Architectural Design Studio 4

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sleeping theatre WHAT AND WHY

How our way of living and travelling is changing? The challenge of this studio consists into a theme very close to us: the hostel - who is never been in an hostel? – When we are called to design we should ask ourselves: what are we looking for when we search for an accommodation? Our lifestyle is deeply different from the one that our parents had thirty years ago. This difference is due to countless variables. To make it easier and focus on what is closer to this educational exercise proposed to us, we deal with two of these variables: accessibility and experienceability.


EXPERIENCEABILITY Experienceability today is the new key for tourism. We

Today accessibility is the main point of our purchases, in

are dealing with reality: the most popular website that we

any field: we don’t buy products, we buy accessibility

use to book our stays is

to a series of them and to a series of services related to

From 2017 – three years ago – Airbnb gives you the chance

them. We don’t buy a CD but the subscription to Spotify.

to choose in the landing page if YOU are looking for

Same story with Netflix if we are interested into films,


Serial Box for books, Share’n go or Enjoy for cars, Fit





experience is defined as follows ‘Airbnb experiences are

prime for gym and we could go on for hours. This means

activities designed and managed from people that are enthusiastic

that we have a very particular mindset when we look for

of their place. Them go beyond a typical tour or class and totally

something to buy and when we finally buy. The world of

involve guests in the unique world of each host’.

tourism is not so far from these phenomenons: for

The world of accommodations is incredibly changing

instance, the experiment of Bidroom, a Dutch start-up

coherently with these new proposals.

founded in 2014 – five years ago – that for 60 euros per year

A simply market survey reveals that the most popular

allows you discounts of 25% on bookings of temporary

hostels in Europe are unique, they have less bed spots than

accommodations and includes also parking, bus transfers

competitors and the stay is a real immersive experience

from airport and other services.

(Lavender Circus, Budapest; Hostel celica, Ljubljana; Red Boat, Stoccolma). Even if the number of beds is very low, the price per night is higher.

It is not something revolutionary: thinking about catering, Taking into account these new transformations of the

the 'Notthingam forest' in Milan – one of the best 50 bars in

market related to the technological progress that runs

the world - not only sells cocktails, but alcoholic



experiences served in unique glasses - there is a cocktail

contemporary reality in the light of a sharing economy

that costs 3500 € because it is served in a diamond - and

(that is already characterizing the hostel typology) and

sometimes it involves of the customer himself/herself in

could- conceptually - be integrated into a bigger net of

the drink-making. Seats are about twenty, its success








hostels that works in the same way of the services

comes from the experienceabilty and not from the sale

explained before. Why? Because our clients are guys from

of a gin tonic itself. On the other side, the goal of the

15 to 35 years old, open minded people and in love with

whole category of 'All You Can Eat' restaurants, which is

travelling, they will look for something similar in other

drastically exploding, especially for Japanese cuisine, is

cities: thinking about a net of hostel where you have an

quantity and not quality.

annual fee allowing you to have access in different cities

Conscious of being interested in experiences and not

or nations means thinking and speaking our same language:

products, we are proposing a type of design coherent with

the language of who is used to go sleeping in hostels.

this idea of tourism: sleeping performance is an

experience, as well as being inside the hostel.

There are many business models that we could analyse for differences and similarities with ours but now we hope that you got the basic idea to understand our reasons. The goal now becomes to explain the connection between the and shape.

How to respond to these new needs through design? When we are called to design we cannot delude ourselves that we only deal with architecture. Surely our tools are the ones that we learn at university, but there is a whole world of themes and problems that it is up to us to take into consideration and study even if they are not part of the course that is proposed to us. What does it mean being an architect today? What are the new horizons and challenges? How should the lifestyle we have be reflected in the space we live? And how should we design to help us live better?

The attempt to design minimum housing units was made many years ago, it is not something innovative, for instance in 1972 - almost 50 years ago - Joe Colombo proposes ''Total furnishing: the new domestic landscape'', something that we find very close to our research, even if there are strong differences. Our project investigates, re-discusses and rethinks the needs that distinguish us as a generation - the hostel, as I said, is designed for guests like us - and that is why the need to stop and ask questions to ourselves before drawing. Which are our basic needs and how have they

changed if compared to 10 years ago? Which of them leave with us on the road and which ones are we willing to give up?

On one hand when we don’t sleep in our place we are looking







security of having our own little place, on the other hand we are indisputably 'social animals' and as such we need to have human relationships and a space to live them,

In the end, although this project proposal seems at first sight to deviate greatly from a 'normal' (?) proposal we find it concretely close to what is the reality of the world of hostels today - something that we directly know - in the trajectory of what is today the present and seems to be the future of tourism.

especially when we travel alone and hostels often host SINGLE travellers. In our proposal this theme is essentially reflected in the strong opposition between the large

open space and the minimal cells. The most immediate consequences are an increase in the safety, in the peace and quiet of sleep - because you do not share your space with strangers - and a greater availability of spaces dedicated to sociality.

architectural design studio 2019/2020 Prof. Cino Paolo Zucchi Prof. Carolina Pacchi Prof. Stefano Tropea

Anna Bunina DonaTA Sasso

sleeping theatre Chapter I.

hostel or/and theatre ?

We started from the fact that the territory is filled with theaters, which are quite expensive for young people and for travellers. Therefore, since we design affordable temporal accommodation, we can combine this with an affordable theatre. consequently our hostel will be called Sleeping Theatre. Perfomances will be held at night. everyone can participate in it. Because of this, we designed a certain minimal cell with a window at the top, for guests who want to contemplate the starry sky and the shades of performance, but want to stay inside their cell. Everyone can also go up to the roof and visit a sleeping performance.

The concept of ‘Sleeping theatre’ is not just an abstract concept. It is something tangible that is reflected in all functional, structural, distributive and volumetric choices. We are basically subdividing the design into four fundamental parts: the stage, the back stage, the actors and the curtain (sipario).

The stage is vertically crossed by volumes and people, these three components – full volumes, void volumes and people – are the actors in our sleeping theatre and will turn it into a living being. Full volumes are squared shaped reinforced-concrete cells for guests, voids volumes are cylindrical and made of glass, they let light arrive in the lower levels and are filled with very thin and high trees such as populus, fastigiata and birch.


The stage The stage is where the show goes on, the served space, the real core of our hostel. It is located in the centre of the plan and has a regular squared shape. Its bearing structure is a frame made by reinforced concrete pillars and beams.

The backstage

The backstage, contains all those functions that really make the show work: in our design these means bathrooms, stairs, elevators, saunas, storerooms, kitchens and so on. It consists in the so called servant space. Here in the backstage we have designed also some functions dedicated to the whole citizenship, not only for our guests. Its structure is characterized by bearing walls, its shape is very irregular and revolves around the entire stage.

Sleeping performan ce where the pa r t i c i pa n t s can experience ta i n ambient music and light and

designed the b eauty of it is possible

as immersion to see

night performan ce, in sleep with the help of certhe performan ce in yo u r head.

architectural design studio 2019/2020 Prof. Cino Paolo Zucchi Prof. Carolina Pacchi Prof. Stefano Tropea

Anna Bunina Donata Sasso

sleeping theatre Chapter II.

The internal facade al, This is a continuation Unlike the facade from the side but at

What does it look like?

responds to our plan and expresses the roughness of the materiof the sleeping theatre: people see it like this from the side of the hidden garden. of the street, which consists of smooth concrete, it literally merges with the buildings surrounding it, the same time does not lose its materiality.

INNER FACADE m 1 : 500


our street faรงade is conceptually and physically a curtain, a very unique one, that at the same time its hiding our stage, and speaking the same architectural language that the surrounding buildings speak.



architectural design studio 2019/2020 Prof. Cino Paolo Zucchi Prof. Carolina Pacchi Prof. Stefano Tropea

Anna Bunina Donata Sasso

sleeping theatre Chapter III.

How does the hostel work?

first floor for hostel residents

m 1 : 100













architectural design studio 2019/2020 Prof. Cino Paolo Zucchi Prof. Carolina Pacchi Prof. Stefano Tropea

Anna Bunina Donata Sasso

sleeping theatre Chapter IV.

m 1 : 200

(top) Ground floor with a multifunctional spaces for citizens, a workspace, a li-

how do other floors work ?

m 1 : 200

(bottom) second floorroof for all people and participants in a sleeping

brary and a hidden garden.

p e r f o m a n c e

There is a space for exhibitions in the center floor, and now we are offering our exhibition. The artpieces are collected in order to further understand and immerse ourselves in our idea. You can learn more about our exhibition in our booklet.

the continuation of sleeping cells can be mirrored so that the cells interact with each other. The sleeping performance would be on the second floor, then the continuation of the sleeping cells would also reflect the light from the performance and from the sky.

architectural design studio 2019/2020 Prof. Cino Paolo Zucchi Prof. Carolina Pacchi Prof. Stefano Tropea

Anna Bunina Donata Sasso

sleeping theatre Chapter Iv.

how does it all work together ?



m 1 : 20

m 1 : 20


SECTION bb’ m 1 : 200

SECTION AA' - 1:100

SECTION AA’ m 1 : 200

architectural design studio 2019/2020 Prof. Cino Paolo Zucchi Prof. Carolina Pacchi Prof. Stefano Tropea

SECTION BB' 1:200 Anna Bunina Donata Sasso

sleeping theatre Chapter v.

how it looks from different angles ?

What is hiding. The facade is hiding in the texture of the city, trying to communicate with it in the same language, not copying , but rethinking it. Thus, from the side of the street you can see only a calm concrete facade, which does not lure, but only mysteriously hides the contents of the building.

What is hidden. The inner garden is hidden and desirable. It consists of a huge number of cultivars that can only withstand the temperature in Milan. It can also offend various animals. Also in it you can read books from the library on the ground flora and just relax and walk. The internal facade is a continuation of the concept, as well as a symbol of the material (untreated concrete) of which the entire building is made.

architectural design studio 2019/2020 Prof. Cino Paolo Zucchi Prof. Carolina Pacchi Prof. Stefano Tropea

Anna Bunina Donata Sasso

sleeping theatre Chapter vi.


What is an aster staff?

cells with the window on the top





two peolpe

light glass cylinder with trees inside

supposed trees suitable for climatic zone 8a and size:


fastigiata populus Pinus cembra


two people

one person


main materials

concrete base material of walls and floors



glass and mirror

interior and curtains

the main material of details and interior

windows and continued cells on the roof

1 White plaster (5mm) Polyurethane thermal insulation (80mm) Vapour-retarding layer (5mm) Reinforced concrete (500mm) 2x Safety glass in steel frame 1x Zenithal adjustable curtain with electrified system


Bed of gravel geotexile layer (80mm) Vapour-retarding layer (5mm) Polyurethane thermal insulation (80mm) Vapour-retarding layre (5mm) Mortar levelling layer (10mm) Reinforced concrete (500mm)

3 Reinforced concrete (100mm) Gap for pipes (100mm) Polyurethane acoustic isolation (50mm)

DETAIL m 1 : 50

Reinforced concrete (100mm)

architectural design studio 2019/2020 Prof. Cino Paolo Zucchi Prof. Carolina Pacchi Prof. Stefano Tropea

Anna Bunina Donata Sasso

sleeping theatre Chapter vii.

What is an aster staff?


Cells are combined in different ways, but provide equally comfortable conditions for all guests. Also, if travelers do not want to book the cell, they can stay on the roof and contemplate the sleeping performance.


In the daytime each cell is lit through the upper window. White concrete walls reflect light, which makes the cell even brighter.

there is contains providing

a technical distance between the cells, which the necessary pipes and communications, water supply, air conditioning and heating.


At night, a window on the ceiling allows the hostel’s guests not only to observe the stars and the sky, but also to participate in a sleeping performance without leaving their cell.

architectural design studio 2019/2020 Prof. Cino Paolo Zucchi Prof. Carolina Pacchi Prof. Stefano Tropea

Anna Bunina Donata Sasso

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