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FEDERICO PEDRINI / 2010 /


FEDERICO PEDRINI / BELGIUM / BRUSSELS / +32 484 036 511 / ITALY / +39 334 30 67 806 / federico.pedrini@gmail.com / www.fedepedrini.info /


design

urban design

infrastructure

research

exhibition

vision

Vision, JDS, Project Leader, Published

158/  Aqualta

Urban design, JDS, Project Architect

154/  Rio

Urban design, JDS, Project Architect

2009

150/  Air

Art Deposit, JDS, Project leader

146/  CLIMATIZER

Urban design, Research, JDS, Project leader, Published

140/  Tilburg 2040

Apartments and offices, JDS, Project leader and Project Manager, Published

136/  OLYMPIA take2

Apartments and offices, JDS, Project leader and Project Manager, Published

130/  OLYMPIA

Urban design, JDS, Project Architect

124/  Punggol

Urban design, Research, JDS, Project leader, Published

2008

118/  The Weave

Urban design, JDS+S&V, Project leader and manager, Published

110/  Rue De La Loi

Port Infrastructure, JDS, Project Manager, 1st Place

106/  ALBENGA

Theatre, JDS, Project leader

100/  Sundsvall

Housing, JDS, Project Architect

96/  aalter

Urban design, JDS, Project Manager, Published

90/  riminicord

Urban design, JDS, Project leader

2006 2007

86/  ama

Urban design, FP, Published

82/  City Camping

House, JDS, Project leader, Published

78/  JURA HOUSE

Offices, JDS, project architect

74/  TRIBUNAL

Research Apartments, JDS, Project leader

70/  Park Tower

Museum extension, JDS+FP, Project leader

66/  MDM

Student Housing, JDS, Project leader, Published

62/  m6b1

Housing, JDS, Project leader, Published

58/  SILO 5

Urban Design and Infrasructure, JDS, Project leader, Published

52/  Vertical City

Infrastructure, EIA, Project leader

2005

46/  VE/DGE

Rehabilitation, FP, Project Leader

42/  BIO-LOW

Urban design, Research, Academic, Published

2004

30/  SHRINK

Urban Installation, Project leader, Personal work, Published & Exhibited

26/  DREAMINGWALL

Urban design, Project leader, FP, Published

2003

22/  BAR-pod

Urban design, FP+CD, Project leader

18/  valopattern

Urban design and infrastructure, Academic

2002

14/  Hypervenice

Desing and infrastructure, Academic

10/  WHITEFIRE

Design, Academic, Published

Index 2/  Curriculum 4/  new asi HQ

FEDERICO PEDRINI 2010

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Curriculum Biography Federico Pedrini (Italy, 1978) is an architect and urban designer. He got a top grades master in Architecture and Urban design from Venice’s IUAV presenting a research project on shrinking cities (under P. Viganò, B. Secchi and I. A. Wolff). Since 2001 he works as a freelance architect and from 2007 he is a licenced architect. He collaborated, amongst others with Enrico Iascone Architetti, and with JDS Architects (Copenhagen and Brussels), where is been associate from 2007 to 2010. Here he has been leading a variety of projects and researches, exploring pragmatic utopia and new urban concepts. His work includes a programmatic vertical city, various concepts for innovative tower typologies, new hybrid typologies for dense dwellings and explorations on public space in houses, museum and theatres. His multidisciplinary approach contributed conceiving strategies for future sustainable cities in the Netherlands, a masterplan for the EU commission, various waterfronts and exhibitions. He is actively collaborating with Antonio Scarponi and Stefano Massa since 2002. Together they designed the “Dreaming Wall” a public installation conceived as a device for visual networking, which had been exhibited in Venice, Stockholm, Luzern and Turin. In 2007 he cofounded OurOffice, a design think tank split between Greece, the US and Benelux. After living and working in Venice, Bologna and Copenhagen, he is currently settled in Belgium. His personal and office’s projects have been exhibited in various cities (Shenzhen, Venice Biennale, Paris, etc) and published on international magazines. He is a contributor of the recently published JDS Agenda, the latest publication ofJDS Architects. He lectured in Genova, Leipzig, Copenhagen, Ljubljana and was invited to Critics in various european universities. MAJOR PROJECTS Aqualta / Mapping Contemporary Venice LEEUWARDEN ART DEPOT / Art Depot and Masterplan in Leeuwarden, NL TILBURG / Sustainable City - Urban Design Research in Tilburg, NL OLYMPIA / 5000m2 Tower and apartment building in Almere, NL GRONINGEN / Masterplan Study on new Housing Typologies, 33 000m2, Groningen NL RUE DE LA LOI / 800 000 m2, masterplan for the europena Quarter in Brussels, Belgium M20 / mermaid remix ERACLEA / Masterplan in Eraclea, Italy NOVARA / Hospital in Novara, Italy Sundsvall / Theather and Art Centre in Sundsvall, Sweden Aalter / Housing and Shopping in Aalter, Belgium ALBENGA / New Marina and realted masterplan, Albenga, Italy AMA / Masterplan for AMA, Rome, Italy RIMINI WATERFRONT / 72,000 m2, Retail, Park and Hotel, Rimini, Italy BE / Administrative buildings, Brussels, Belgium Jura / House in Bois d’Amont, Jura, France LJUBLJIANA / court house in Ljubljiana, Slovenia CAL / Cultural Centre, Rome, Italy Diocesan museum / Museum in Milan, Italy PARK Tower / study SILO / Housing block and Tower, Montreal, Canada PARIS M6B1 / Student housing, competition, Paris, France SHENZHEN / 3 800 000 m2, Urban Development with 1,111 m tall tower, Shenzhen, China 2


E

FEDERICO PEDRINI Architect

Work 05 07-10 JDS Brussels, Associate Architect (see major projects) 07 JDS Architects, Copenhagen 07 Partner with JDS for MDM 07 Our-Office founded 07 Registered Architect, Albo degli Architetti di Bologna, reg. n° 3536 07 Qualified Architect 06 IASCONE Architetti, Bologna Masterplan for a new mixed use district, Bologna Pedestrian bridge, competition, Venice Hotel and Wellness Center in Radicondoli 01-02 BEZA, interior design company, Bologna Various interior design and on site supervising Lectures 09

09

07

Liege School of Architecture, Guest Critic, Liege Liege School of Architecture, Cuest Lecturer, Liege, Belgium Guest lecturer, II Congress of Slovenian Architects, Ljublijana, Slovenja. Guest lecturer, IFHP Future of Cities - Impacts, Indicators, Implementation.

05

Copenhagen, Denmark. Guest lecturer, ReUrbanMobile mobilizing re-urbanisation on condition of demographic change. Leipzig, Germany. Guest lecturer, Università degli studi di Genova. Genova, Italy. Education

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10 10 09 09 08 03 03

07 05

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04 03

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Dreaming wall, art, Turin, Negozio, Stockholm Studio 44, Venice, Galleria Candiani DREAMING WALL, Beyond Media festival Indesem Project presented to the 1° Rotterdam

Aqualta for “Moleskine” “Shrink Positive” bypass magazine “Self-Fab”, Actar Agenda, Actar “Ultrarchitettura”, Zeno, n. 135. Indesem Publication 2003 Quaderns Competitions

Exhibitions 07 05

Biennial Indesem Project presented to the 1° Rotterdam Biennial Publications

05

Laurea in Architettura, Final Mark: 110/110. Istituto Universitario di Architettura (IUAV), Venice, Italy. 03 Indesem 2003 (International Design Seminar) at TU Delft (Netherlands). 97-05 Corso di Laurea in architettura at Istituto Universitario di Architettura, Venezia (IUAV) 97 High School Diploma, Liceo Classico L. Galvani, Bologna.

federico.pedrini@gmail.com

03

City Camping, Self-FAB Housing, Barcelona BIO-LOW, research laboratories, renovation, Vittorio Veneto POD-HOUSES, housing, Barcelona. Published in Quaderns DREAMING WALL, art, Milan ESPOO VALOPATTERN, urban design, Europan 7, Espoo Fast forward, a driving perception, Indesem 2003, Rotterdam Languages

Italian, English, French, Spanish 3


new asi HQ

Offices and exhibition, 6400sqm, Academic 2002, published 4


The competition for the new A.S.I. headquarters required a flexible building for multiple purposes: it needed in fact general management offices, administrative offices, laboratories and archives plus some public spaces: an exhibition hall, a conference and multimedia room and a cafe. Lastly an underground parking area was required. The design takes in consideration this complexity and keeps every function separated. This is done by assembling different typological volumes; every volume overlooks the glazed exhibition hall. Links between the tower and laboratories are set with bridges passing through the hall. Thus the hall is the interface between different parts of the building. General management offices are needed a symbolic position, so they are located along the main street and overhang towards the new Zaha Hadid museum of contemporary art. Laboratories are located in a 40 m high tower, and are able to accommodate different teams per level. Multimedia and conference rooms are next to the entrance hall: both have a glazed roof. On the second floor there is a cafe for visitors and resident workers. Services, stairs and elevators are located

outside. On the south side there is the park entrance in order to leave the main entrance as exclusively pedestrian. The main volume hosting the general management offices is conceived as a big reticular

beam held up by four big tubular gantries. Here there is a glass curtain wall with internal blanking systems. The tower is conceived as three brackets clamped to the stairs and service towers; every

bracket holds two floors. Here a micro-pierced brise-soleil system provides appropriate darkening during the day. Multimedia room and stairs towers use micro-pierced curtainwalls. 5


+17.60

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Offices and exhibition, 6400sqm, Academic 2002, published 6


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Offices and exhibition, 6400sqm, Academic 2002, published 8


9


WHITEFIRE

The purpose of this project was to find an appropriate sheeting for the incinerator. This kind of building is usually associated with something unsightly and the particular location (proximity to the historical city and to the 10

Infrastructure, labs and incinerator, Academic, 2002


Burgo paper factory designed by P. Nervi) made us think of a shape which could be suitable in that particular context. Besides the original program, we decided to add an office building for people working in the incin-

erator, and also for visitors. The office building and the incinerator are connected through two footbridges, and it’s possible to see what happen in the incinerator through a glass wall. Materials that have been used include white

coloured aluminium for roofs, steel for all structures and glass. The chimneys have been coloured yellow to be better recognizable from afar.

11


C

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pedestrian bridge detail 11.86

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17.70 m floor plan

office bulding - front detail

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B

2.30 0.00 -5.20 -10.00

Infrastructure, labs and incinerator, Academic, 2002 12


A

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roof detail

AA section

BB section

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incinerator glass wall detail

CC section

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Hypervenice

Urban design and infrastructure, Academic, 2003 14


transfer distance: 5 min

in corso scenari

vectors

out

distance: 5 min

border

in

in corso scenari

out

border

in

pedestrian

pedestrian

vectors

distance: 5 min

in corso scenari

transfer

pedestrian

Alternative mobility “Alternative mobility� is for us a matter of accessibility, which is today a critical point for the venetian lagoon, even more evident because of mass tourism.

vectors

Alternative mobility means thinking the city and the lagoon astransfer an hyperconnected territory, a urban scale park with a complex network providing different needs overlapping. A wide scenario is thus accessible

and full of complex devices. new speeds > The venetian lagoon experiences today an out of scale velocity given by converging flows of people. 15


network is a new signs grammar, visible from distance, reference points for people moving in the city. Nodes system is a plug-in system: it provides complex elements where flows converge.

In our scenario the overlap of these fluxes (3) with different speed (with a new infrastructure scheme) creates new narrative strings, new sequences to look at the city. 2D > 3D Venice is bi-dimensional. The alternative mobility scenario superimpose different infrastructural levels in order to give new points of view. > new nodes The events of this scenario are settled in the network nodes. The

Urban design and infrastructure, Academic, 2003 16


17


N

180º 150°

-150°

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120°

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-90°

21 JUL

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21 SEPT / 21 MAR 90°

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21 DEC

S Stereographic sunpaths for 60.5º Latitude: Espoo

N 21 JUL 3

21

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-37º

37º

21 DEC

Type “0” sunpath winter orientation for Espoo : 37º

valopattern Interaction in urban lifestyle Designing a new Housing area means redefining the interaction within public and private social habits. Our project tries to relate and 18

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interpret the needs of a dynamic mq 225 75 mq 150 communitymqproviding interactive social spaces. The adaptation of the urban space to everyday’s multiple scenarios mq 100 of contemporary life ismqa200funda- mq 300 mental characteristic to be taken Type “O” Elemental size: infinite possibilities

Competition (europan 7), with Conceptual Devices, project leader, Urban design, 2003


into account when developing paradigms and processes. These evolve in the flexible definition of a stratification of layers of uses and functions which urban space itself absolves for the interaction of people occurring at different

Competition Area - availeable space

The extreme geographical and climate conditions of Finland strongly affect the behaviour of its population. The extreme low temperatures and the lack of light during the winter opposed to the lush of sun

Competition Area - maximum solstitium pattern

Open Space Left Over

times and in different ways. These patterns of behaviours cannot be re-defined and are regulated by the combination of multiple differentiated factors (social, cultural, environmental).

More than half of the whole area

Built-up space project

= Open Space Exstension

+

tion to the use of public spaces in these conditions. This project actively interacts with the behaviour of the light in this specific site.

Open space project

= hours during the summer time, drives the Finnish population to opposite patterns of social interactions during these seasons. Our project tries to face the double side of the nordic year in rela-

is covered by the slope shadow located in the southern side of the competition site. We considered inappropriate developing the housing project in such area. Instead we decided to dedicate this space to winter 19


21 SEPT

20

h 14:15 Az: 206° Al: 2°

h 12:00 Az: 175° Al: 5°

23 MAR

h 10:11 Az: 151° Al: 2°

h 17:24 Az: 239° Al: 6°

N L I G H T

h 12:00 Az: 158° Al: 28°

h 07:01 Az: 100° Al: 2°

h 20:45 Az: 311° Al: 4°

h 12:00 Az: 176° Al: 30°

h 04:25 Az: 53° Al: 7°

h 17:50 Az: 261° Al: 4°

h 12:00 Az: 177° Al: 29°

h 07:21 Az: 101° Al: 6°

E S P O O S U N L

21 JUN 21

P A T H S

21 DIC

Competition (europan 7), with Conceptual Devices, project leader, Urban design, 2003


-90°

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11 13 sports such as cross-country skiing tracks trough the woods -60° that could be used also after the sunset with artificial lights during -30° 12 the winter. Otherwise it could become aS running track during the summer

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21 SEPT / 21 MAR 90°

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lifestyle. On the60°other hand we decided to concentrate the housing area in 21the DECsunniest side of the site 30° trough a system of enhanced typologies in order to capture the horizontal winter sun light.

Stereographic sunpaths for 60.5º Latitude: Espoo

to compose an infinite variety of typological solutions. The project perceives a mixture of 3 functions such as offices, small commercial activities, recreational parks, public gardens, in order

N 21 JUL

Type "O"- construction strategy to capture light

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Type "O" aggragation view - Offices Area

Type “0” sunpath winter orientation for Espoo : 37º Type "O" aggragation view - Residential Area

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Type "O" aggragation view - Residential Area

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Type "O" aggragation view - publlic space view mq 75

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Valo pattern aggregating system - SCALE 1: 500

Type “O” Elemental size: infinite possibilities

time while it is lighted up by the sun most of the time during the day. In this way sports activities are in the surroundings of the housing area and they could be easily reached by the inhabitants, providing a safe healthy outdoor

Type "O" aggragation view - publlic space view

To reach this goal the buildings have been characterized by their orientation and a set of proper skylights. The Type “O” is a modular element of 25m2 that could be assembled tridimensionally in order

to invert the relations between the inside and the outside of the urban space which affects community life in extreme weather conditions.

21


BAR-pod When Sectioning the area, under the ground level we find services, carparks and a succession of uncovered squares connected to the ground level. The soil will be covered by a dense wood, being most of the trees high-type species, to allow peovision and sport services and park appliancperception. Between the branches and the sky the egg-cells will be hanged, using light coming from above as well as shadow and coolness coming from the park.

ple

es

Architecture has a tradition of nature forms, mimesis and inspiration. We thought the hanging system for the “eggcells� as an effective tree trunk. The cells are stacked on reticular beams that are also footbridge connecting to the vertical circulation inside the

personal project, competition, urban design, project leader, published. 22


FOREST

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TREES

trunks. To stress the landmark value of the object the foot-bridge will be lighted by an optical fibre cable, while the cells could assume different colours. The “trees� will have different heights (40 to 60 m) and hold a proportional 24

number of units. The cell is made of a shelter similar to the hull of a ship, and plans are similar to those of a caravan or a camper. We are sure about the possibility of minimizing costs thanks to serialisation of cells

personal project, competition, urban design, project leader, published.


pods

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285 100 82 213 66,5

production. Moreover, the chosen competition scenario, comprehend a nearby railway which could be used to reduce transportation costs even more.

A fundamental issue of the project are service “totems”, which side residential “trees”. The totem is an empty structure supporting signs and screens of the services below. It sends signals of the pulsing city, hidden in

the thickness of the ground. The totems work as references for cell-habitants. That include some vertical accesses and permit to reach services and car-parks underground. 25


DREAMINGWALL A vertical Public Space. Dreamingwall is a traveling exhbition and a virtual crowd. The Dreaming Wall is a project for a blank wall in an historical square of Milan, originally submitted for a competition promoted by Diesel. The wall was conceived as an Info Forum: a public vertical space reflecting the dual character of the city which has a double life as the city and the piazza do - white and subdued during the day and glowing phosphorescent green at night. Collective subconscious. The Wall is seen as a tool of cultural, simultaneous, and random collective communication, creating a visual buzz. As a public digital billboard, the wall surface at night randomly displays text messages sent by people standing on the square or from anywhere else in the world through the Internet. The messages are generated in real time by a chemical reaction between a computer controlled UV laser projection and phosphorescent panels on the wall. This releases the text provoked by the UV light, which is actually invisible. A message would last fifteen minutes before being re-absorbed by the wall. Its constant transience metaphorically suggests the sub consciousness of a city asleep. Dreamingwall has been exhibited in Venice, Stokholm, Turin and Luzern. www.dreamingwall.net

Personal Project with Antonio Scarponi, Stefano Massa, urban installation, 2004-..., published, exhbited 26


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Personal Project with Antonio Scarponi, Stefano Massa, urban installation, 2004-..., published, exhbited 28


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SHRINK A retrospective story Power of 10 Have you ever looked at the earth from outer space? It looks like a giant blue ball, with patches of green and brown. When one happens to zoom into the green, the landscape opens up occasionally to show an intrusion 9000 8000 7000 of regular constructions, scattered on grids and interwoven in Defrag networks. Now, if we add the extra dimension of time to the observation, the cluster starts to move as a living organism: it expands, it contracts, and sometime

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the past 50 years, more than 370 cities world wide faced a population loss with peaks of 90%. While the amount of boom-towns was growing by 240%, the number of shrinking cities overshadow their growth by increasing by 330%. Global Shrinking Urban shrinking5000 is a complex4000 6000 process, and some cities better represent their macro causes and factors: if shrinking is global, its characters are often local and diverse. Cities such as Detroit, Manchester, Lisbon, or Leipzig lost up to 50% of their popula-

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flair, represents an unforeseen condition, with a loss of almost 30% of its population in a short span of 20 years as a result of the massive inner immigration to the near suburbs. Shrinking Leipzig For a long time, this study gave the impression that the challenge 3000 2000 1000 was overwhelming: what was not yet clear was that shrinking is an unexpected opportunity. The challenge is to think out of the box of traditional planning schemes - cities are not always expanding, and shrinking

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even shifts in different directions. Even more incredibly, it often shrinks, starts to evaporate, and disappears. Although this movement is multidirectional, we generally think of cities as ever-expanding bodies. This isn’t true. Shrinking cities are here, as a trend started in 1950 in the western world. They spread now in every continent, regardless of economical or social conditions, despite history or political situation. It’s a global phenomenon: in

tion in less than a century for very different reasons. If Detroit has more than 1/3 of abandoned buildings in its urban core and a loss of 50% of population, it is because it represents the utmost example of racial contrast and suburban sprawl (they build cars after all!). And if Manchester pictures a loss of 45% of its inhabitants in the center, this is due to a significant de-industrialization and its consequent unemployment. And Lisbon, despite its fascinating historical

is a chance to set new standards , new proximities, new coherent urban fabrics, new uses for urban leftovers, and new relationships within existing urban systems. Leipzig happens to be an inclusive case: it is historical, with an industrial past and a suburban present (partly), it lost almost 31% of its population, and it scores incredible rates of unemployment. It is the sum of all of its predecessors. With 27% of empty, abandoned, or collapsing buildings, the physi-

Urban Design and Research, Academic, 2005, Published 30

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cal consequences on the city are enormous: 60.000 empty dwellings result in a partially ghosted town. When walking downtown, one can watch the spectacle of rundown buildings resting between half empty blocks, entire constructions trashed and abandoned, even fields and farms often left untended in a general post war facelift.1000 Despite the2000 inevitable eco3000 nomical rundown, -the real estate collapse, these very conditions are the opportunity for a new way of thinking. Such a phenomenon questions the very core of our traditional planning tools

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and challenges new methodologies to design cities. How is the surplus of space managed? How is the loss of polar and central elements in the traditional city fabric faced? How is coherence given to a discontinued fabric? How can a fragmented city be read? Can negative growth be planned for? Defrag Fragmentation and defragmentation are common terms within

information technology. A defrag diagram provides at once an analytic read of the state of a logic unit and the potential of its structural and functional reorganization. What matters in the analogy is the functioning scheme: the system continuously works, proceeding through subsequent layers of clusters of data 4000 in a continuous routine of 5000 6000 records and deletions, exactly as it happens in an urban system. The result is a fragmentation of data in clusters of ever-reducing bits with a low interoperability level. The system gets progressively clogged. In an urban structure, its continuous use, expansion,

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and its subsequent abandonment creates an interrupted fabric with an analogue level of low interoperability and malfunction. Thus, applying a defrag on the city allows a simultaneous analytic read and a focus on the clogged parts. The methodology implies a systematic sampling of all of the interrelated parts of the city. The fixed elements (infrastructures), contiguous elements (parts of the fabric that are still work-

ing), and fragmented elements (abandoned lots or buildings) are all mapped and further refined in their subsystems. Once the analytic layering is completed, the fragmentation could be read through a matrix of sections cut through the city. The fragmentation can therefore be represented in a frequency diagram, which reproduces the8000 exact configura7000 9000 tion of disconnected elements. The bands defined as such are a much more accurate tool to map shrinking frequency patterns than the traditional zoning approaches. With such a map of discontinuous elements, the capacity of grouping and determine shrinking

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typologies is greatly enhanced. In Leipzig, the sampled fragments are essentially four: the big social housing blocks in the outskirts of the city, the Grunderzeit blocks in the city center, the abandoned infrastructural lots, and the urban voids leftovers. They all represent a variety of system errors (pollution, scale-less, low standards, ‌) and a reprogramming potential (recyclability, historical value, flexibility, ...). Once defined, the fragments are ready to be

31


reprogrammed in a new functional structure which will expand the capacity of the living body of the city to function and last. The landscape can re-inhabit vast portion of disconnected fabric, the functioning parts of the city could benefit from unforeseen proximities (new parks, new public spaces), and the infrastructure could be resized and not spread randomly. Power of intensity The power of such a technique is its embedded capacity to sample fuzzy patterns of development, or even to guide and accompany shrinking. In a crisis situation as such, there is no predetermined 1850

1880

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idea or form of the upcoming city. It is therefore consequent to pursue tactical planning in place of strategical. In fact, diverse scenarios are still possible at this point, defined in at least four basic tactics: the archipelago city, where the urban unity is fragmented in a cluster of small disconnected bodies, the diffuse city, where the entire city body is evenly scattered as an endless suburbia, the peripheral city, where a de-voided centre is surrounded by denser settlements, and the compact city where everything shrinks into the original urban core. But defining a new shape for the city would still be immature at this point, it would bring a priori conclusions without a clear direction of where 1939 1940

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devices that could be implemented. In other words, if the frequency is defined through the fragmentation bands, grunderzeit buildings - (before 1918) it is still necessary to define its intensity, in order to sample critical zones and act selectively. A band section composed of samples of 1by1 km can be cut through the city from east to west: this is the most representative band to analyse, because it accounts, along its length, all of the different fragment typologies. The intensity could be read through the abundance of abandoned spaces available empty

along the string. This gives the ultimate information clearly intercepting the most destructured and intense fragments in the given typological zones. De-dense x4 At this point, it is possible to proceed systematically and define four samples as guide projects. These guides represent a much bigger chart of potential projects in the city. In fact, they could be sampled everywhere in the urban body without adopting a top-down town planning solution, and providing a tool that could be easily fine tuned or readapted to ever changing conditions. Skm1, for example, defines a condition of new proximity where outdated social housing blocks (Plattenbau) are

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Urban Design and Research, Academic, 2005, Published 34


getting surrounded by new suburban typologies. Skm2 is sampling a new potential landscape where the

Grunderzeit (the historical fabric) intersects the main city

park. Skm3 is aimed at redefining Grunderzeit and water proximity. Skm4 includes an infrastructural urban void and a fragmented Grunderzeit fabric. Every sample project refines the

analysis at the level of the neighborhood. Once the discontinuity elements are defined, local solutions are adopted, giving a clear focus to the possible transformations. Skm1 suggests a potential transformation where the demand for suburban conditions could be addressed by taking ad-

vantage of the flexibility of the existing empty buildings: these could be reconfigured to allow lower densities and let parks penetrate through. A new sport infrastructure could be put

Fixed Elements

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Contiguous Elements

Urban Design and Research, Academic, 2005, Published 36


Fragmented Elements

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Urban Design and Research, Academic, 2005, Published 38


KM!, KM2, KM3, KM4

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in place to implement programs that are missing. Skm2 represents a scenario where the buildings are highly damaged and the demand for rentable space is extremely low. In this case, the building fabric becomes a natural framework to adopt a soft invasion

of a new landscape. The buildings’ footprints, once demolished, could host a new typology of ruin parks, where city gardens, urban agriculture, and playgrounds could be host and framed, creating a hybrid metro-rural landscape. Skm3 offers the opportunity to re-

envision the abundance of water in the first city outskirt. Here a demand for suburban villas is already taking shape through new neighbourhoods developments: the existing blocks could be resubdivided by two axis: vertically, to create adjacent vertical villas,

KM4

Urban Design and Research, Academic, 2005, Published 40


or horizontally to create overlapped criss cross apartments, always accessible from the street level, both from the now raised main street or the on level inner yard. And finally, the last one in our urban sequence, Skm4, deals with the pre-existence of a fabric of highly fragmented urban blocks and a dismissed railway infrastructure. Here, the lack of public space and parks could be addressed by exploiting the potential of the railway - a park takes shape using the dismissed railway tracks, giving at once structure and dynamic to it. The housing blocks are further analysed, reor-

ganized into used and dismissed units. Once this accurate demolition map is defined, a super-block structure emerges, outlining a new possibility for public and interior communal space, making urban life again possible. Cities are the live heritage of mens. We shouldn’t be afraid of them moving on, we should just embrace the change.

atype

b1type

btype

b2type

KM1 / disassembling strategy

41


BIO-LOW

Bio-low research centre. The scary presence of this rusty machine wet by the river, shows signs when the river itself was its vital lymph. The project goal was to consider the environment as 42

the real subject of the competition providing a research and training facility joining nano-technologies and eco sustainability: in order to do this it will provide support and knowledge to companies, businesses and organizations.

Personal work with F. Mazzaron, Competition, restoration, 2005


Water and solar resources are used to empower the building and exploiting the existing turbine and a new set of solar collector. A new public space is settled in the northern part of the site connecting laboratories and training

centre: the open public square is covered by a new solar collector shelter. Laboratories, settled in the northern part of the site, building C, is the technological hearth of the structure. Here is a completely

uffici formazione uffici direzione sala riunioni

sale consulenza ufficio comunicazione

new design inserted in the old building: 5 aluminium sheltered boxes show themselves perforating the wall, revealing the new tech heart of the old building.

x2 x4 uffici dirigenziali

x1 x3

consulenza e check-up

x1

servizi

info-point

spin-off

x3 spin-off

sala multimediale

prova materiali

x3

camere bianche

x2

server centrale

x1

chimica dei materiali laboratori sperimentali camere di controllo

x1

laboratori

x2

prove materiali

x1

ricerca tecnologica

x2 x2

piazza coperta

x5

aule pratiche

x2 x3

congressi

x1 congressi

briefing

aula insegnanti

x1

formazione

x1

aule teoriche

x1 esposizione

sala lettura

congressi ed esposizioni

x1

x1

servizio ristoro

x1 servizi e comunicazione

camere

x8

foresteria

43


sez. BB

sez. AA

sez. CC sez. DD

Personal work with F. Mazzaron, Competition, restoration, 2005 44


45


VE/DGE 3

access ramp pendenxy <= 8%

1.4 m bank

2 0.0 m see level

6/7 2.90 m bridge walking path

1.5 m bank

1

15

access ramp pendenxy <= 8%

10

4

Professional (EIA), Infrastructure, Project leader, 2006 46


typical cross section 1

opening system scheme 1

2,5

aluminium hollow beam teak floor profiled sheet

electric powered hinge

teak floor and profiled sheet

railing braces

counterbalance

neon light system typical cross section 1

opening system scheme 1

2,5

aluminium hollow beam aluminum sheetteak floor profiled sheet hollow beam aluminium neon light system

2,5

2,5

electric powered hinge

teak floor and profiled sheet

railing braces

counterbalance

long section

2

1

5

10

1

5

10

1

aluminum sheet aluminium hollow beam

11 22

2

1

2

long section

1

11 22 subject is Obviously the bridge historically meaningful in Venice, 1 comparison is the therefore 2 the first step towards design. Bridges in Venice are much more than simple connection links but proper parts of the daily walking paths: they are not as interruption or discontinuity el-

ements, but vital nodes and access point. Considering the competition requirements the bridge has to be viewed as an urban place intercepting different flows in between the area of the â&#x20AC;&#x153;Biennaleâ&#x20AC;? exhibition; the bridge has to be a continuous and fluid element within its surrounding. The choice for a plastic shape wants to approach fluidity, offsetting slightly from the bank, above the water, avoiding rigid elements. Ramps catch up the given height above water with

prospetto ponte lato ovest minimal slope, responding to(bacino) the 15 10 requirements of accessibility, so to maintain coherence in this philosophy of fluidity. The bridge must become a city place, a panoramic communicapontestimulatlato ovest (bacino) tion path, aprospetto new and 5 10 ing point of view on1the cultural district and also a resting place. materials and systems The main

47


bridge walking path from north bank, detail

Professional (EIA), Infrastructure, Project leader, 2006 48


structure is depicted as a series of tubular beams forming ribs performing as a boat hull. This design gives the opportunity to open the bridge in the middle as a simple gate. Aluminium gives the needed light-

aluminium gives the shape the desired evanescent aspect: surface reflectance is supposed to adapt the bridge to the place, to the water and to different lighting conditions with a wide range of chromatic changes. Again to pro-

industry standards. Rapid prototyping will provide optimal quality standards and short schedule. The bridge main structure is aluminum: a tubular system of hollow beams configured as naval ribs. An horizontal opening movement

ness and sculpting requirements. Aluminium also provides wide recycling solutions and the best performances in an aggressive sea environment.

vide dynamic and fluid behaviour to the shape. During the design process a particular attention was given to productive challenges. The same CAD/CAM system used during design has been choosen with the

provide the canal to be completely free fot boat transit.

The intrinsic attributes of the

49


south bank view

general view

general view

Professional (EIA), Infrastructure, Project leader, 2006 50


night view from the bridge, detail

day view from the bridge, detail

north bank from the arsenale

51


Vertical City

Professional (JDS), commission, project leader, published, exhibited (biennale 2008, shenzhen biennale 2007) 52


GLOBAL CITY ISSUE Why does urban growth require the erasure of public space and nature? Size is an ongoing architect’s wet dream. In an architect’s world the term vertical city is cliché. We (architects, film makers, cartoonists, writers…) all once had that phantasm of creating a vertical urbanism.

continuous dense city! Urbanity took over everything. No nature subsisted. It seemed therefore obvious that this vertical adventure will be about re-introducing the most iconic Chinese natural element: the mountain. The authentic Chinese landscape is one of soft green mountains undulating to the ho-

Not so long ago we were asked to do a piece of city in Shenzhen, China. Shenzhen is facing Hong Kong. Shenzhen is mainland, Chinese, and an urban center with an impressive quantity of production facilities; like in many parts of China, the so-called ‘factory of the world’. Shenzhen is though about to change: in 2007 it opened a bridge to Hong Kong. This new link will transform the business and therefore living conditions of the region: companies already relocate to the mainland now so easily accessible and erect headquarters on more affordable grounds (current real estate in Hong Kong goes up to 20 times the cost of mainland values). From 1986 to 1996 Shenzhen’s region mutated from a landscape of mountains and forests into a

rizon. In Chinese modern times of growth there’s neither time nor space to preserve those experiences. This project is an attempt at reconciling these oppositions… Following these speculations we were asked to design a new urban quarter in Shenzhen. It had to be 5 million square

meters. It had to be 666 meter tall. And/or 888 meter tall. Actually, it should really be 1111 meter tall. And twisted. Feng Shui, that is. Those terms and conditions are rather abstract, for western, pragmatic architects as we are. The specificity of those requirements didn’t really matter. All they revealed was that it had to be big! There’s a strange way about working on big things for the sake of them being big. It’s not the scale in itself that’s interesting, rather the possibilities it unleashes. But the scale confuses the

stake: Is it about making the biggest building ever or understanding that at such a scale it is no longer about designing a building but really an entire city? We created countless wasted attempts until we realized that the task wasn’t about fitting the surfaces on the site but rather to 53


achieve a socially and logistically functioning vertical city. From that point on everything became more obvious. At least our mistakes were striking. We had to realize that to make a vertical city is not to make a tower! A city offers a

complex set of social and spatial interactions while a tower offers mostly one condition: an elevator to connect a series of repetitive floors. The elevator is the link to everything and therefore your only chance to meet anyone. It is for

that reason that we donâ&#x20AC;&#x2122;t live in towers. We just occupy them for as little as we canâ&#x20AC;Ś In order to manage to include more then floorplan repetition within our mass we decided to superpose the voids that would wel-

Professional (JDS), commission, project leader, published, exhibited (biennale 2008, shenzhen biennale 2007) 54


55


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41a

1a

Professional (JDS), commission, project leader, published, exhibited (biennale 2008, shenzhen biennale 2007)


come urban diversity rather than prioritizing the build substance. The impossibility of making a 350 m deep building made us work on excavations that quickly allowed us to realize neighborhoods containing all the components of a city.

800m, steel frames’ sensitivity to sway is unacceptable in residential buildings (Burj Dubai went back to concrete–super strength

SUPERTALL When building tall, you can

choose between different structural systems – the mega frame (Umeaa/China bank), a very cost efficient steel structure for area/mass used – or the bundled tube (Sears), a rectangular grid clad with a prefabricated façade. But when building super tall >

like Petronas). Apart from the structural conditions, the Dubai layout is

totally inadequate for every use but hotels and old style typing pool offices, due to the small cell structure left behind by the concrete cores. To get away from that, a mega frame is designed with enough width to resist lateral forces and sway. That means the principal members of the

mega frame will be unrealistically large to accept compression – unless, of course, you make stiff, hollow, huge principal members – like the programmatic members of our Shenzhen tower.

57


SILO 5

Professional (JDS), commission, project leader, Published. 2007 58


ENVELOPE SCHEME CONTEXT

Silo 5 is an old silo d is listed as a industrial patrimony (/ inheritance?). Next to the city center, at a crossroad between the future

infrastructure with nature. To allowed the city to renew this area, we needed a financial strategy. We proposeENVELOPE to buildSCHEME 900

By inverting the traditional outdoor terraces relief and bringing it inside, we increase the quality of common space and the experiON DIRECT VIEWS TO AND ence of an PEEKS high rise.

CONTEXT

CONTEXT

ENVELOPE SCHEME

PEEKS ON DIRECT VIEWS TO AND FROM STREETS

FROM STREETS

OPENING TO THE SILO AND ACCESSES

green Rivera and the new urban dwellings. A big crack splitting the tower into planning of MontrĂŠal 2025. two part, like a canopy, where all The goal of our project is to adOne way to do it was to set up a the scenery would take place.It dress the site to the citizens. It tower, reducing the built footcreates a 3 dimensional garden already has a great potential but print, preserving a maximum creating a multi-relationship ENVELOPE SCHEME should be reconnected to the city. surface of park and greenneighborhood. PEEKS ON DIRECT VIEWS TO AND OPENING TO THE SILO AND By extending the streets all theFROM STREETS ness. But thisACCESSES tower The excavated part would way to the peninsula, we create should break be turn as a structural a water parc, like a rice the scaffolding, plantation. Where consupportbridges would ing the touch the dwellings ground, cantilevflyPEEKS ON DIRECT VIEWS TO AND ering. FROM STREETS above OPENING TO THE SILO AND ACCESSES the water, the parks, and over cross An other each way is to lean on ventional other. the silo and use this monster as a OPENING TO THE SILO AND monotony of Melting heater. We would plug our buildACCESSES stacked floor plans. ing into it to make it alive.

59


Professional (JDS), commission, project leader, Published. 2007 60


The envelop that wrap the silo would be pull up to create a landscape of mini towers in the axes of the main avenues. On the bottom, we open the building like a curtain, to reveal the siloâ&#x20AC;&#x2122;s skin, materiality, colorâ&#x20AC;Ś.

A garden would rise between this diamond crane on the silos rooftop, visible from the city in between the towers.

61


m6b1

professional (JDS), competition, student housing, project leader, Published, Exhibited, 2007 62


The site is located in a context that is in development. After fulfilling the required programming, the left over square meters were unfolded creating a spiral for social activities linking the ground floor to the roof terrace.

Considering the exterior of the building as generic as possible to respond to its unknown context, we decided to populate the inside of the social spiral with elements normally found on the exterior façade of buildings: light fixtures,

flower pots hanging by the window, all of which contributes to the animation of the common space of students.

63


TEMPERATURE ZONES

northwest facade

northeast facade

southeast facade

LIGHTING ZONES

WINDOW TYPOLOGIES

Type A1

27%

Type A2

31%

Type A3

37%

Type A4

43%

WINDOW ASSIGNMENTS Type 4

Type 4

Type 3

Type 2

Type 3

Type 4

Type 2

Type 3

Type 3

Type 1

Type 2

Type 1

Type 1

Type 1

M6B1 FACADE

professional (JDS), competition, student housing, project leader, Published, Exhibited, 2007 64


65


MDM

professional (JDS), Museum extension, competition, project leader, 2007 66


The new addition to the old Sant’Eustorgio monument complex must be simple, welcoming and representative for a religious community. The roof of the structure is cut by a giant cross. First of all to allow direct sunlight into the new amendment to the Museum. Secondly, the light beams will be shaped by the cross, creating a “cross of light” that will move across the museum building as the day passes by. This will define the propor­tions accordingly to the context for all the people walking by, crossing or working inside. Thirdly, the cross will naturally identify 4 sections of the building, in coherence with the programmatic outset for the addition. These four sections/ spaces will be clearly identified and at the same time contain the flexibility needed to adjust an exhibition room or a conference room to a given display or to contain a massive seminar with visual and audio installations. By placing the foyer in the outer cross-area, it can contain a café, reception, bookstore as well as a number of additional necessary facilities that are not directly linked to the specific operations of the museum. In this way the new building will be open towards the site, cross-referencing the street and the park.

67


professional (JDS), Museum extension, competition, project leader, 2007 68


69


Park Tower

professional (JDS), apartment tower, research, project leader, 2007 70


VIEWS

Do people have to suffer the desideratas of real estate markets offering less quality at higher prices? Is the condominium tower as we know it the only typology that will

LIGHT

prevail to answer the question of living in dense urban settings? Is the only neighbor interaction available in todayâ&#x20AC;&#x2122;s forms of living the awkward elevator encounter?

INSIDE GARDEN

CONTROLLED CLIMATE

NATURAL VENTILATION

Have you ever seen anyone on the 30th floor balcony of any condominium tower, anywhere in the world? From towers in the park to towers and no park to parks in towers 71

S


professional (JDS), apartment tower, research, project leader, 2007 72


modern urbanity suggested we live in large scale buildings surrounded by parks. the 20th century dense urbanisation proved that postulate to be impossible and undesirable.

the quantifiable qualities of light, air and views were weakened by the lack of social interaction the urban space offered. instead the city developed densely, pressing the public

spaces away. space consumption necessity created dense urban settings devoid of parks. in today´s urban congestion, can towers answer both the need of

spaces to live in and the possibility to enjoy outdoor qualities?

family house flanked by its garden into the very core of our densest centers. we propose to add parks to the dna of tomorrowâ&#x20AC;&#x2122;s living and working

towers!

we propose to redistribute the park program into the building program, re-enacting the suburban ideal of the single 73


TRIBUNAL How to consider the question of patios in buildings? Which shape should such a facility take for the city and the institution which represents? The building is included in a facelift master plan of the entire Ljubljana train station area. The new ring road amplifies the public transport network to relieve the city of the traffic situation, more and more difficult: the area of the train station will take the main role of urban life, giving citizens a new boulevard, walkways and public spaces. The new court will be built in a strategic

road. The main problem of the architectural design for the building has been looking for a solution that gives the five volumes not just a symbolic value not but also functional. At the

placed in the length and width, which helps in giving the five towers different proportions. The Zazidalni plan, which covers a wider area around the station, provides precisely defined urban and architectural design, an ideal starting point for more projects. As a casebuilding, the tribunal must be construct-

position at the crossroads of major infrastructure and therefore become a connection between the station and the southern part of the city. The maximum envelope is clearly defined: 5 of 5 volumes of the courts are symbolically placed on the Masarykovo

same time the program must be

ed with an additional sense, taking into account the transparency of institutions and a serious weighted process. It shall be an architecture that does not give rise to a feeling of oppression, but rather reflects confidence and transparency.

professional (JDS), competition, tribunal, architect 74


35

36

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33

34 32

31

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25

26

27

27

28

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25

24

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1a

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professional (JDS), competition, tribunal, architect 76


Must provide employees and visitors with health and pleasant rooms. To implement the above principles, and among other things, provide the internal structure of natural light, it is necessary to partially modify the

envelope. Considering the envelope on Masarykovo street, it was possible by the longitudinal section to displace the backside of the building to provide natural light to any room in the court: this allows

contents. The changes between the different volumes are a necessary consequence of the requirements for natural lighting and as a manifestation of their use from the outside. This system allows public path

and internal protected links, which give the judge, the juror and other people the necessary privacy from the rest of the staff and visitors, still allowing resting moments in the wider parts of the the corridors.

also to multiply the points of view toward the exterior and augment the public spaces. Each court operates as a separate unit with its own practice and its vertical lines. Transparent volumes show their functional

77


JURA HOUSE

Jura, France. A small house, in a little village. Two requests: fengshui attention and maximum living space for a large family. The landscape is the one outstanding of the Alps. The valley is long and large, stretching from north-east 78

to south-west. Once we reach the site, it is immediately clear that we have to maximize the view. With the mountains rapidly raising in the back of the house, it is natural to consider the house as gently countering the slope.


In fact, the entire volume of the house squat in the ground raising as a soft bump in the landscape. The south east facade is then cut and peel, to expand the interior view as a gigantic camera capturing a 24hrs panorama. On the

ground floor another peel happens in front of the rooms, to give protection and a garden to the house, while hosting a garage at the entrance of the site. The top floor instead continues the architectural promenade starting

from the entrance, through the stairs to arrive in the big living space and to the intimate garden in the back.

Professional, with JDS, house 120 sqm, under construction, Published, 2007-... 79


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Professional, with JDS, house 120 sqm, under construction, Published, 2007-... 81


City Camping

Urban design, Our Office (FP+AV+AG), project leader, published. 82


The anarchist.The junkie.The homeless. These were subjects of the IAAC self-sufficient, selffabricated proposal of OUR Office. How can one occupy the residual spaces of the city efficiently and creatively? These odd structures

SHOOT-UP SPOT / HAMMOCK A NETTING OR FOUND FABRIC CAN FIT A HAMMOCK SPACE FOR REST AND RELAXATION

resolve fabrication issues by using easily found materials, optimize themselves for solar gain and ventilation, create their own energy, subsist on an internal water system, and present themselves as characters on the streets. Self

DRY TOILET MINIMAL WATER IS CONSUMED WHILE WASTE CONTRIBUTES TO THE GROWTH OF PLANTS BELOW

sufficiency is radical! There is no need to live off of a large power conglomerate’s grid when you can produce it yourself. The excluded take advantage of the excluded space. Gaps in the urban fabric that develop over time. Alleys,

GREY WATER SYSTEM GREY WATER HELD IN RESERVE ON THE ROOFTOP IS TREATED AND DISTRIBUTED THROUGHOUT THE CAMPSITE.

TENT MEMBRANE A DOUBLE LAYER TENT MEMBRANE TRAPS HEAT AND PROVIDES WARMTH FOR THE INHABITANT. AN OPERABLE OPENING IN THE TIPI-LIKE STRUCTURE ALLOWS FOR VENTILATION. THE OUTER LAYER OF FABRIC IS EMBEDDED WITH SOLAR ENERGY TECHNOLOGY TO GENERATE POWER ON A SUNNY DAY.

PALETTE AND SCAFFOLDING STRUCTURE TYPICAL PALLETTE SIZES SQUEEZE INTO PLACE AND ARE STABILIZED AS A FLOOR STRUCTURE BY A SYSTEM OF SCAFFOLDING PIPES. BOTH MATERIALS ARE AVAILABLE IN PLENTY AROUND CPH.

ACCESS LADDER

doorways and parks are places the excluded seek shelter. Our project finds one such niche in the city block. Constructed from a simple system of scavenged elements(palettes and scaffolding members), the inserted

structure hangs above the street level provides a privileged view. In addition to providing a nurturing space to its inhabitants, the larger community’s public space is enlarged with a street level garden, cultivated by the by-products of

HOBO WATER HEATING SYSTEM INSIDE THE TYPICAL BARREL LIES A SYSTEM FOR HEATING WATER. A STREET FIRE AND MINIMAL ELECTRICITY HEAT STONES THAT MAINTAIN THE TEMPERATURE OF THE WATER. ELECTRICAL SYSTEM

WINDMILLS ON THE ROOF TAKE ADlife in the hanging community. VANTAGE OF COPENHAGEN’S WINDS WHILE THE SOLAR SKIN COMPLIMENTS THE PROJECTS ENERGY OUTPUT.

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21,13

4,5

7,83

Urban design, Our Office (FP+AV+AG), project leader, published. 84


80째

1,2 m

85


ama

professional (with JDS) competition, masterplan, project leader, 2008 86


In the heart of Montagnola we proposed a mountain. A mountain inhabited by Montagnolaâ&#x20AC;&#x2122;s residents and providing all facilities from private homes to restaurants and cultural equipment. There will be sports facilities inserted in its center as well as shops and a market place. The mountain will become the vibrant pole of the neighborhood. A place for exchange and a place to identify Montagnola. The southern face would be flanked by living units all enjoying sun and amazing views to the EUR district while the northern face will front the AMA piazza and welcome visitors from the GesĂš Buon Pastore church and the Piazzale dei caduti della Montagnola to its cafes, restaurants and cinemasâ&#x20AC;Ś It will act as a lively cascade of public programs. The Ama building is an hommage to its predecessor and a new symbol for Montagnola. The building tops the original facilities with 2 floors of open office layout punctuated by patios. The idea is that the new and the old have a shared presence on the Piazzale dei caduti della Montagnola

while the back of it becomes a large covered piazza for the public. This generous public square is an unprecedented gift from a private entity such as AMA to the community. In return the offices enjoy great views over the surrounding landscape and retain a clear autonomy.

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riminicord

Rimini Loves.it: An Architectural Screenplay Scene 1 JDS Office, Copenhagen

(The room is busy with people making models and walking around. Federico sits at his desk, calling, the window at his side showing a gloomy day. The con-

versation is already taking place.) Federico â&#x20AC;Ś. Well, I was calling about that professional (with JDS), competition, urban design, project manager, published, exhibited. 2008

90


competition we talked about... Voice (Lucas) Hmm… sorry again, but we are already looking into it with another partner. Well… actually we were thinking of you for this project we are working on in

Rimini. Have you heard of it? Federico No, not at all. Could you explain? Voice (Lucas) Sure. It is a project financed for the city waterfront. Two kilometers of underground parking, shops, restaurant, hotels. International flair, so I thought of you. I will send you the brief. Federico Perfect. I’ll tell Julien and let you know. Voice Thanks. We’ll talk soon then. [...] Scene 3 Rooftop in the middle of Rome (There is a small crowd of architects standing around on the roof, taking pictures, sketching. Julien is chatting with one of them, looking toward Adalberto Libera’s “Palazzo del Lavoro.”) Lucas […] It’s a big deal for the city and for the average projects that are running in Italy. You ought

to know we are an outsider: the biggest company in town is against us. They hired Jean Nouvel and they rule the business in a “family” way. Julien Sounds exciting! A gangsta’

movie. We’re in! We want more Italy. Lucas Perfect. We go on-site ten days after the new year, to meet the mayor and to have a look. Julien I heard they had an artificial island almost like mine. L’isola delle Rose. I like Rimini already. Maybe it’s the the tacky hyperpop flair. Anyway, it’s set. Lucas Alright.... So here’s the deal: they screened four out of seven teams. There is another one: Sir Norman Foster. But he is bidding for another site nearby. They got their international name after all. Julien Ouch! Big boys. We’re the outsiders again. Lucas

Well, we like challenges, you like challenges. Julien I’m starving. Lucas Let’s have lunch.

[...] Scene 6 JDS office, Copenhagen (Two dozen people are working frantically on building a massive model. Some other people in the background are working at computers. Noise is loud; people talking, phones ringing, loud electronic music is playing. The tropical rendering of the Mermaid covers the entire back wall, and fills the background of the frame.) Andy […] The project has to connect the backbone of the city to the shore. Now its a net of strips. It 91


is rigid, and we can’t fit all of the parking. Julien I think it has to be more fluid. It is a seaside and right now its missing the magic. You know Copacabana right? Burle Marx?

(Jump cut to a few minutes later. Julien is pacing back and forth in his office, shuffling through random papers on the table.)

Let’s test that! Tonight we’ll check-in again. Andy Tonight?

Voice (Altieri) Yes Julien. They say that the business plan is not working.) Julien It is too late. And the project is

92

Julien No it is not true!

too important now. We have to find a solution. I will send you something tonight. It is incredible, you’ll see it! It is almost perfect. Voice (Altieri) Ok, Ok. I will try to do whatever I can!

Julien Ok, keep me posted. We’ll talk later. Scene 7

professional (with JDS), competition, urban design, project manager, published, exhibited. 2008


Rimini Beach (Julien is walking on the shore. The light is blinding. He wanders around confused and enters the cabin area. It is a scaled suburb, there is no direction. Now the sea is not visible anymore. He

climbing the cabin and get on top. Now he looks the horizon, the sea, and the city in the back with the pinewood. Then the sea again and the shore, the waves.) Scene 8

Andy I am sending the text now. It will

sees beautiful girls walking. Some don’t pay attention to him. Some do. He keeps walking. He becomes disoriented trying to find the shore again. He starts

JDS office, Copenhagen (Julien walks out of the meeting room, Felix behind him. He accelerates, walking down the stairs in a compulsive rush, jumping in

change but you’ll start translating. Ok buddy, talk to you in a bit… Julien Hey man? How’s the sketch? Andy

the model room. The confused noise of the room explodes when he opens the door. Andy is on the phone.)

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It’s coming along. Looking great. Julien Let’s see… It’s perfect. The bomb.

persons next to him and cracks jokes. Outside it gets dark. The phone rings again... Happy faces.)

(Noise stops. People start gathering around the model. Julien starts to talk and the music rais-

[...] Scene 10 JDS office courtyard, Copenhagen

are smoking in front of the door. The Scandivian sunset fades to black. The sun rises, the same two people are still smoking in front of the door. An enormous window on the facade opens. The crane comes out. A small crowd

es. Everybody now wears a gown. Felix gathers a small group and gives orders. Andy walk around computers posts and check or distribuite task. Paco gathers 2

(The courtyard is dark and silent, someone bikes away. JDS HQ is the only lit building. Shadows of people animate the windows in an endless dance. Two people

walks out the front door. A van drives into the yard slowly. A big white shape appears from the dark background of the window. Faces pops-out of the dark. An

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professional (with JDS), competition, urban design, project manager, published, exhibited. 2008


ordered line of people in the yard prepare to receive the model now hanging slowly from the window. The model reaches the ground and gets packed into a big white box and religiously put inside of the van. The crowd waits

away. Julien stands in the middle of the yard, happy. One person sleeping in the office, under the table.) [...] Scene 12 Rimini, Sala dellâ&#x20AC;&#x2122;Arengo.

rhythm gets faster and slides unfolds on the screen like an old movie. The people stand up and start to walk out, they get to beach, a man with round glasses and curly hairs, dressed with a light shirt and casual pants,

Exhasusted. Andy walks slowly to the sit and start the van. Julien walk seriously to the side and congratulate him whishing good luck. The van exits the gate. People gets around randomly and one after the other starts to bike

(A big audience sit in front of a speech desk. The yellow and bright light enters the room but leaves the crowd in the dark. The window shades are drawn and the screen lights up. Julien swallows, and start talking. The

walks toward them. The Waterfront has changed. Now a soft slope invites to enter an elevated garden. A new landscape of artificial hills enclose the horizon. They start strolling on the new park, [â&#x20AC;Ś] 95


aalter

professional (with JDS), commission, housing, project architect, 2008 96


How to maximize square meters, minimize shadowing, optimize program mixture and still blend into the surrounding landscape? This project is an attempt to reinterpret the housing typology in

one of the best Belgian landscape villages. Raising from a socket layer of commercial ground-floor, the entire block is nicely undulated to blend harmoniously into the surrounding landscape . Every apartment is designed to benefit

from maximum sun and enjoy wide terraces. The undulated profile allows to prevent vis-a-vis situations providing the widest possible view toward the horizon and the Belgian countryside. 97


professional (with JDS), commission, housing, project architect, 2008 98


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Sundsvall

professional (with JDS), competition, performing art center, project leader, 2008 100


All cultures for all What is crucial about the project is its flexibility- it shall address the ever-changing arts and cultural events that this developing city embraces and also motivate and encourage a wide range of

generations to use it continuously. The project is a receptacle of cultural and urban exchange. Our project has understood this focal need and proposes a single element to gather and answer all needs, desires, dreams.

Void The main idea of the project is to compose with voids rather then with solids: the buildingâ&#x20AC;&#x2122;s flows and â&#x20AC;&#x2DC;openâ&#x20AC;&#x2122; programs are arranged first, subordinated to them are the 101


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technical spaces. The auditoriums are understood as voids, placed carefully to be welcoming from the foyer and directed to the bay and the river, as their back wall is fully openable to take advantage of the beautiful natural scenery. The project is organized as a big public space, the origami foyer, climbing the technical program towards the artist’s spaces, office and theatre’s smaller programs. Each main program is separated as its own compartment by a void that let’s light come down to the foyer. Exchange the origami foyer is a place of exchange. The café, restaurant, exhibition hall, box office and cloakroom all gather there and

can function as a whole. The foyer is a the city’s room (byrum) and functions as such: mostly open and accessible to all, it’s a meeting place as much as a place for calendar events to take place. It’s plateau-like architecture allows for informal events to take place. It can serve as an open stage for an innovative theatre piece or as a large forum space for a political rally. It culminates in the exhibition and restaurant plateau that overviews the whole bay and river.

tion of contemporary expression. Those new ‘stones’ are elevated and vibrate at the cultural buzz of Sundsvall and Norrland.

Stone Town The project can be seen as a collection of mineral elements gathered to celebrate the arts and culture. They reflect the past of the Stone Town textures but crystallize in a new configura103


18 step 1 landing 1m2 0.17 heigh 0.27 long

18 step 1 landing 1m2 0.17 heigh 0.27 long

+7 2 STEPS TO WATCH DOWN

+8 m

exhibition space

+8 m +10 m

+11m

+5m

restaurant

snack bar

cafĂŠ

+5m

+5m +5m

telescoping meeting room +1m

+5m

+6.3m +11m

+3,5m

+6.3m

control room

+0m

+1m

+2.5m

+3,5m +3,5m access wardrobe/ticketoffice

void +6.3m

void

+3,5m

+6.3m

+8m

+11m

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storage

dance room

drama room

machinary room

storage

laundry

dying room mounting smithy

experimental stage

dressmaker workshop

workshop

storage

youth mini foyer

props costume storage

access balconies

youth

youth

youth

void on meeting hall

cloakroom

reception

meeting room

dayroom

artist's foyer

union room

guest

meeting room staff room

balconies

office meeting room

storage

dressing staff

storage

marketing department

producers

playrights

marketing

salary

management

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ALBENGA The concept for the marina is defined by a undulating promenade, where the marina’s facilities occupy the spaces beneath the elevated portions and we designed pavilions with different characteristics that provide the programmatic core of the project. In the commercial zone, 2000 m2 of shops, cafes, and a small grocery store are placed in separate pavilions that generate activity between themselves and define the lively space beneath the promenade. In order to spread the social experience of shopping across the site, 500 m2 of small shops and kiosks are distributed along the elevated promenades. The yacht club and pool are also situated under an elevated promenade and broken into two enclosed volumes on the ground level to allow for the free passage along the marina promenade to the quays. It is comprised of changing rooms, a gym, a kids area, hospitality facilities, and a cafe/juice bar.

entry/exit point to the sea. The curved volume houses the equipment and meeting facilities with a panoramic view of the whole marina. The marina’s facilities also include crew service spaces, such as a gym, showers, laundry, and business center, as well as office space for the local authorities.

The marina facilities are located to the northern end of the site and are comprised of a 4,000 sqm yard, with a capacity for 120 boats in a dry stack system and a stateof-the-art boat workshop, which is equipped to handle 25 meter yachts. The harbormaster’s tower is located in a curved volume overlooking the marina’s boat

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Professional (with JDS), competition, marina, project manager, 1st Prize, on going, 2008 108


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Rue De La Loi Generation X In the Summer of 2008, the bid for the redesign of the European Union district in central Brussels attracted many European architecture offices. Five firms were selected: Christian de Portzamparc (the ultimate European planner), Fletcher Priest (the value engineered Londoners) and three OMA generations. Rem himself, Xaveer De Geyter (the prodigal son), and ourselves – the last generation of disciples

coming out of what could still be called the Belle Époque of

one of the most important offices of

this century. We’re very touched… émus. Beyond the emotion lies the real challenge: how can we address the question that Rem himself has unsuccessfully (or too brilliantly) tackled for the past 10 years? The architect who, in 2001 had essentially branded the EU project as infectiously as if it were fashion chain H&M, and admits that the project is a dance between the oversensitivities of politicians, the vagueness of the average

professional (JDS with Secchi&Vigano), competition, urban design, project manager and project leader, published, 2008 110


European’s interest, the puritanism of the art world, and the jealousy of the academic world.i The European Union in Brussels, and Brussels hosting this political Medusa in its very core is the core of the issue. We feel both dazzled and hyper-motivated. Our team is flanked by Secchi & Vigano, the Italian duo that serendipitously landed in Belgium and established a cogent portfolio of municipal clientèle. Our relationship is as unconsummated as the one of the EU engagement with the Belgian Capital – we think we know who we are as entities but have yet to eat the forbidden fruit. The meeting of opposites suits the problematic ground we both hope to entertain: we are addressing a city fought over by 2 communities, visited by a third one that’s

before the kickoff at the Brussels Capital offices. Nonetheless there is time to get an espresso in front of the gargantuan site model in our office, complete with flags, property maps and a handful of density diagrams. They look absurd, but there is no mistake. At the first briefing, the client explained the absurdity of the brief with innocent faces, and in typical EU fashion gave the teams a deadline extension (thankfully). Wandering around the EU district like a class of schoolmates, we confirm the client’s ambition: to double a solid district of concrete office blocks rising along a traffic-choked street. The underground public parking garage - 800 meters of gray hardscape under the street - is devoid of humanity, a stage of “The

feel like strangers in our own city. If the European motto is “United in Diversity”, how should a European district represent itself? There are 23 different languages, 27 countries, thousand of communities, styles, traditions, not a unique symbol or brand. Will a single imposing design showcase this richness? Eschewing both the monumental-yet-fascist and the lowest-common-denominator approaches, we coolly delay the decision of what dogma to tout in favor of calculated pragmatism, surely the way to best become a misfit amongst our competitors.

composed of 27 nationalities.

Warriors.” On the street, a similar oppressiveness abounds: passers by are rushing, nobody rests or talks. There is no reason to stay, nothing to look at, no shops, no restaurants. This is a Brussels seldom seen by Brusselois, we

sion begins with an improbable selection of megastructural proposals: an inverted city, star shaped buildings, pyramids, bridging towers, inner courtyard towers, megawaffles - all more suitable for Blade Runner than

The European Quarter The first meeting with Paola Vigano is short. Both schedules are cluttered, so it ends up in an informal meeting just 2 hours

Blade Runner 20 days and an architecture biennale later, Paola and Bernardo stop by from Antwerp for a design workshop. The design discus-

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professional (JDS with Secchi&Vigano), competition, urban design, project manager and project leader, published, 2008 112


for the symbol of Europe. Despite the nonsense of the proposals they slowly emerge into a series of embedded site rules: necessity of setbacks, possibility of covered or protected public spaces, views directions, need to enlarge public

space at ground level. Covering the public space on the site of the Commission block (B) becomes imperative: the discussion includes the integration of the 400page EU handbook on safety into a covered public space â&#x20AC;&#x201C; essentially

anticipating a terrorist attack. The Urban Cursor A developer had called a few days earlier to give his uninterested opinion about the future of the site; helping us to pinpoint sites 113


on the map most likely to be developed. The entire charade of equality, apparent from the first reading of the brief becomes transparent. We now understand the brief reinterpreted: (1) the EU wants to have a new Commission building, (2) Brussels wants the EU to be content, and (3) developers will sue if Brussels directly caves to the EU without a perceived attempt at fairness. Therefore the most realistic outcome will be a new EU Commission building and merely the potential for the surrounding EU neighborhood to be developed. Yet the brief asks for phasing. Secchi and Vigano’s years of planning wisdom says that this set-andforget method of phasing never works, and a new metric is needed to maintain economic viability of the (initially) undeveloped sites. To bring 400,000 new square meters to the existing 400,000, the team decides on two extreme strategies. The short term one: to reuse the existing buildings and add additional square meters with stratified bars of office program bridging across

Rue de la Loi to connect EU unit blocks. The long term strategy will use a controlled Tabula Rasa approach: simple Manhattan-like setback zoning envelopes will allow variation, sun penetration, and maximized open-space footprints. In between the two extreme scenarios lies maximum flexibility, demanded by the uncertain nature of such a developments: a coincident parallel to the constantly precarious state of the European Union itself. Our metric allows for economic unpredictability (a foreshadowing of desperate need) by allowing development to choose one of two strategies when and where each is most viable.

If the stratification process requires minimal yet surgical modification, the other extreme of the urban cursor entails substantial change at the building footprint.

The vaporization of the currently dense and compact quarter will allow permeability from all directions, the final configuration resulting in a porous field of open space. In figure-ground this operation creates a public domain linking the Parc de Bruxelles on the western end and the Parc du Cinqantenaire on the eastern border. The EU Carnival In the final month of work, the subprime mortgage crisis worsens. The deadline nears and the project consumes the office, continually adding people to the team as other project deadlines pass. In a short time 25 staff members – more than half the office – are involved. Each block is given to a different team: like a competition they get the site zoning and assume the tabula rasa scenario of the urban cursor – a kind of worstcase-scenario – predicting what the masterplan could become in its maturity. Almost 20 different nationalities are working on 10 sites – a live staging of the EU carnival. The collaboration with Secchi

professional (JDS with Secchi&Vigano), competition, urban design, project manager and project leader, published, 2008 114


and Vigano starts to become clear and we decide to divide the work, focusing on our respective expertise: Secchi & Vigano control everything below 3 meters (ground level and underground), JDS control everything above 3 meters (levels 1-xx(x)). In the final week the team from Secchi & Vigano become embedded in the JDS office. The public space idea exploits the natural topography of the site: the unused parking space is converted into a semi-covered commercial street, entering from the northern edge and cutting through the site following the natural topographic decline. The network concludes below the EU

Commission, where the public space becomes covered by the building. All of the surrounding public spaces naturally penetrate the building from below, bridging the institution with the public. We submit the design documents with an optimistic smile, reassured by glances of some of the presentation boards conspicuously present in the client’s office. The entire office gets to rest after months of exhaustion. Some brave spend the entire day drinking Belgian beers in a nearby bar, too tired to stand up and walk home.

Eurovision(s) November is always rainy in Brussels, how cliché. The presentation is staged in a non-descript European Commission office building in the most bureaucratic of settings, a potent reminder of our dual condition: possible domain or victorious impotence. To confirm the earlier discussions about security, everyone entering the building must to leave a document of identification – for safety. The client decided to consult all the competitors in one day to avoid possible advantages. With juvenile curiosity, we had tried for months to get a glimpse of our competitor’s

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schemes: we heard rumours, we subtly asked girlfriends and friends working at the other offices (architecture is an incestuous family after all). We got nothing but some very vague description of elegant slim towers, solid im-

posing bulk, green parks, energyefficient building. All words fit to describe every interesting project of the past twenty years. Inside the audience is crowded: there are representatives from nearly all of the institutions in

Brussels: the Brussels Capital Region, the Municipality of Brussels, the European Commission, etc. Our presentation is a duet: Paola and Julien have twenty minutes to present a complex concept, with twenty minutes of

professional (JDS with Secchi&Vigano), competition, urban design, project manager and project leader, published, 2008 116


questions following. When the lights go on again the crowd is breathless, the pace was probably too fast for digestion. The question time is equally intense: it is difficult to convince a city planner to abandon a standard phasing

another presentation. The Commission did not fully understand all of the proposals. Five specific questions are attached to the official letter, mostly pertaining to the phasing concepts and square meter count. With legendary

approach. The general reaction ranges from pure skepticism to optimistic understanding, to pure terror in front of fools. On the way out we step into Rem’s court. Julien forgets his mobile phone and (now with an excuse) someone sneaks back in to collect it, but it was too early for our curiosity can be satisfied.

architectural narcissism we think: maybe the urban cursor caught some attention? This time the show is the same, but the jury has changed: the commission delegation is a bit fatter, and a few new francophone faces are present. We present. The questions are similar, the attitude slightly more aggressive. The jury likes the theory. They think it is unlikely to be applied. The Commission asks: who is going to control such an optimistic vision? We look puzzled. Our response: that is your job. Astonishment and enlightenment: epitomization of the European Union’s lack of self-reflection.

Numéro Deux/Nummer Twee/ Number Two In typical bureaucratic form, the Commission will deliver its decision in 180 days. When the end of waiting period starts to approach, something happens. An official mail from the client announces

On the way out we meet Rem again. TVCC is burning at that very moment, although we would only find this out a few hours later. Three weeks later Christian de Potzamparc is announced the winner of the 30-year mission.

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The Weave

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Groningen In late December we recieve a commission, from the city of Groningen in The Netherlands, to investigate a new housing typology: Intense Laagbouw (dense low-rise). The autumn had been extremely hectic, so we compile the necessary documents in a new folder, label it “DO NOT OPEN BEFORE JANUARY 1, 2009,” and say goodbye to 2008. Groningen is 5 hours and 2 trains connections from Brussels, the equivalent of going to Cairo. Groningen has more in relation to northern Germany than Holland. When we step out of the car in the middle of the city, the odor of a farm permeates one’s being. The project looks exciting: it is neither a commission nor a competition, but instead a study on new urban typologies and lifestyles. 40 international offices are invited to design 27 different sites. The site is an exciting challenge, balancing between the cliché of waterscapes (it’s Holland after all!) and industrial dock leftovers.

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FSI=1

OSR=1

FSI=2

OSR=1

FSI= 1x2 OSR=2

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Residential, commercial, waterproximity, parking, and private yards: suburban sprawl mixed with urban sauce. And some greenery: the possibility to enter your city apartment from your front-yard? We start testing, we try density schemes, we fail many times... we get bored. On a Sunday we decide to sit down and brainstorm: what do we like, what we don’t understand, where

asleep, a project to present: is it a new form of nostalgia torture? Professor Dick Van Gameren, an expert on Dutch suburbia, listens to our scenario story with educated interest. Ponders our messy weave scheme with a mix of amusement, astonishment and skepticism. He likes it, like nothing he’s seen before (at least we take this to mean he likes it). The program mandates

FSI is close to spectacular. Maybe we really did find a new typology? We submit. Andrew Griffin gives a lecture in Groningen the next day, including our recently submitted design. They like it. Really? Really. There will be an exhibition in Groningen in one month. They want a model, at 1:200. They want a model 2 meters long. We

we’re going. We like water. We really do. We fantasize about water flooding the pier, vague reminiscences of Venice, picturesque conditions of living. Or simply inevitability for a country below water level? We start looking at flooding patterns, water ripples, sand ripples, weaves. Blue foam exacerbates our obsession: we switch to white foam. It’s all interesting, but nothing is good. Two of us go to Technical University Delft to meet the client’s advisor, who teaches there. Again at school, the same faces

typical continuous housing monotony, so we introduce vertical changes: up and down, strolling next to the water. We find the right proportions, and 320 dwellings take shape – each with a front yard, carport, maximized sun orientation, views towards the water and a continuous park. It is dense suburbia in the shape of a green hill. Everything fits, numbers are as requested.

make space in the model room. We glue, and cut and spray paint. It looks impressive. And familiar (is it a flat Shenzhen?). A few hrs of sleep and we are back on the way to Holland, having rented the longest van to bring it to Groningen. We didn’t factor in Dutch traffic. 121


professional (JDS), commission, urban research, project leader, published, 2009 122


Two hours lost in the countryside near Amsterdam. We almost crash into the city hall gate as we arrive. In almost mandatory JDS

automobile travel fashion, in our hurry to park, we get a parking ticket. Triumphal entry: two wings of people, already at the gathering, looks at the monster of a model

being installed as the proceedings start. The accompanying dinner is not what we really want: we deserve the drinks. 123


Punggol SUBURBS

TOWNS

CITY

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The first public housing development along the new Punggol Creek waterway presents an exciting opportunity to rethink the planning and design of high rise living in tropical climates. As of 2004, almost 95% of Singaporeâ&#x20AC;&#x2122;s population lived in high-rise housing, much of it lacking significant outdoor public space and dependent on air-conditioning. How might a high density housing development break the trend of homogeneity and energy inefficiency while also re-

SUBURBS

introducing quality outdoor green spaces that foster community and engage the newly created waterfront? Adopting simple sustainable design strategies at both the urban and architectural scales, aiming for variety over homogeneity, and reinterpreting traditional housing typologies in a modern context, our proposal imagines a sort of vertical Kampong, a layered greenscape for waterfront living. Variety Rather than follow the example of neighbouring high rise developments in Pung-

TOWN

gol â&#x20AC;&#x201C; floor plates extruded to a common height with little to distinguish one development from the next - we propose a master plan that embraces variety and promotes diversity within a cohesive urban gesture. The project develops a strong overall identity for the first Punggol Creek developments, but within a system flexible enough to support different housing unit typologies and a range of public and private outdoor green spaces. Waterfront Living/Porosity The required development densities make it unfeasable for every resident along Punggol Creek to have waterfront property. To avoid the canyon effect

CITY

125


of too much housing too close to the creek and the wall of high rise housing so typical along waterfront property, we propose thin porous buildings that gradually become lower and more porous the closer they are to the creek. The openings in the buildings become outdoor verandas and community parks that spread up and across the building facade. These layers of screen-like buildings not only maximize cross-ventilation in individual apartments and provide outdoor community space adjacent to peopleâ&#x20AC;&#x2122;s homes high above the ground, but also open up views through buildings,across the site, and to the waterway passing through. This visual dialogue creates the potential for social exchange and community beyond those possible in typical high-rise apartment buildings. Sustainability

north-south envelope

east-west envelope

Guided by specified GFA, GPR, site coverage, and maximum building height constraints, and sensitive to the warm tropical climate of Singapore, the overall housing massing envelopes are made as thin as possible and oriented along the sunâ&#x20AC;&#x2122;s path. This creates optimally oriented north-south facing apartments with minimal solar heat gain, and allows maximum cross ventilation, reducing dependence on inefficeint and energy-greedy air

professional (JDS), competition, urban design, project architect, published, 2009 126


127


conditioning units - simple urban strategies for passive cooling. Contextual / Parametric Urbanism The site context is diverse in terms of use intensity, site quality, and building height. Our building height and density envelope is shaped both to appropriately meet this contextual variety and create density in preferable regions. A set of site parameters is identified and added together in order to create a zoning envelope of urban possibilities. East west oriented housing strands inhabit our newly defined maximum building height envelope, offset from one another by a set proportion to regulate access to light, air, and green space. urbanism â&#x2030; architecture A master plan that is simultaneously generic and specific will produce a city which is both

NEW YORK REAR WINDOW

coherent and multiplicitous. Architects often make the mistake of proposing overly specific architectural solutions to planning questions, resulting in a reduction of possibilities, creativity and innovation. Our proposal outlines a framework of urban qualities variable heights, porosities, and forms of inhabitation - and suggests only one possible resolution of this proposal. Vertical Kampong The serambi, or veranda, of the traditional Kampong (village) houses in the Singapore region served both a climatic and social purpose. The tropical veranda not only improved thermal comfort by providing shade, enabling cross ventilation, and reducing cooling load, it also acted as a casual semi-open social space that me-

diated between public and private, fostering familiarity, neighborliness, and community. In many contemporary highrise housing projects in Singapore there is a one-storey space underneath the housing blocks called the void deck, which serves a similar, though compromised, social and climatic role as the traditional serambi. Our proposal reconnects the outdoor veranda with the actual spaces of living, creating vertical green neighborhoods that are linked together physically and visually.

PUNGGOL REAR WINDOW

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129


OLYMPIA the penthouse tower

&

cut

lift

occupy

middle penthouse

PENTHOUSE: The word penthouse goes back to Latin appendere, “to cause to be suspended.” In Medieval Latin appendere developed the sense “to As an optimistic dream born to explore the fuzzy path between go can confuse the stack: one belong, depend,” a sense that passed into apendre, the Old French development of appendere. From apent, the past participle of apendre, came the out of the water tradition and novelty; on theform pentiz. Thecould be tempted use the same derivative apentiz, “lowsurrounding building behind or beside a house,” and the Anglo-Norman plural form without the a- wastothen borrowed into Middle English, giving us pentis (first recorded aboutother 1300), which sheds or lean-tos addedapproach. on to buildings. these Amsterdam, Almere remains sidewas theapplied “beadto chain” AsBecause dictated bystructures rules often had sloping roofs, the word was connected with the French word pente, “slope,” and the second part of the word changed by folk-etymology to one ofwhich thecould live mean laboratory concept the Masterplan aims to fancy apartments and programs wefrom decided to to house, simply “aof building for human use.” Theof use of the term with reference developed its application acontemporary structure built on aarchitecture, roof to cover suchan things as a stairway or an elevator Penthouse then came tofollow mean andifferent apartment strategy. built on a rooftop at embedding theshaft. inner quality For and the finally the top floor of an apartment building.

undisputed set of opportunity. The Olympia Kwartier will raise in this 2 tradition, as a new neighborhood in the south east outskirt of the city. If on one side, as always in architecture’s history, every new town foundation set a double challenge, the will to redefine new lifestyles and the necessity

of a layered urban condition. To achieve this we’ve been given a precise toolbox of rules to put at play, defining heights, width, materiality and programs. With these premises we’ve been assigned 2 buildings of opposite scales. But designing from the very Small to the Large in one

volume split

Large, a 14 storey tall tower, we immediately faced a problem we learned to know: as the symbol of maximum building efficiency, a tower lacks social space. For the very small, a 4 apartment parasite-building, embedded and floating between 2 buildings, we decided to play with a continuous JDS ARCHITECTS

2 banals and a special.

new compress

stretch

volume 2

+

special

special

+

+ traditional

0

1

2

5

0

1

2

5

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131


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open space in order to maximize the capacity of a minimal program. The Masterplan gave us the possibility to have a penthouse* on top of the tower but the benefit of this very special condition would have come at the expense of an exclusive use. Then, considering that the Olympia Kwartier plans green

occasional laundry chat, to the kids playground activity, from the Sunday barbecue to the house party. On a rainy day people will find repair and open air, and shadow on the burning summer afternoon; sun will penetrate the building through in the evening, letting sunset light hit the yard, and people will enjoy the panoramic view over the entire

Olympia Kwartier.

+ modernism panorama

meets

= tradition light-catcher

panolight lightorama

roofs on top of many of the surrounding buildings, including our neighbors, instead of limiting the social activity of our tower to the clichĂŠ of the uncomfortable elevator encounter, we decided to bring the penthouse at the heart of the building, accessible by everyone. This will provide the entire block with a large elevated garden stretching over the surrounding green roofs. The split-gap will provide a common space where every social activity can finally happen: from the

133


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135


OLYMPIA take2

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apartment

program

typical spatial division

room defined by floor step

spatial continuity

each room on a different level

x4 137


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139


Tilburg 2040 Sustainability cannot be seen just in the short term. In fact climate changes happen in very long spans of time. The effects of climate change we face now are the results of hundred of years of industrial

revolution. If this is true, we should set our focus on a very long distance to start to understand the implications for future generations. We can do a lot to change the trend, but it will be wise to start to introduce

adaptability as a necessity for our design, for our planning and for the way we envision our future. But if we look at distant future, it is clear that the challenge is not really to freeze the current condition of the city. Instead we should learn once again how to adapt the form of the city,

because change is always present. In this perspective the the ocean rise although highly controversial, is a serious risk to take into

account for the Netherlands. Studies are showing a potential rise between 2 and 7m by the year 2100. Under those conditions the entire territory of the Netherlands is potentially

engendered and its traditional dyke system will be unfit to protect its coast. We could imagine the Netherlands as an archipelago, or rather a lagoon, 75 times the size of the

Professional (JDS), competition, urban design, research, project leader, published, 2009 140


253.3 Ha 260.2 Ha

ZONERINGS SPLITSING

BEPERKEN VAN SPRAWLING

HERWINNEN VAN GROENE GORDEL

INFRASTRUCT URELE AS

DENSITY VELD

MIX VAN GEBRUIK

MAXIMUM ENVELOPEN

253.3 Ha 260.2 Ha

ZONERINGS SPLITSING

BEPERKEN VAN SPRAWLING

HERWINNEN VAN GROENE GORDEL

Venice lagoon. Could we turn this condition in a potential for new ACCUMULATIE DENSITY VELD MIX VAN GEsustainable leaving? Reverting KNOOPPUNTEN BRUIK back this scenario help us to learn that keeping our cities compact is a vital option and also a great opportunity. The intention of this study is to show that a pragmatic utopia introduces a potential for a sustainable vision of our future

INFRASTRUCT URELE AS

ACCUMULATIE KNOOPPUNTEN

cities. Compactness could be forced MAXIMUM through a coastal intervention: if ENVELOPEN we imagine to develop a shallow landscape around the cities to protect the land, this will tweak our perspective. Such an infrastructure would necessary be phased over long spans of time, and meanwhile will start to help

us to preserve our most valuable asset in city planning, the land. The UN definition of 1987 states WARMTE VERLIES VAN GEBOUW NAAR GEBOUW TRANSPORT

REGENWATER TOT DRAINAGE

ONEFFICIENT LANDGEBRUIK

AGRICULTUUR ERBOVEN

GROEN DAK ISOLATIE

INTEGRATIE OP DE SITE TRANSPORT SYSTEEM

VERZAMELEN EN HERGEBRUIK VAN REGENWATER

EFFICIENT LANDGEBRUIK

141


110 x

3MW, 112m ROTOR DIAMETER, 336m SPACING

235 x

0,85MW, 52m ROTOR DIAMETER, 156m SPACING

that â&#x20AC;&#x153;Sustainable development is development that meets the needs of the present without compromising the ability of future generations to meet their own needs.â&#x20AC;?; now this, in city development reflects in the 142

preservation of the main heritage we could preserve, land-

Professional (JDS), competition, urban design, research, project leader, published, 2009


SHOPPING

GARDEN

WINDKRACHT WINDMOLENS GEPLAATST LANGS DE DIJK GENEREREN GENOEG KRACHT VOOR GEHEEL TILBURG

DE GROTE DIJK HET OPKOMEND ZEENIVEAU NOODZAAKT PLANNEN OM DIJKEN TE ONTWIKKELEN EN INNOVATIEVE SYSTEMEN OM HET LAND TE VERDEDIGEN.

STEDELIJKHEID DE ONTWIKKELING LOOPT DOOR IN DE STAD, BEPAALDE LOKALE VERBINDING STARTEN MET HET GENEREREN VAN ACTIVITEITEN LANGSHEEN DE DIJK.

OPENBARE FACILITEITEN STANDEN, PARKEN EN ANDERE PUBLIEKE FACILITEITEN DIE NATUURLIJK AANGEDREVEN WORDEN.

GETIJDEN OPLOSSINGEN ONTWIKKELING EN GEBRUIK VAN NATUURLIJKE ENERGIE VOORZIEN DOOR DE ZEE KAN INGEPLANT WORDEN VOOR EEN VERZAMELING VAN EEN VAST NETWERK VAN GROENE ENERGIE.

ARCHITECTURALE INTERVENTIES DIJK ONTWIKKELINGEN KUNNEN FUNCTIES HERBERGEN DIE DE CONNECTIE MET DE ZEE TOESTAAN.

WIND KRACHT ONBEWOONDE EN OVERVLOEDIGE WIND ENERGIE VAN DE ZEEBRIES VERZAMELD DOOR WINDMOLENS

ZEE-KRACHT GRID DE NATUURLIJKE ENERGIE DOOR DE ZEE VOORZIEN IS GEGENEREERD EN GEDISTRIBUTEERD VOOR DE NIEUWE DUURZAME STAD TILBURG

GOLF ENERGIE OMZETTERS DE GOLVEN VAN GETIJDE WISSELINGEN PRODUCEREN INZETBARE ENERGIE.

PLANNING ZEE STROMING TURBINES TURBINES VERSPREID OVER DE ZEEBODEN VANGEN CONSTANT DE ONDERWATER.

VERWACHTE GEBIEDEN DIE OVERSTROOMD GAAN WORDEN KRIJGEN EEN FUNDERING ALVORENS HET ZEEPEIL STIJGT.

143


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SHOPPING

GARDEN

TECHNICAL&CIRCULATION

WATER COLLECTION SYSTEM

PUBLIC

COLLECTING RAIN WATER SERVES AS A VIABLE APPROACH IN CONSERVATION, PRESERVATION AND INNOVATION IN SUSTAINABILITY

STORMWATER MANAGEMENT

SPECIALE DAKEN WORDEN ONTWIKKELD ALS EINDPUNTEN VAN HET WATER-COLLECTIE NETWERK. DOOR HET GEBRUIK VAN FOTOVOLTAISCHE CELLEN KAN WATER VERWARMD WORDEN VOOR OPENBARE FUNCTIES EN EEN EERSTE PHASE FILTERING DOORGAAN VOOR PRIVATE TOEPASSINGEN.

WATER TOREN PADDESTOELEND BOVEN DE BUURTEN, WATER UNTIS EN TORENS VERZAMELEN HET REGENWATER EN WORDEN AANGESPROKEN VOOR BEWARING EN HERGEBRUIK.

HOUSING

SHOPPING

PUBLIEKE FACILITEIT PUBLIEK KAN GEBRUIK MAKEN VAN WATER ACTIVITEIT EN DE STRUCTUUR WORDT DE ARCHITECTUUR.

GARDEN

IRRIGATIE REGENWATER EN OPGEVANGEN WATER KAN GEPOMPT WORDEN NAAR ARTIFICIELE VIJVERS, VELDEN EN PARKEN.

WIND ENERGIE

GRATIS WATER WATERTOREN DIE REGENWATER VERZAMELEN ZIJN EFFECTIEF VERDEELD ROND DE BUURTEN, PARKEN EN PUBIEKE PLAATSEN.

VERNIEUWBARE ENERGIE HOTSPOTS

GELUIDSLOZE WINDMOLENS WORDEN OPENBARE SYMBOLEN EN PRODUCEREN EEN GROTE LADING AAN GROENE ENERGIE

HET OPENBARE RUIMTE STAAT CENTRAAL VOOR HET SYMBIOSE TUSSEN ENERGIE PRODUCTIE EN ENERGIE CONSUMPTIE. INDUSTRIELE, COMMERCIELE, PRIVE EN SOCIALE FUNCTIES ZIJN GENETTERD EN UITWISSELEN PRODUCTIE EN CONSUMPTIE VAN HUN VERSCHILLENDE ENERGIEBRONNEN.

OPENBARE FUNCTIES STADIONS, PARKEN EN KRAAMPJES DRAAIEN OP NATUURLIJKE BRONNEN

STRAAT VERLICHTING AUTONOMISCH STRAATVERLICHTING DOOR HET HERLADEN OP ZON-ENERGIE

WATER DISTRIBUTIE HERGEBRUIK VAN REGENWATER EN DOORSTROMING VIA KANALEN VOOR ENERGIEPRODUCTIE

ENERGIE NETWERK DISTRIBUTIE EN TERUG STROMING VAN ENERGIE VIA HET NETWERK

WATER COLLECTIE VIJVERS EN NATUURLIJK ENERGIEBRONNEN ZIJN TERUGGEWONNEN EN VERBONDEN IN HET NETWERK ONDER DE VORM VAN OPENBARE RUIMTES

PUBLIEKE ENERGIE EVENWICHTIGE DISTRIBUTIE VAN ELECTRISCHE OPLAADPOSTEN ROND BUURTEN, PARKEN EN OPENBARE RUIMTES

145


CLIMATIZER

Professional (JDS), feasibility, art Deposit, project leader, published, 2010 146


THE SIZE OF OFFICE YOU CAN RENT FOR 1000$ / A MONTH.

OFFICE RENTS AND OCCUPANCY COSTS

source: Leeuwarden becijferd, Statistisch jaarboek 2009 http://statline.cbs.nl/ Investment climate; office rents and occupancy costs intern. comparison, period 2009 May

source: http://statline.cbs.nl/ Investment climate; office rents and occupancy costs intern. comparison, period 2009 May

Japan - Tokyo United Kingdom - London France - Paris

1,000 $

Ireland - Dublin Italy - Milan U.S.A - New York Germany - Frankfurt Spain - Madrid

?

=

Sweden - Stockholm Canada - Calgary Poland - Warsaw

42.86m2

South Korea - Seoul Czech Republic - Prague Belgium - Brussels

The Netherlands - Amsterdam Finland - Helsinki

22.6m2

Denmark - Copenhagen Australia - Sydney

16.26m2

13.77m2

9.7m2

LEEUWARDEN

Austria - Vienna

AMSTERDAM

Hungary - Budapest 0

500

1000

1500

NEW YORK

MILAN

PARIS

6.4m2

6.0m2

LONDON

TOKYO

2000

WET DAYS A YEAR IN LEEUWARDEN Source: http://www.gaisma.com/en/location/leeuwarden.html

250

J D

30 DAYS

F

25 20

N

M

15 10 5

O

A

S

M

A

J J

?

core & structure

envelop & Insulation

ventilation

interiors

Leeuwarden is expanding its importance as cultural hub of The Neterlands: as the main city of Frysland, the Frysian museum and other nineteen cultural institution will join forces to found a collection center. Expanding

the cultural capacity for the art collection will consequently drive attention to an otherwise already booming reality. As one of the youngest regions in the Netherlands, logistically well placed, considering an expansion of its

core & structure

X X

envelop & insulation

ventilation

interiors

business capacity is not mistake. When we consider the very core of the art deposit program, we rapidly figured that is an utterly utilitarian program: maximum storage capacity, minimum program diversity, limited number of 147


users and high security. Now the art depot has to be inserted in a masterplan where it will be surrounded by office and commercial buildings. The magic it is suddenly lost. What we propose instead is to create the exceptional out of the entire site, instead of a jewel building: if we consider to cover the entire development with a

mega-structure as a big green house, then we can get two main benefits: reduce building and maintenance cost,

and create an exceptional new landscape, enjoyable twelve months long. The deposit will then sit at the heart of this new artificial landscape. Its roof will be accessible and will let its new user sit and enjoy the warmth, while observing the laborious work of art logistic underneath.

storage

storage

storage

storage

storage

storage

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storage storage storage changing storage deliveries storage

archive

lobby

storage

laboratories

storage

storage

149


Air

Located at the junction of three distinct forms of development â&#x20AC;&#x201C; rural, suburban, and industrial - the challenge of developing the Cherpines site is to retain something of all three while creating something new. Rather than 150

developing the site along standard zoning guidelines, with buffers promoting physical and social segregation, we propose a more integrated gradient of building sizes in order to promote a smoother programmatic transition from

Professional JDS, Competition, urban design, project architect, 2010


the industrial area of Ziplo to the low density housing and farming communities. This simple gesture has several benefits. It distributes a large variation of housing types across the site. It encourages a diversity and mix of inhabitants and user groups that leads to a more socially sustainable community. And

finally it allocates a finer grain of buildings and open spaces near the river. Our sustainable concept is to deploy a series of strategies that all add up to something meaningful, as opposed to having only one

gimmick which will solve all of the problems. It is not an ideal location for just solar, just wind, or just geothermal energy to be harnessed. Therefore, a combination of both passive and active approaches to energy efficiency, water remediation, green living, social sustainability, and smart transport is adopted.

SF

C SF

B

C

A

B C

energy source

B

C

151


C1

B1

A1

A2

B2

C2

SF

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153


Rio

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Designing a building in a landscaping masterpiece is a challenge that demands great sensitivity towards park, while at the same time the complex program requires for most efficient solutions and the site calls for a strong gesture.

most desirable VIP location during the olympic games.

Starting from a well proven, efficient - but generic - layout, our design transforms this according to the needs of the site while it retains its performance and functionality. Careful attention was given to its volumetric composition, with the goal of both blending into the Aterro do Flamengo and creating a sense of place for Marina da Gloria. The project reserves space for the Rio 2016 Olympic sailing competitions on the tip of the marina. Support modules can be placed there directly adjacent to a temporary boat ramp. Furthermore the outdoor event area will be available for more temporary structures, while the roof becomes viewing grandstand, ceremonial and entertainment area. Due to its flexible layout the exhibition center can support the olympics with a wide variety of functions, while the convention center can take the role of a media and press facility. Naturally, the nautical club will become a

155


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157


Aqualta

As a vision by definition and foundation, Venice overloads imagination. Even its fragile future, threat by water raise and subsidence, emphasizes its magical appearance. When looking at distant future, we have a few certainties: sea level will raise and global warming will affect climate. Aqualta is an attempt to describe this scenario: how to protect the city from the sea? What if we consider to build a new edge, a linear city emerging from the water around Venice: a new frame, and a new perspective toward venice to preserve

and enjoy the historical city. How does this city looks like? It is a long waterfront stretching all in front of Venice: and if the weather is warmer, why not thinking of it as copacapana, a long beach submerged by tropical vegetation. A vision of a vision: from the old oneâ&#x20AC;&#x2122;s will feel like overlooking over the bay of Ipanema; from the new town beaches and houses will have the glorious backdrop of an unseen Venice!

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159


FEDERICO PEDRINI / BELGIUM / BRUSSELS / +32 484 036 511 / ITALY / +39 334 30 67 806 / federico.pedrini@gmail.com / www.fedepedrini.info /


FEDERICO PEDRINI / 2010 /


FEDERICO PEDRINI / BELGIUM / BRUSSELS / +32 484 036 511 / ITALY / +39 334 30 67 806 / federico.pedrini@gmail.com / www.fedepedrini.info /

Federico Pedrini 2010  

Federico Pedrini Complete architectural portfolio 2010

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