐཚࡗԍࢺ࿔࿿ॺዾओट֖ᇑ ‫׭‬๨ምิă໱்ऄ‫ڦۯ‬ణ‫ڦ‬๟ᇑ‫ټ‬ᆶ༬ۨణ‫ںཱིڦڦ‬ ਸ݀‫ੇܔ‬ǈ‫ڸ‬዆ࢮ୼‫׭‬๨ዐ႐ዮ‫ॺܠ‬ዾ࿿‫ڦ‬၄ጒăഄ

ඟኄၵ‫ں‬൶‫޹ྺׯ‬ৎ౎ൟට‫ڦ‬਋णኮ‫ں‬ă

ӎຯೄ༬૛ჱ૝ө༗ ӎຯೄ༬૛ჱ૝ө༗ॺሞ 1930 ౎‫پ‬ᆯॺዾ฾ӎྂ

‫ٷࣆܔ‬ბत࠽‫ׇ‬ ޿ፇኯ‫ڼڦ‬ᅃ߲ၜణ๟ኍ‫ٷࣆܔܔ‬ბ‫ڦ‬ăٗ 2003 ౎ഐǈሞᇱਬႁ‫ॺڦ׍‬ዾዐǈև‫ݴ‬৹੣क़‫ڟڥ‬Ⴊฃǈ

૛౷ · Ү஍ᅉဇӎยऺ‫ڦ‬၄‫ॺپ‬ዾ‫ڦ‬୞໼ฉă૝ө༗ ᆶጣ‫ܠ‬Չႚ‫ڦ‬ೝ௬ǈິऴဝยሞӈႚ‫ڦ‬৑ཀྵǈ૝ө༗

ዘ‫ۅ‬ႜ‫ۯ‬ኮᅃ๟Ⴊްକ‫ݭ‬ച‫ۼڦ‬ଳਬႁ‫׍‬ժॽഄፕྺ

ႚ‫ׯ‬ሞ๯֫၍Ⴀಇଚ‫ ڦ‬5 ߲ঞ๪੣क़ăሞՂᄲ้੗ᅜ

ᇑഄူ‫ݛ‬੣क़‫ڦ‬૙Ⴀबࢆႚ዆ႚ‫ׯ‬କփ૶Ⴤ‫ڦ‬੣क़ߌă

޿ၹࣷ‫ڦ‬ጺևă

ॽࣂ‫ۯ‬഻༹‫ٶ‬ਸܸႚ‫ׯ‬ᅃ߲‫ٷ‬੣क़ǈժሞଇ‫܋‬ยᆶଇ

ܸॺዾ‫ྜ࠵ྔڦ‬ඇ๑ᆩକ࢒෥‫ূڦ‬ຌǈॽഄ༹ଉᇑ࿭

ྺକ৊ႜᅃ‫ׇ‬ᅜॺዾ࣍ৣ‫ڦ‬ዘॺईႪްྺዷ༶‫ڦ‬ ‫׼‬৳‫ੇܔ‬ǈSer.Mi.G. ࢅ੔ఎ૧ӎॺዾ฾߾ፕ๪ॺ૬କ ࢇፕ࠲ဣǈ໱்ኮक़‫ࠌڦ‬ཞยऺࡗ‫ײ‬ᅙঢ়‫׼‬Ⴤକ 10 ౎ ኮ৳ǈ൐ධுᆶ঳ຐă

‫୍ت‬༱ / ໼঩ă૶Ⴤ‫ڦ‬ఢ‫ں‬ӱ๑ాև੣क़ੂฉඁ߸ਏ

‫֫ۥ‬௽ඓ൶‫ݴ‬ਸă૝ө༗‫ీࠀڦ‬๟ཚࡗᅃ߲ห฽‫ڦ‬੣

ኝ༹Ⴀă

क़ઠु౒ॺዾႪް߾‫ײ‬ǈཞ้ᄺ๟ࠃਜ਼ට‫ߢڝ‬Ă‫ק‬າ

ยऺ‫ڦ‬ዷ༶๟ଳऄႠǈ੣क़੗ᅜߵ਍Ⴔ൱Ăཚࡗ ੗‫ܸ܏߰ۯ‬ൟܸᅟਉ‫ิ݀ں‬Վࣅă

ኄ‫׼ׇ‬Ⴤ‫ॺڦ౎ܠ‬ยᅃ኱एᇀၹࣷణՔᅜतᇑॺ

ࢾᇴሶᆐሰକᅃ߲ࠃႩတࢅ‫ק‬າ‫ڦ‬੣क़ǈཞ้ᄺ

ዾ‫܎ں‬থৎ‫ڦ‬ᇱሶǈ‫ڍ‬๟ǈၜణ‫݀ڦ‬ቛ࣏๟ᆯೌ܎๕

੗ࠃ๪ྔ‫ڦ‬णࣷ๑ᆩǈඟၜణ߸ेྜኝă็֌Ă୴ࣅ

‫ڦ‬փཞዷ༶ፇ‫ڦׯ‬ǈܸ௅߲੣क़ᆼਏᆶ߳ጲഽଜ‫ڦ‬༬

ࢅ຤‫ڦ‬ሏᆩඟኄೌၭၭ‫ڦ‬ৠ࠵੣क़ሞ৹߾ᄽॺዾኮक़

‫پࢅۅ‬՗Ⴀă

ൽ‫ڥ‬କೝ࢚ă

ሞ Ser.Mi.G. Ⴧ‫ڦ׬‬ణՔዐԈઔዘॺ‫׭‬๨ᅜ࣬ް ๨൶ᅙঢ়฿ඁࠅ௷Ⴀ‫ׇڦ‬໯‫ڦ‬ፎჹǈඟ໲்ዘႎ‫ྺׯ‬

ࢅ૴ᅲ‫ׇڦ‬໯ă മகਏ๪߀ሰ߾‫ײ‬ Ԩၜణॺዾ‫ڦ‬Ⴊްᇑ‫ܔ‬ഄాևࠀీ‫ڦ‬ยۨᅜत‫ڪ‬ प෧ჹ‫׭ڦ‬๨ᅍׂփ࿮࠲ဣă ሞ߾‫ײ‬Ҿಇዐǈ‫أ‬କႴᄲႪްॺᇀ 19 ๘ु‫ڦ‬ഖ༹ ঳ࠓኮྔǈ࣏Ⴔᄲยዃᅃዖྪጒ঳ࠓઠॽኝ߲ॺዾઙ኱ă Ⴊްၜణ‫ॺܔ‬ዾႚၡᄺፔକඇ௬‫ڦ‬ኝႪĊĊᆩ‫ح‬

Ser.Mi.G.૝ө༗෇੨ ኄ๟ᅃ߲࠲ᇀ๪ྔ੣क़ፇኯ‫ڦ‬ၭၜణǈణ‫ڦ‬๟ᆐ

੥ূຌӱॽᇱॺዾྜඇԈࡖഐઠǈ๑‫ॺڥ‬ዾ‫ྔڦ‬՗߸ྺ

णࣷࢅม঍ऄ‫ׇۯ‬໯ă໱்‫ڦ‬ยऺጀዘසࢆ૧ᆩᆶ၌

ሰᅃ߲ࢅၿ‫ڦ‬੣क़ǈፕྺ࣌ᆓ‫ڦ‬ၡኙժደօᆅ‫ڞ‬ට்

ၹۙăኄ֫ূຌ՗ೄႚ‫ׯ‬ᅃ‫૶ڢ‬Ⴤ‫ڦ‬ԋఈǈቼᄄକॺዾ

‫֎ڦ‬አጨᇸǈཚࡗᅃၵ‫݆ݛڦࡀ׉ݥ‬ઠ௽ඓ੣क़༬Ⴀǈ

ઠ‫ڟ‬ห௞‫ۆڦ‬૝ኮዐă

ᇱઠփၹۙ‫ྔڦ‬՗ǈཞ้ᄺీྲྲ‫ں‬ቛ๖‫؜‬ᇱᆶ‫ڦ‬঳ࠓă

ዘ໒‫ׇ‬໯৛หă ॽ‫ٷ‬႙ॺዾ࿿ገ႙ྺࠃኾᇼኁࢅมࣷऄ‫ۯ‬๑ᆩ‫ڦ‬

ยऺॽփཞႚ๕Ăࠀీࢅ֌ዊ‫ڦ‬຤ೝ௬֭෇‫ڟ‬๪

ॺዾ‫ॺ߀ڦ‬և‫ాݴ‬ยᆶၟᆽܹᇴĂणࢇዿ቎ĂႪް ߾‫ײ‬ბၯࢅ Ser.Mi.G. ऄ‫ޜڦۯ‬ခ੣क़‫ࠌࠅڪ‬ยแăሞ

ྔབྷᇾዐǈժࢅ୴ࣅබྺᅃ༹ă

‫ׇ‬໯ǈሞ‫ۆ‬႙‫ׂںݝڦ‬๨‫ׇ‬ዐ༵଀փཞ‫ڦ‬ำᅼĊĊኄ

຤ᄺ๟ยऺ‫ڦ‬ዘᄲᇮ໎ĊĊཚࡗ຤‫ࢅ׾‬ၭ೹քઠ

ॺዾ‫ڦ‬ዷ૬௬ฉǈཞዊࣅ‫୴ࣨڦ‬෥՗ೄԥ֭෇‫ࡀڦ‬ኝ‫ݛ‬

ᅃႜ‫ڦۯ‬ణ‫ڦ‬փሞᇀइ૧ǈܸሞᇀ݀ቛᅃዖ‫׭ੇڸ‬๨

ᆅ‫ڞ‬ঞ཯ጽၠঞ༗෇੨ǈඟට૴ၙഐ‫ك‬লĂဢ૝ࢅ৛

ႚཫ‫ٶش‬೦ǈ‫ࢽش‬းଋ‫ڦ‬෥֒๑໲்ੂฉඁසཞ཭‫ڦ؜‬

և‫ںݴ‬൶‫݆ݛڦࣅཽڦ‬ǈժྺ๨௷ऄ‫ܠ߸ࠃ༵ۯ‬੣क़ǈ

ห‫ڦ‬ᰳᅈă

֒෥ի૱ೌǈ‫׭ྺׯ‬๨‫܀‬༬‫ڦ‬ᅃৠăŕǄິகૅ ᅳǅ

3!മகਏ๪߀ሰ߾‫ྔײ‬ৠ0Fyufsjps!wjfx-!fy.tfmmfsjf 4!മகਏ๪߀ሰ߾‫ײ‬แ߾ዐ0Po!dpotusvdujpo-!fy.tfmmfsjf Ǆ3Ă4ฝᆖ0Qipup;!Cfqqf!Hjbsejopǅ 5!മகਏ๪߀ሰ߾‫ײ‬๯֫ೝ௬0Qmbo-!mfwfm!1-!fy.tfmmfsjf 6!മகਏ๪߀ሰ߾‫ܾ֫ײ‬ೝ௬0Qmbo-!mfwfm!2-!fy.tfmmfsjf

7!മகਏ๪߀ሰ߾‫ײ‬ෙ֫ೝ௬0Qmbo-!mfwfm!3-!fy.tfmmfsjf 8!മ‫ۼ‬ଳਬႁ‫׍‬0Gpsnfs!Upsjop!Bstfobm 9!മகਏ๪߀ሰ߾‫۫ײ‬૬௬0Fbtu!fmfwbujpo-!fy.tfmmfsjf :!മகਏ๪߀ሰ߾‫ײ‬ԛ૬௬0Opsui!fmfwbujpo-!fy.tfmmfsjf 21!മகਏ๪߀ሰ߾‫ײ‬ళ૬௬0Tpvui!fmfwbujpo-!fy.tfmmfsjf

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22 22!മகਏ๪߀ሰ߾‫ాײ‬ৠ0Joufsjps!wjfx-!fy.tfmmfsjf 23!മகਏ๪߀ሰ߾‫ײ‬แ߾ዐ0Po!dpotusvdujpo-!fy.tfmmfsjf Ǆ22Ă23ฝᆖ0Qipup;!Cfqqf!Hjbsejopǅ 24!മகਏ๪߀ሰ߾‫ײ‬೪௬0Tfdujpo-!fy.tfmmfsjf 25/26!മகਏ๪߀ሰ߾‫ాײ‬ৠ0Joufsjps!wjfx-!fy.tfmmfsjf 27!മகਏ๪߀ሰ߾‫ײ‬૬௬ဦև0Gbdbef!efubjmt!fy.tfmmfsjf Ǆ25ǉ27ฝᆖ0Qipup;!Cfqqf!Hjbsejopǅ

णࢇዿ቎ǈ຺֫

ᆽܹᇴǈෙ֫

Ⴊް߾‫ײ‬ბၯǈܾ֫

Ⴊް߾‫ײ‬ბၯǈ๯֫

102

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103

ঞ๪

‫ٷࣆܔ‬ბतणࣷ࠽‫ׇ‬

෇੨

‫ٷࣆܔ‬ბ മ‫ۼ‬ଳਬႁ‫׍‬ णࣷ࠽‫ׇ‬

णࣷ࠽‫ׇ‬ ୴෥൶ᇘ

঍ཚ૴ဣ

ঞ๪୍߯ ጽ઴

ጽ઴

ࣂ‫ۯ‬഻༹

णࣷ࠽‫ׇ‬

ঞ๪

‫ޜ‬ခ

104

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32 28!‫ٷࣆܔ‬ბǈాৠ0Joufsjps!wjfx-!Vojwfstjuà!efm!EjbmphpǄฝ! ! ᆖ0Qipup;!Bmcfsup!Bmqp{{jǅ 29!‫ٷࣆܔ‬ბǈ๯֫ೝ௬0Qmbo-!mfwfm!1-!Vojwfstjuà!efm!Ejbmphp 2:!‫ٷࣆܔ‬ბǈܾ֫ೝ௬0Qmbo-!mfwfm!2-!Vojwfstjuà!efm!Ejbmphp

Ser.Mi.G. (Young Missionary Service), as a

31!‫ٷࣆܔ‬ბǈ‫ݴ‬ဆ཮๖0Ejbhsbn-!Vojwfstjuà!efm!Ejbmphp 32!‫ٷࣆܔ‬ბǈాৠ0Joufsjps!wjfx-!Vojwfstjuà!efm!EjbmphpǄฝ! ! ᆖ0Qipup;!Bmcfsup!Bmqp{{jǅ 33!ᇱਬႁ‫ా׍‬ৠ0Joufsjps!wjfx-!gpsnfs!Upsjop!Bstfobm

space is characterized by signs of strong semantic

the last years has worked hard in order to achieve

and formal identity.

urban renewal of the city area where it operates,

Among the stated aims of Ser.Mi.G., there is

through intervention on built heritage. The aim is

the urban renewal to restore dignity to places that

to contrast the urban decay with specific actions on

lost their civic vocation, turning them into spaces

the territory and counteract conditions of neglect

for meetings and social activities. Interventions pay

concerning many buildings that surround the city

attention to limited financial resources, however,

center. In particular, special efforts have been

unconventional solutions are pursued, in order to

focused on restoring the abandoned military Arsenal

give a definite character and restore the spirit of

of Torino, which became the headquarters of the

the place. Converting large buildings for activities

Collaborative relationship that has been

designed to voluntary and social activities,

established between the Studio Comoglio Architetti

responds to different logic from those typical of

and Ser.Mi.G., led to a continuous confrontation

the real estate market: the aim is not the profit,

on the themes of renewal and recovery of built

but the project develops a view to overcome the

environment, that generated a shared and lasting

degradation affecting some areas of the city,

design process, which is still in development since a

finding new spaces for citizen services, returning

decade.

aggregation places to young people of the

The interventions that have occurred over the years have had a common thread in the principles

neighborhood.

that guide the goals of the association and the

Università del Dialogo e Piazza dei Popoli The first intervention concerns University of

proximity of the building sites, but the projects

the Dialogue. Since 2003, in the buildings of military

have been developed like succeeding episodes,

Arsenal, the ancient part is restored and organized

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

distinguished by different themes, while every

voluntary association operating in social field, in

association.

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36 35/36!Tfs/Nj/H/૝ө༗෇੨0Tfs/Nj/H/!Dibqfmďt!fousbodfǄฝᆖ0Qipup;!Tuvejp!Dpnphmjp!Bsdijufuujǅ

through a linear sequence of ﬁve classrooms on the

identiﬁes a distinct volume over the roof ﬂoor. The

ยԢ߾‫ײ‬฾ /Services Engineer: Luca Miolligi

ground floor. These can become, through sliding

function of the Chapel is to mark the restoration

ጺ‫ॺ׶‬ฆ /General Contractor: Costruzione Generali

walls and in case of necessity, a big single room,

work with a sacred place, which is also the space

Gilardi S.p.A

with two flights of stairs/steps at the end. The

of fraternity for the guests, who can ﬁnd a place of

ጺॺዾ௬ओ /Gross Floor Area: 1 640m2

wooden ﬂoor is a continuous surface that makes the

prayer and meditation on top of the building.

inner space uniform. The main theme is flexibility; the spaces can

Ex-sellerie The renewal of the building binds to the issues

be easily differentiated by moveable partition

of intervention in the built and highly stratified

according to the functional needs.

urban heritage.

The garden completes the project, creating

In addition to the need for repairing masonry of

Ser.Mi.G. ૝ө༗෇੨ǈ‫ۼ‬ଳǈᅪ‫ٷ‬૧ /Ser.Mi.G. Chapel's Entrance, Torino, Italy, 2002-2007 ᄽዷ /Client: Ser.Mi.G. ॺዾ฾ /Design Architect: Studio Comoglio Architetti ঳ࠓ߾‫ײ‬฾ /Structural Engineer: Francesco Ossola

a green space devoted to rest and contemplation,

nineteenth century, at the time of the assignment

ยԢ߾‫ײ‬฾ /Services Engineer: Luca Miolligi

which can become a place of assembly outdoors.

a reticular structure straightened the overall height

ጺ‫ॺ׶‬ฆ/General Contractor: Gaudino & Comoglio S.r.l.

Stone, greenery and water are the elements that

of the building.The project makes a complete

get the balance of this little landscape situated

renovation on the image of the building, covering

ӎ ຯ ೄ ༬ ૛ ჱ ૝ ө ༗ǈ ‫ ۼ‬ଳǈ ᅪ ‫ ٷ‬૧ /Cappella

between the old industrial buildings.

the existing facilities with a perforated metal

dell’Ospiteria, Torino, Italy, 2005-2007 ᄽዷ /Client: Ser.Mi.G.

screen that makes homogeneous the exterior aspect

Ser.Mi.G. Chapel's Entrance The project is a small intervention concerning

of intervention. The skin operates the role of a

ॺዾ฾ /Design Architect: Studio Comoglio Architetti

outdoor arrangement, to create a harmonious space,

continuous film which masks the formal disorder

঳ࠓ߾‫ײ‬฾ /Structural Engineer: Francesco Ossola

a symbol of welcome and a gradual introduction to

and at the same time gently reveals the existing

ঃၜ /Award: Architectural revealed Prize 2007,

the mystery of the celebration.

structure.

Torino, Italy

Horizontal planes of different form, function

Inside the renovated part of the building

and material are inserted inside the courtyard

are included equipment of public interest, such

integrated with the green.

as, a kindergarten, a collective housing, a school

ጺ‫ॺ׶‬ฆ/General Contractor: Gaudino & Comoglio S.r.l. ጺॺዾ௬ओ /Gross Floor Area: 84m2

Water is the main element, with a basin and

of restoration, and service spaces for Ser.Mi.G.

മ க ਏ ๪ ߀ ሰ ߾ ‫ײ‬ǈ ‫ ۼ‬ଳǈ ᅪ ‫ ٷ‬૧ /Ex-Sellerie,

little waterfalls that drive the faithful to the

activities.Along the main side of the building, the

entrance of the Chapel, recalling the sense of

homogeneity of the green-gray coating is broken

Torino, Italy, 2006-2009 ᄽዷ /Client: Ser.Mi.G.

pureness, baptism and spiritual conversion. Cappella dell' Ospiteria On the terrace of the house by Ottorino Aloisio,

by the insertion of punctual squared bow window,

ॺዾ฾ /Design Architect: Studio Comoglio Architetti

whose bright colors make them stand out as colored

঳ࠓ߾‫ײ‬฾ /Structural Engineer: Simete S.r.l.

glass pieces and generate particular city shots. ŕ

ยԢ߾‫ײ‬฾ /Services Engineer: Luca Miolligi ጺ‫ॺ׶‬ฆ/General Contractor: Gaudino & Comoglio S.r.l.

rationalist building of the 1930s, it was realized the Ospiteria Chapel. It has a polygonal ﬂoor disposition

‫ٷࣆܔ‬ბत࠽‫ׇ‬ǈ‫ۼ‬ଳǈᅪ‫ٷ‬૧ / Universita' del

ጺॺዾ௬ओ /Gross Floor Area: 6 320m2

and a concave end where the presbytery is located, the chapel represents a sign of discontinuity respect

Dialogo e Giardino dei Popoli, Torino, Italy, 2003 ᄽዷ /Client: Ser.Mi.G.

ঞ༗ǈ‫ۼ‬ଳǈᅪ‫ٷ‬૧ /Church, Torino, Italy, 2011-2013

to the geometric rationality of the spaces below.

ॺዾ฾ /Design Architect: Studio Comoglio Architetti

ᄽዷ /Client: Ser.Mi.G.

Externally it is fully covered in dark metal, which

঳ࠓ߾‫ײ‬฾ /Structural Engineer: Francesco Ossola

ॺዾ฾ /Design Architect: Camerana and partners

‫ۼ‬ଳ·੗‫׼‬Ⴤ֧୼/TORINO. SUSTAINABLE STRATEGIES

107

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