MANIFEST_BOURDEAUX_FABRIZIO

MANIFESTO OF RE-READING

MAISON BOURDEAUX

SECTIONS 4 VILLA AMBAR 10 MAISON BOURDEAUX 38 MEMBERS 40 DISCUSSION 42 REFLECTION 44 BIBLIOGRAPHY

VILLA AMBAR 6 Reading Stories of House 9 Photomontage

MAISON BOURDEAUX 12 Rem Koolhaas - BIO 14 Reading Stories of House 22 Photomontages 24 Cultural Facts 26 Re-Reading Stories of House 30 Action Drawings 36 Tecnical details

INITIAL CHOOSE

Personal choose

VILLA ANBAR Peter Barber

READING STORIES OF HOUSE

A romantic novelist from Saudi Arabia approached the British architect, Peter Barber, in 1992 to design her house in the important commercial and port city, Dammam, in the Arabian Gulf. Mrs Anbar - a widow - divided her year between London and her native country, therefore her attitude towards Middle Eastern culture was characterised by cosmopolitan influences. On the other hand, as a Western architect designing in Saudi Arabia, Barber had to research the complexities of Islamic culture.

THE INTERIOR OF SAUDI DOMESTIC HOUSES The traditional typology of interiors in Saudi houses reflects a profound sense of hierarchy between men and women. It is a rigid issue of segregation between sexes which is echoed in the two entrances to the house, and is followed up in the interior by separating men's and women's quarters. The degree of separation is further dec lared - between servants and members of the family, and between the family and the outside world - by a series of increasingly private spaces which gravitate towards a central courtyard.

Undoubtedly, the context in which the villa Anbar was going to be built was not neutral. Political and religious leaders had far more power over architecture than even the architects themselves. Indeed, during the construction of the house, a nearby medieval settlement was razed to the ground by the government simply because its spatial complexity of tight alleyways and small squares created a problem of control for the authorities.

Faced with this unfamiliar environment, the English architect acknowledged that a close reading of the books Beyond the Veil, by Fatima Mernissi, and Sexuality and Space by Beatriz Colomina was influential in approaching the programme of the house. From that moment, the programme not only became to specify the rooms required by Mrs Anbar, her children and grandchildren, but also, and above all, to understand the house as a political space.

THE PROFUNDITY OF THE GAZE Peter Barber investigated the power of the gaze to determine the division of space in domestic architecture. From the most public area to the most private one, the eye was directed in very specific paths through different layers, either giving a full view or only a partial one, sometimes merely implying what could be seen.

At the entrance, a gate gives a view into the courtyard, although a wall to the right prevents the gaze penetrating any further. The threshold is defined by a lintel that slips over the top of the wall. This lintel shows a dual aspect, a technical one of taking water to the swimming pool on the other side of the wall, and a metaphorical one of framing the gaze so as to give a hint of something else beyond. As one passes the entrance, tiny openings cut through the front wall of the house and signal the presence of the unseen occupants.

Although internally the house follows a traditional layout of separating men and women's quarters, this structure is broken by simple acts. Thus, as a crack, a horizontal cut in a wall of the women's quarter serves as a vantage-point for surveying the unseen, that is, the male domain. As might have been expected, male members of the family demanded that a shutter would be placed over the frame. This was done but, paradoxically, it was allocated on the women's side.

Opposite the pool, the driver's dwelling is placed on the first level projecting over the private garden. Looking down from his window, his gaze touches on the most private space of the family, in their time of leisure. Even if the window were to be blocked up, the presence of the servant would always be felt due to the volume of his room.

However, the presence of the maid is more oblique. Her room, which is placed on the roof terrace and thus away from the family's private rooms, is connected to the central courtyard through a series of cuts. In that way, her gaze is allowed to penetrate into the symbolic heart of the house.

While Barber builds according to the usual gender and class boundaries demanded

by Muslim society, he subverts these boundaries with gentle questions rather than formulating them in an obvious manner. This is an architecture that goes beyond formalistic considerations, that introduces a certain ambiguity which in turns initiates questions about social conditions and changes.

The house has only one entrance from the street - partly due to the client's status as a widow.

The visitors of both sexes cross in this space, where the sound of the water conveys the presence of the family in the swimming pool.

GROUN FLOOR OF VILLA AMBAR: 0. Entrance, 1. Women's living room, 2. Men's living room, 3. Dining room, 4. Shower, 5. Toilets, 6. Kitchen, 7. Bedroom, 8. Courtyard, 9. Garage, 1 10. Maid's room, 11. Laundry, 12. Installations, 13. Driver's room.

WHY ?

At the begin i have choose Villa Ambar by Peter Barber because it's really interesting ! It's interesting how an Architect can change the rules in a place “close” like the Saudi Arabia.

In this house everything is the opposit! The woman isn't “under” the man, they are at the same level. And for the domestics too!.

And i think it's really interesting to thing how this situation could change in this last 10 year of evolution.

FINAL CHOOSE

Group choose

MAISON A BOURDEAUX Rem Koolhaas

REM KOOLHAAS Remment Koolhaas (born November 17, 1944 in Rotterdam, Netherlands) is a Dutch architect, architectural theorist, urbanist and “Professor in Practice of Architecture and Urban Design” at the Graduate School of Design at Harvard University, USA. Koolhaas first studied scriptwriting at the Dutch Film Academy, and was a journalist for the Haagse Post before starting studies, in 1968, in architecture at the Architectural Association School of Architecture in London, followed, in 1972, by further studies at Cornell University in New York.

Koolhaas is the principal of the Office for Metropolitan Architecture, or OMA, and of its research-oriented counterpart AMO, nowadays based in Rotterdam, The Netherlands.

Early architectural career Koolhaas first came to public and critical attention with OMA (The Office for Metropolitan Architecture), the office he founded in 1980 together with architects Elia Zenghelis, Zoe Zenghelis and (Koolhaas's wife) Madelon Vriesendorp in London. They were later joined by one of Koolhaas's students, Zaha Hadid - who would soon go on to achieve success in her own right. An early work which would mark their difference from the then dominant postmodern classicism of the late 1970s, was their contribution to the Venice Biennale of 1980, curated

by Italian architect Paolo Portoghesi, titled “Presence of the Past”. Each architect had to design a stage-like “frontage” to a Potemkin-type internal street; and the OMA scheme was the only modernist scheme among them.

READING STORIES OF HOUSE

A wealthy married couple with three children lived in a very old and beautiful house in Bordeaux in France. For many years this family was thinking about building a new home, planning how it could be and wondering who the architect would be. Suddenly, the husband had a car accident and almost lost his life. Now he needs a wheelchair. The old beautiful house and the medieval city of Bordeaux had now become a prison for him. The family started to think about their new house again but this time in a very different way.

CIRCULATION IN THE NEW HOUSE The married couple bought a hill with a panoramic view over the city and approached the Dutch architect Rem Koolhaas in 1994. The husband explained to him: “Contrary to what you might expect, I do not want a simple house. I want a complicated house because it will determine my world.�

Instead of designing a house on one floor which would ease the movements of the wheelchair, the architect surprised them with an idea of a house on three levels, one on top of each other. The ground floor, half-carved into the hill, accommodates the kitchen and television room, and leads to a courtyard. The bedrooms of the family are on the top floor, built as a dark concrete box. In the middle of these two levels is the living room made of glass where one contemplates the valley of the river Garonne and Bordeaux's clear outline.

The wheelchair has access to these levels by an elevator platform that is the size of a room, and is actually a well-equipped office. Because of its vertical movements, the platform becomes part of the kitchen when it is on the ground floor; links with the aluminium floor on the middle level and creates a relaxed working space in the master bedroom on the top floor. In the same way that the wheelchair can be interpreted as an extension of the body, the elevator platform, created by the architect, is an indispensable part of the handicapped client. This offers him more possibilities of mobility than to any other member of the family- only he has access to spaces like the wine cellar or the bookshelves made of polycarbonate which span from the ground floor to the top of the house, and thus respond to the movement of the platform.

EXPERIENCING THE HOUSE Koolhaas designed a complex house in itself and surpassed the conventional, in every detail. For example, the top floor rests on three legs. One of these legs, a cylinder that includes the circular staircase of the house, is located off-centre. Although this displacement brings an instability to the house, it gains equilibrium by placing a steel beam over the house which pulls a cable in tension. The first question that the visitor asks is: what happens if the cord is cut? Koolhaas has created a structure which, equal to the life of the client, depends on a cable.

This arrangement provides the middle level with an uninterrupted view over the surrounding landscape, and an effect that is intensified with the highly polished finish of the stainless steel cylinder which incorporates the stairs, and makes it disappear into the landscape. The middle level is a balcony where the top floor floats above. It is a glazed space which allows the wheelchair to confuse the nature outside with the interior of the house. In contrast, the same landscape receives another treatment from the top floor. The view appears restricted and predetermined, framed by circular windows placed according to whether one stands, sits or lays down.

Inside the house the family experiences Koolhaas's interpretations of life's instability and dualities. In regards to the husband, he has experienced this instability and is now part of his own self. In the same way that the umbilical cord belongs both to the mother and the baby, and gives it nutrition; the elevator platform connects the husband to the house and offers him a liberation.

Appendix. It was with the greatest sorrow that we learnt, at the beginning of the year 2001, of the husband's death.

Working model for the 'Maison Ă Bordeaux

The husband has access to all three levels with an elevator platform which is the size of a room, 3 x 3,5m.

Bookshelves spanning three levels respond to the needs of the mobile office.

The middle level is a glass space which allows the wheelchair to confuse the nature outside with the interior of the dwelling

THE STRUCTURE

With the three differentiated volumes stacked on one another, it appears as if the highest volume is floating on the middle volume because of the transparent glass. With such a complex organization among floors, the overall structure of the house comes into question as to how these volumes stack up to one another. With the third volume seemingly floating on top of the middle volume and actually cantilevering over it, one wonders how it could be supported.

The cantilevering volume is supported by a steel tube that conceals a spiral staircase that extends throughout each level of the house. In addition to the steel cylinder, there is an L – shaped brace that supports the back end of the house, which is complimented by a steel beam that runs along the roof that connects to a tension cable that is buried in the ground to stabilize the lateral loads – a signature of architectural intent

by Koolhaas and Cecil Balmond.

MOVIMENT ELEVATOR

LIBRARY

MOBILE OFFICE

THE ELEVATOR

The heart of this house is the 3x3.5 Elevator that moves vertically by a piston across the house's floors. It isn't just a lift, but a real room without walls designed as an office for your business, which allows you to go from kitchen to living room or the bedroom, without leaving your desk.

The walls surrounding the platform are equipped with libraries, so that the owner can easily reach his books going up and down the house.

The space elevator is the house's key that opens all the spaces of the house, it's is like a puzzle's peace, Thanks yo whom you can visit house's place that you can't access normally. In the basement, the elevator opens to the cellar and a part of the kitchen. On the display floor, overlooks the living room that,on the top level, becomes a master bedroom alcove.

PHOTO MONTAGE

In this photomontage is rappresented 2 opposit home situation. At the left there is a big library with a stair, a big ramp stairs with a man who see a woman in wheelchair and a man who show to a friend (in wheelchair) the landscape out of the window (the window normally have a standard measure and is really difficult to see outside for a Sit man.

At the right there is the situation of maison bourdeaux: A big elevator moves the person up and down the big library.

The windows are designed for men in wheelchairs so, it shows the friend the landscape, but for him it is difficult to see, and it is represented in the window the concept of dipendence.

MICHAEL PALMISCIANO This is a house that was born from the need and the desire on the part of the customer to find freedom, in his own home, who lost in a tragic accident. The Rem Koolhaas's brain is able to fulfill this wish and create an architectural project that leads to freedom.

JOSE MANUEL Empowerment of the human conditions.

Does we accept a handicapped man as identical to us?

Maybe the idea of an “special house” would not like to another handicapped person.

Probably this house were always reminding him that he is disabled.

Maybe the way to equality is not a “different” house for a “different” person...

Can you find...

...The seven differences??

DUDLEY JONES My Montage represents, the changes and ongoing change of perception of the disabled. To look at what new technologies and ideas koolhaus may introduce today. He would have greater technologies available to him to create a world without limit for the man in a wheelchair.

CULTURAL FACTS

To begin our story we start from a cultural concept much discussed in these last years all over Europe, that of ACCESSIBILITY. The accessibility is a concept that covers everything that goes around. For example, thanks to the Internet we have the possibility to access to millions of information from around the world, the ability to communicate with people from anywhere in the world, then is the degree to which a product, device, service, or the environment is available to as many people as possible. Can be viewed as the “ability to access” and benefit from some system or some means.

The term is often used to focus on people with disabilities or special needs and this fact is precisely the case. The disability is therefore a branch of accessibility and we have to understand the evolution of that last over the years.

It is very important to understand the cultural fact that over the last two decades, the view of accessibility has evolved greatly to accommodate the needs of the handicapped. This is partly due to how society views the disabled as well as laws and regulations that have been put in place to provide equality and so increase the level of accessibility. The cultural fact is that accessibility has changed from low, twenty years ago, to high now in order to accommodate the needs of the less able because of the change in cultural perception and understanding.

The history of accessibility has evolved greatly over the last 15 years. It has gone from creating places for disabled, valid for a single user, to create inclusive settings, for all users regardless of their status.

In Bordeaux we should apply that concept to make the home more accessible in its entirety, eliminating not only physical barriers but also proyect barriers, which are provided spaces for the disabled and spaces for the rest family. We have to understand the house as a fully accessible space now in the 21st century.

An important tool to achieve this purpose is Universal Design, included in the fundamental basis of a European philosophy for accessibility: The fundamental basis of a European philosophy for accessibility is the recognition, acceptance and fostering - at all levels in society - of the rights of all human beings, including people with activity limitations; in an ensured context of high human health, safety, comfort and environmental protection. Accessibility is an essential attribute of a “person-centred”, sustainable built environment

STEPS OF EUROPEAN CONCEPT FOR ACCESSIBILITY These are the steps of the European Concept for Accessibility May 1985: on demand of the E.C. Bureau for Action in Favour of Disabled People, the Dutch Council of the Disabled carries out a study about the accessibility legislation and practice in the Member States.

October 1987: The Dutch CCPT launches the development of a European Manual with harmonised and standardised accessibility criteria, financed by the European Commission and supervised by a steering group of experts from different European countries.

November 1990: Publication of the European Manual, but it seems to contain too many details for which there is no common European ground.

1996: A new draft with far less pages and details is presented. The title is European Concept for Accessibility. Though it is not a standard, the European Concept for Accessibility is translated into many languages and is used in several countries to renew national approaches and guidelines. The European Commission uses the Concept in the promotion of accessibility.

1999: Transfer of the co-ordination task from the Dutch CCPT to the Luxembourg organisation Info-Handicap. Marketing activity in order to increase the recognition of the European Concept for Accessibility and presentation on the World Wide Web. 2002: Decision to update the ECA November 2003: Presentation of the updated ECA in Luxembourg.

The European Concept for Accessibility is an architectural and design guideline which was first written as a result of a request from the European Commission, made in 1987. The Concept was based on the universal design principles. These principles apply to the design of buildings, infrastructure, building and consumer products.

1. The objective is the provision of environments which are convenient, safe and enjoyable to use by everyone, including people with disabilities.

2. The universal design principles reject the division of the human population into able-bodied and disabled people.

3. Universal design includes supplementary provisions where appropriate.

This statement was supported by all members of the steering group present in Doorn, The Netherlands, 2 March 1996.

RE-READING STORIES OF HOUSE Since her husband's death, much has changed in the life

of the widow. The house was designed primarily for the needs of a disabled person, but now the family's needs have changed and there was a strong desire to modernize his home. There were several elements that were no longer appropriate for the life of the family such as, the platform and the peep-hole windows on the third level, which had come from Rem Koolhaas's original project idea to create places for the disabled, valid for a single user, but now the users have no use for such things.

The widow had discovered that she found comfort in reading books, and therefore it was very important to make the library accessible to all, so that she could have a space where she was able to read in private, secluded from the world.

On the third floor the family wanted to have the opportunity to look out at the landscape more easily, so there was a need to enlarge the windows to make the view of the landscape clearer and the supply of more natural light in these rooms was needed; to cater for the able and so make it more accessible to all.

It was not enough to hold onto the idea of moving vertically on a platform in the house. The function had to be expanded as there was no longer a need for this, as there once was. The library of books had to be accessed at each floor level so that any member of the family could utilise the resource. It was intended that the house be the world in which the original client lived, but now that world has extended to utilise the exterior of the house, to allow the family to benefit from its freedoms and as previously stated it's views into nature. The order in which each activity in the house was originally intended to take place has been changed, moved or adapted.

On each level there was a large gap which created a discontinuity on each of the floors, of which this space can now be utilised in a different way to suit the adaptation of the widow. Similarly, on the first level, access to the wine cellar, which is located behind the platform, had to be adapted because it was only accessible from the platform and therefore a new solution was needed to access this area. The main change to occur centred around the central lift and the expansion of space due to an increase in family size. Now the family is enlarged, the children are grown and have their own family. Very often encountered in this house to spend time together.

The widow, who now is grandmother, takes pleasure in seeing their grandchildren play and stay with their children, so to allow this needs an accessible space for the whole family with an area for children to play and another for adults. This space could be on the ground floor so making it more accessible.

To modernize the house and make all aspects of it accessible to the whole family, there was one main alteration that needed to be made, the elevator.

The mother expressed a strong desire to continue the idea of using it a circulatory space throughout the house, only now it needed to be accessible for the whole family. She also wanted to honor her late husband by keeping its secondary function as a space to contemplate, a space to observe, a space to absorb.

From the start of the project, the house was mechanical. This was the original thinking of the Architect, which developed from this to a domotic system. The best choice for a functional house for everybody: children, adults, and the handicapped. The space on the top level, which previously served as the father's office, was redesigned to be another family space with elevated views of the countryside. The partition walls were rearranged to provide access to the children's rooms as well as the Mother's. The fenestrations in this space were opened up to give the users inside a closer connection to the surrounding landscape, providing a more visually accessible aspect to the renovated space. These alterations to the house were willingly designed to act as a connecting force for the family, bringing them closer together, and also bringing them closer to the father, by utilizing spaces that were previously for his solo use. Even the swimming pool, created only for him, for his exercises, now is available for everyone, especially by the children. The new spaces improve the accessibility for the whole family, and they believe that the father would lovingly approve of what the house has now become.

RE-READING STORIES OF HOUSE The accessibility is a concept that covers everything that

goes around. Can be viewed as the “ability to access� and benefit from some system or some means.

It is very important to understand the cultural fact that over the last two decades, the view of accessibility has evolved greatly about how society views the disabled as well as laws and regulations that have been put in place to provide equality and so increase the level of accessibility. The cultural fact is that the history of accessibility over the last 15 years has gone from creating places for disabled, valid for a single user, to create inclusive settings, for all users regardless of their status, because of the change in cultural perception and understanding.

In Bordeaux we should apply that concept to make the home more accessible in its entirety, eliminating not only physical barriers but also proyect barriers, which are provided spaces for the disabled and spaces for the rest family. We have to understand the house as a fully accessible space now in the 21st century.

The house was designed primarily for the needs of a disabled person, but now the family's needs have changed and there was a strong desire to modernize his home.

There were several elements that were no longer appropriate for the life of the family such as, the platform and the peep-hole windows on the third level, which had come from Rem Koolhaase's original project idea to create places for the disabled, valid for a single user, but now the users have no use for such things.

For example, It's very important to make the library accessible to all. Also on the third floor the family need to make the view of the landscape clearer and more natural light in these rooms.

ACTION DRAWING

ACTIVITY This drawing is about the

accessibility, the idea that everybody can use everything in the house...

In the middle there is the plant of the house, the library that is the most important place in the house, and 3 different kinds of footprint: - a child - an adult man - and a man in a wheelchair At the end they become a single draw (the accessibility icon), so with this draw is explained that the house is designed for every person.

ACTIVITYIn this drawing is repre-

sented the action of the reading in a place where he can stay in peace with himself and his book.

I have represented a stair with a big tree in the centre.

In this tree there is some hammoch where all the people can read ad pass some time.

ACTIVITY With this drawing is

explained the action of “divide� the action of reading a book in Maison Bourdeaux.

At the begin there is only one big library where there are all the books, but now the action is to divide this function. the thinking is to do some little library, accessible from everyone, and put it in the different places of the home, and every different library contains different kind of books: In the kitchen there are cookingBooks, in the living room there is some romance, etc.

THE ACTION

In this drawing is represented the action of READING. We can see different people with their heigh, a chair with its standard misures, and the misure standard of a library.

The library must be accessible from everyone, for this reason the measure must be standard: it must be heigh max 160 cm, because a person in a wheelchair can reach only 160 cm with his hands.

With the red colour is represented the most beautiful place for read: under a tree, in the sofĂ and on the HAMMOCH. That will be the key for the next project.

THE ACTION OF READING

This is the final drawing of the action, there are the most popoular measures “for read” and some idea of design for a library, in the next pages we can see how the subdivision of the function could be.

TECNICAL DETAIL

DESIGN LIBRARIES In that pages are represented some ideas for design libraries.

The initial concept was the accessibility, the think that everybody can use everything, and the second was the division of the big central library in some little library with its own function.

This house is perfect, it's MAISON BOURDEAUX because it is like this, so the idea is to build something that don't change completely the house, but to insert some design idea to integrate with it.

So with little changes the house can change function, but not the form.

HAMMOCH This hammoch

is a place to read in relax, it has everything you need, a light and an integrated library.

At the begin it was thinked for the livingroom, but it can be placed where the owner wants.

BED In this bedroom the headboard was thinking like a library. it has also two little “reading desk� that can be moved up and down, or can be a desk for putting your laptop.

WORKTABLE This is a

worktable for the kitchen, there is a plane who is adjustable with an idraulic system, starting from 70 cm to 90 cm.

The plane can be moved to move up the 2 library which stays inside the worktable, and can contain all the cooking books.

DESK This desk is thinking to has

all you need for your study: there are three drawers which can contain books or what you need, a big plane and a little higher plane which can be moved back and forth on the table, there is also a magazine holder on the right side.

GROUP 4 PRESENTATION Hola! I'm FABRIZIO vizzi, an italian student in erasmus at alicante.

I like listen music ( all Kinder of music) architecture and tecnology. I come in erasmus to learn an other language, know a different culture, and to live an amazing experience.

I have try a lot of sports, my favourite is football, I was goalkeeper for like 7 years, but 3 years ago I stopped to play. I love to travel, know people from other country and see different kind of life...

Hi, I'm CHRIS Wilson. I am 26 and have a strong interest in music, surfing, snowboarding, football and traveling. I used to love drinking coffee but now I have to have decaf because I overdid the caffeine. I had two cats, one died, now I have one. I lived in New Zealand for nearly 2 years and am intending to move back out there permanently when I have finished this course. I like buildings, some big, some small, mostly single houses, modern style ones. Thanks for listening.

To introduce myself. My name is DUDLEY and I am twenty-one years old. I am studying here in Spain on ERASMUS for the year and I am English. I really enjoy sports, such as Rugby, Cycling and Formula one. My main interests apart from Architecture include teaching myself to play the piano, art and spending time with friends. I decided to come to Spain for the experience of living and studying abroad and to learn another language and culture.

Hola chicos, I'm MICHAEL and I am an Italian student in erasmus at alicante. I come from Sicily, but study architecture in Naples. I follow sports, above all the football even though I played basketball for nine years in the team of my city but I had to stop for architecture. I like to watch a lot of movies and even listen to music.

I have a dog and three cats in Italy and here in alicante I found two more in the house that I rented, they haunt me!

However, I hope to work well with you, Boys must be the best. Goooo group 4!! :-)

GIUSEPPE MASSACCI

About myself. My name is JOSE and I'm from AlmoradĂ­, a town near Alicante. I plays trumpet in the Symphonic Band of AlmoradĂ­ since i was a child. Also I plays in a rock band called El Kamion de la Basura. All my life has been connected to the music, maybe thats the reason i love architecture (architecture is like frozen music). I'm 26 and I finished the carrer of Technical Architecture (Building Engineer) in 2010. I was studing in Valencia for 4 years. Now I'm here in Alicante studing architecture, and I love it! Thanks!

Hello everybody! My name is NEUS and I'm catalan. I teach ballet to girls with special needing in my spare time.

I also love reading, travelling and scuba diving. But above all, movies are a must for me ;) I have no cats, but have 24 years old turtle - older than some of you- ;)

im JACLYN..or you can call me jackie. Like dudley i also play the piano but i've stopped since architecture. I really like to travel, ive been around asia and europe and all around north america. Some of my favourite cities so far include rome, london, barcelona, new york, and hong kong. in january i am moving to helsinki for a semester and doing a trip around europe for the summer. I also i love dance and yoga :) I like playing music in my spare time, I play bass guitar in a rock band called Sweet Alps and I work for the Army Reserves as a Bagpiper. My favourite sport is ice hockey and I actually play a game tonight, I am the goalkeeper.

I recently got a kitten and she's sleeping beside me right now. I'm a vegetarian. I am into comic book and I currently collect Animal Man, Batman, Flash, Nightwing, Swamp Thing, Wonder Woman, Amazing Spiderman, Avengers Vs. X-Men, Daredevil, The Incredible Hulk, Uncanny X-Force, Winter Soldier, Invincible, Prophet, Saga, Thief of Thieves, and Walking Dead (Just to name a few!)

PERSONAL RIFLECTION

GROUP

Re-reading stories of houses was a very interesting and challenging work, but personally i am not satisfied.

For many of us it was the first time we had done a distance work group only internet based. I think this is the future, but nothing can be comparable to a meeting face-toface with people around a table.

I think this “experiment� did not come to fruition.

Maybe it's guilt of no effective time between one delivery and the other one to think really at the project.

In one month we have done everything, but bad.

For me, we should also have time in class to integrate with the internet work, And with so many meanings of communication at our disposal, such as Facebook, Google group, e-mail, it was really hard to follow everything without becoming confused or getting lost. In addition, the time differences between us and canada was worst for our work.

I think the time zone so large can, instead of being an obstacle, could be a way to increase the productivity, because ,alternately, you can work all day.

Not having clear rules, however, each one working on his own, being the day after the point of departure, even without any indication.

I think in the end, it could have been different, if only we had more time to organize and speak with eachother, and didn't have so many deliveries each day.

In the future, understanding how things work with remote work, I think I will try to arrange it in different ways, all leading initially to a single and more effective meanings of communication.

BIBLIO GRAPHY

BOOK . EL croquis 131+132 OMA REM KOOLHAAS 1996-2006 INTERNET . . . . . . .

http://es.wikiarquitectura.com/index.php/Casa_en_Burdeos http://www.archimagazine.com/amaison1.htm http://www.orgone-design.com/blog/maison-a-bordeaux-rem-koolhaas/ http://storiesofhouses.blogspot.com.es http://portale.siva.it http://www.abilmatica.integrazioni.it/AMBIENTI/NodoCMS/CaricaPagina.asp?ID=37 http://www.edi.admin.ch/ebgb/00564/05163/index.html?lang=it

MOVIES http://www.koolhaashouselife.com/index.html

FABRIZIO VIZZI