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MARCO ZELLI

WORKS 2005|2008


INDEX

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THE DOUBLE MARGIN CITY THE VOID AS DETERMINANT THE SQUARE OF WATER Thesis in architecture | Advisors: Alberto Ferlenga, Pedro Pacheco, Bernardo Secchi. year 2009

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NOALE SCORZE’ AS A NEW CENTRALITY professor : Bernardo Secchi | year: 2005

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HIGHWAY VISION: BOTTICINO’S GRAVES professor: Alberto Ferlenga | year: 2006

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PONTEBBA REQUALIFICATION professor: Roberta Albiero | year: 2006

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50 THREE STONE GARDENS IN BENEVENTO Villard 8 | year: 2007

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SETE RIOS: TO PARASITE THE INFRASTRUCTURE professor: Pedro Paceco | year 2007

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LISBON THROUGHOUT THE TWENTIETH CENTURY professors: Pedro Paceco, Diogo Burnay | year 2008

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A NEW SCHOOL CAMPUS FOR VIGNOLA competition with the architects Pedro Campos Costa, Nuno Rodrigues | landscape project : PROAP | year 2008

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The city of the two margins - the void as determinant - The square of water : This text intentionally appropriates the title compound of these three propositions, assigned to the project by the graduand Marco Zelli, to highlight that they already contain the conceptual engines of the project, leading the thought with his territorial dimension to the architectonical and sensorial ones. The two margins city calls back the idea of city as a system, attempting to redefine at the same time the meanings of boundaries between several cities which construct the wide Lisbon metropolitan and territorial tissue. Not to think of the metropolis as a centralized capital city system but rather to consider the Tagus estuary as the real centrality. The river as a connecting device improves the relations between the two borders. This point of view places itself into a return to the importance of natural systems, as crucial in the city construction, the same thinking that in the past produced the conditions for Lisbon and the surrounding countries foundation. Understanding the city of Lisbon means to above all to realize the ancestral relation with the river, its permanencies and alternations. The topic of river, both in the territorial dimension and in its wide relation with the city has always been a rich ground for reflection, making us more responsible in terms of recreation and transformation possibilities. For centuries ports determined the origins of the cities, clarifying its strategic position at the continental level. The river meant the possibility of arrival and departure and the city self organized in order to create a corresponding image to this dialogue town - river. Terreiro do Paço of the XVI century, named after the earthquake of the year 1755, Praça do Comercio, represents the last five hundred years a symbolic place of contact between city and river.Terreiro, from where ships left for the maritime discoveries down to Africa, Asia and America; and the Praça (plaza?). where has been settled an enlightenment idea of city.Idea of future has always been linked with the river and the ocean: the unknown territory as a new chance. The city has always benefited from this condition, the constant sharing with other cultures, the radical transformation caused by the earthquake, as well as for its dense built environment has always put the river in perspective. The relationship between town and the river became an architectural symbol embodied in the past by the Terreiro do paço. It is currently the Praça do Comercio, which focuses on the idea of a public place and also a place of power, retained in the programmatic language of its buildings. Perhaps it is, curiously, the ability to provide ambivalent and dialectical readings which express contemporaneity - city / river, geometry / landscape, static / dynamic, formal / informal history / daily, time / timeless. An open space to the Tagus estuary, looking towards the Almada and Serra d’Arrabida at south. Praça do Comercio continues to represent this symbol and peacefully retains a poetic of “nostalgia for the future”. Consider the Tagus estuary as a new chance for thinking about Lisbon and the cities that hover its surroundings as a challenge that requires crucial issues of the contemporary thought about the city to be faced. The project of the graduand Marco Zelli, call back the debate on the importance of waterfronts, As a paradigm of the river cities, which search every time for a redefinition of the identity according to their growth. What is the architectural cultural and anthropological space that represents our time and that settles all the other times? The city of two margins implies considering the city starting from a territorial and dialectical logic, inevitable, but not always obvious, especially in political decisions, because of the extreme territorial sectorization. The initial motto that the work of the graduand raises, seeks to highlight this inevitability, the city as a dynamic, complex and heterogeneous system, underlining the importance of the Tagus estuary as the key for a new thought about Lisbon and its contemporary condition. This motivation turned itself into the working methodology. How to operate on this subject, from an architectural strategy, giving it both a territorial and local reading, proportionally to urban experiences and dynamics? The Water Square emphasizes the importance of great public space as a new urban icon and as a territorial marker, a symbolic but also experiential tribute to the Square, which goes beyond all references and constructs itself with the context, with the characteristics that make its design precise and appropriate to the new cultural, social and functional demands.This dialogue becomes clearly intentional since the new square is projected towards the other side, to the void represented by Praça do Comercio and the dense and bright landscape of the city of Lisbon, laying along the river. Two significant voids wich stare one each other, marking their distance and proximity, but permanently linked by the Tagus waters. In the project of the graduand exists, in a way, a will of reinvention of the site and the relationship between city and river, just like in the first architectural imaginary that gave rise to Terreiro do Paço and later to Praça do Comercio, constituting the act of design as a continuous originating origin. __ 3


Void as a determinant of a new identity, a space of silence and event at the same time, which takes possession of its new limits, physical, temporal and visual. The duality between the two main squares, the Praça do Comércio (Lisbon) and Water Square (Almada) settled in quite different and opposite way, sharing, however, both the notion of significant void. Praça do Comercio is a space clearly defined by three planes / facades extending to the “empty” at Southwest, absuming the other side as its forth horizontal plan. The Water Square is a space which requires restraint, cause of the permeability that seeks to establish with the water landscape, recreating a distinguished notion of limit. It’s from the architectural object that this contention is created and the square boundaries and its dialogical relation with the water are shaped.The worth of this reinvention lies in the capacity of the project of dealing, with a certain freedom, with the territorial, symbolic, cultural, social, anthropological and programmatic dimension, giving to the city of Almada a new urban identity image. The square which includes all the cities transfer activities - arrivals and departures by boat or by public transport. Permanencies generated by the fluxes dynamic new programs and practices that make it a happening space yet maintaining a strong relation with the traditional city, which somehow gives it body and makes this exceptional condition possible. The project’s Water Square draws an architecture which is able to receive all the movements of the city: entry across the river and arrive in a place that looks at the Tagus estuary, but also permanence and spatial perception since a reverse dynamic between interior and exterior, and its particular spatial qualities. This transitional architecture has the ability to deal separately with these two areas in distinct ways -city / river, land / water, integrating on one hand, the existing city since the mending of its tissues and the other hand, redefining and drawing the new boundary with the River. In this dialectic of transitions, the project proposes a new protection-limit of the square in relation to water, a built new layer that allows to centralize the square space, without compromising its relationship with the landscape of water, providing a new path space looking with both perspectives - that of the new square as a space of event and the Tagus estuary. Also becoming a landscape built by new elements that determine interiority and versatility of the public space. The return to the city, as the place to enhance human relationships, gain meaning from the idea of Praça as an event, depositing into a multitude of programs, possibilities, services and the chance of an urban center regeneration. The evidence and importance of the theme of the great water square, appears only as a result of progressive reasoning on issues facing the territorial scale first, and then the architectonical one. Formulate a strategic thinking of various possibilities and then find the solution, which best embodies all the tensions between the two sides of the Tagus river. This research, went through an exploration of many other issues that although the subject side, there later became important tools for the consolidation of the idea through the act of drawing to represent and communicate. The work and dialogue developed during several meetings with the graduand, developed an interesting process, clarification and objectivities of the project Topic. This allowed an understanding and clearness of the original objectives and how they were gradually became precise reasons. revealing a speech has always tried to balance a systemic thinking, given the complexity of the site and its implicit territorial dimension. The sense of orientation of the work has always been marked by a need of domination and balance of these different fields of action - planning, cultural landscape, architecture and architectural language, establishing networks of continuity with the urban fabric of the city, integrating its features as major instruments of thought and design of urban space. Finally the representation and communication of the project should also be part of that process which makes the main intentions evident, the requirement of complementary design and documents, as a form of approximation between abstraction and reality.In the project, everything can seem both real and abstract, however, make tangible these two worlds, brings the project to a construction and thought about the site landscape, constituting it as well as a new cultural landscape .

Pedro Pacheco __ 4


diagramma sistema trasporti proposto

sistema traghetti

sistema metropolitana

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AML: l’estuario come piazza d’acqua e una por ta per il margem sul | tesi di laure in architettura della città relatori Alber to Ferlenga: Bernardo Secchi | correlatore Pedro Pacheco | studente Marco Zelli

L’ ESTUARIO COME PIAZZA D‘ACQUA: UNA PORTA PER IL MARGEM SUL | RELATORI: Alberto Ferlenga, Bernardo Secchi | CORRELATORE: Pedro Pacheco | STUDENTE: Marco Zelli

metropolitana di superficie metropolitana sotterranea ponti sistema traghetti sistema traghetti proposto

inquadramento territoriale scala 1:1000 0

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AML: l’estuario come piazza d’acqua e una por ta per il margem sul | tesi di laure in architettura della città relatori Alber to Ferlenga: Bernardo Secchi | correlatore Pedro Pacheco | studente Marco Zelli

L’ ESTUARIO COME PIAZZA D‘ACQUA: UNA PORTA PER IL MARGEM SUL | RELATORI: Alberto Ferlenga, Bernardo Secchi | CORRELATORE: Pedro Pacheco | STUDENTE: Marco Zelli

planivolumetrico scala 1:1000 0

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AML: l’estuario come piazza d’acqua e una por ta per il margem sul | tesi di laure in architettura della città relatori Alber to Ferlenga: Bernardo Secchi | correlatore Pedro Pacheco | studente Marco Zelli

L’ ESTUARIO COME PIAZZA D‘ACQUA: UNA PORTA PER IL MARGEM SUL | RELATORI: Alberto Ferlenga, Bernardo Secchi | CORRELATORE: Pedro Pacheco | STUDENTE: Marco Zelli

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AML: l’estuario come piazza d’acqua e una por ta per il margem sul | tesi di laure in architettura della città relatori Alber to Ferlenga: Bernardo Secchi | correlatore Pedro Pacheco | studente Marco Zelli

L’ ESTUARIO COME PIAZZA D‘ACQUA: UNA PORTA PER IL MARGEM SUL | RELATORI: Alberto Ferlenga, Bernardo Secchi | CORRELATORE: Pedro Pacheco | STUDENTE: Marco Zelli

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AML: l’estuario come piazza d’acqua e una por ta per il margem sul | tesi di laure in architettura della città relatori Alber to Ferlenga: Bernardo Secchi | correlatore Pedro Pacheco | studente Marco Zelli

L’ ESTUARIO COME PIAZZA D‘ACQUA: UNA PORTA PER IL MARGEM SUL | RELATORI: Alberto Ferlenga, Bernardo Secchi | CORRELATORE: Pedro Pacheco | STUDENTE: Marco Zelli

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L’ ESTUARIO COME PIAZZA D‘ACQUA: UNA PORTA PER IL MARGEM SUL | RELATORI: Alberto Ferlenga, Bernardo Secchi | CORRELATORE: Pedro Pacheco | STUDENTE: Marco Zelli

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L’ ESTUARIO COME PIAZZA D‘ACQUA: UNA PORTA PER IL MARGEM SUL | RELATORI: Alberto Ferlenga, Bernardo Secchi | CORRELATORE: Pedro Pacheco | STUDENTE: Marco Zelli

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pianta piano IV e sezione

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NOALE-SCORZE’ AS A NEW CENTRALITY

professor: Bernardo Secchi year 2005


The project starts from the Castellana section analiysis throughout its development. Geomorphological map explains the distribution of the major population centers. The portion between the triangle, given by Bassano and the two fenced towns of Cittadella and Castelfranco, and Mestre has long been difficult to cultivate. The only significant settlements in this area are represented by the Venetian villas, usually nearby the river basins. This has meant that a large part of the Castellana has become the privileged terrain of recent formless colonizations that we know under the conventional name of “urban sprawl. “ The “centuriatio” near Padua, born as a drainage system is tangible proof of this dynamic development. An analysis of the main road layout, has allowed the identification of a strategic point of intervention, particularly favored by the concentration of crucial importance infrastructure in connection of the major urban system: the Axis connectin Mestre to the Triangle, the road that connects Treviso to Padua and the rail. The project wants to create a new centrality on the section in order to absorbe the spread introjecting its main reasons. It work on continuity idea, the production of a new and actually latent rythm, specifically identified in the pair NoaleScorzè. It’s now happening a spontaneous merging between the two centers. The town of Muniego, at halfway between the two, is being developed under a settlement pattern quite similar to that of the rest of the section. Goal of the project is to give order to this process. The first operation performed in this regard is the superposition of a virtual square structure on the ground,

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an abstraction capable to organize any developments in a clear and rational way, which became a further and effective study method of the area. Drawing on these considerations, I began to think in terms of interface of a square with each other, the flexibility of each card, its ability to self-modulate in each one of its sides. These are the conditions of formal choice of the ellipse. The project idea is to reverse the traditional concept of the square as place of concentration for a so-called “dynamic square”., reintroducing the Chance with the movement, as a component of randomness that “urban sprawl” tries to avoid,. The ellipsoidal device is capable of modulate its section according to the elements which faces evrytime, to innervate the existent, to change his attitude in the conutry openiness, invading portions of space that become privileged resting places, basing its validity on the dialectic between stasis and movement, exception and data element, multiplying the episodes during the r . The programmatic mix is controlled by a careful typological study based on a reconsideration of the typical garden of the local houses.Commercial center are more than mererly commercial spaces, but space for interaction, hypostyle hall, city hall. the definition of the project that I offer is just one of the possibilities. The non-complete realization of the plan does not diminuish its effectiveness. The project has the potential to create a genealogy.

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HIGHWAY VISIONS : BOTTICINO’S GRAVES

professor: Alberto Ferlenga year 2006


The project topic requires the insertion of a rest area along the linear and theoretically homogeneous element of the A4 highway. The site topography doesn’t have characteristics of special interest. The project then has to provide to elements placed at a great distance from the project area, as main interlocutors, trying to establish visual and spatial relationships with them and introducing a large scale dialectic. The project should in other words “explain” the place, sharing with us his silent and ermetic dialogue, unveil what already exists. The San Giacomo church building at the east, Botticino Sera at north west , which runs alongside a valley close to the north quarries, the main evocation subject; these are the characters, summoned from time to time to pro-duce this tension. The project is configured as a matter subtraction proces, which allows an interesting perception of the system from the road level. The pervasive nature of the vision of the quarries excludes the design of punctual framing, but rather a “vision machinery” which draws a horizontal visual selection,by a calibrated section work. The bar is a worrying presence; a suspended boulder on propylaea. A very sweet sloping ramp leads to a first unusual vision of the quarries from below. Then you can enter the bar using a further stair-lift system or have a promenade on the telluric mass wich lay in the dig, according with a formal vocation deduced from the sensual “movement” of the cave; a negative. The perception of each object becomes here very dynamic, modulated along the space-time by the man walking in the architecture and is doubled into the water fence.

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PONTEBBA REQUALIFICATION

professor: Roberta Albiero year 2006


The topic is the recuperation of an old train The Site is a “tabula rasa”, given the past function of commercial trade train terminal and of the corresponding small urban settlements, called Pontebba.The site presents a “0 architecture degree”, an almost “tabula rasa” of huge proportions between the tallest mountains..So the challenge is how to manage this enormous scale flatness, and wich program is able to improve economical conuntry performance.The standard program ask for an housing in the north-west area and a lift in the valley for the Austrian upper ski devices.The answer of the project is a pavillion system, linked by a suspended dinstribution element, wich mesaure the space and deal with its grat scale.The program mix is composed in order to increase sport-practice opportunities of the area but also offer an entertainment aerea wich is able as to intercept fluxes as to work for the valley people: the suspended connection device work as a polivalent space. in particular there are commercial spaces and cinema, in the first part of the building; lift for skiing and a big fitness center in the second one, a nearby swimming pool and sport equipments between the new building and the city. The ground project follow the pavillon rule; so the parking system create a similar rythm through the valley, and so do the equipents setled between the project and the city, in order to construct a bufer area and a promenade wich link the project to the city.

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THREE STONE GARDENS

VILLARD 8 year 2007


The project absumes the orographic bound as a hinge between historical center and the subsequent urban sprawl, and reconfigures the relationship between spaces and their use in a unitary system. The end of the viale Mellusi becomes the linking system of the three stages of the project; its definition is made by negative, through programmatic section variations nearby the limit. A building is buried in the ex market room, a streched space laying between two anonimous apartment buildings and the mighty buttresses of Campo Marzio, articulating levels in order to give continuity to urban paths. Under the road heihgt there’s the new contemporary art museum that at taches to the old barracks hollowed and used as a mere container. The roof of the building is an area that host a mineral sculpture park, open air extension of the museum and urbanspace. The area of Piazza Risorgimento is efined by the excavation of a soft slope, putting on scene the diagonal axis that brings unto Corso Garibaldi. A long ceiling closes the room, relates to the strict facade of the piccinato school, shadowing the new market and bringing light to the two levels buried parking. A small bar, in front of the Bank of Italy, manages the entrance to the underground floors. The third room resolves several scales of action, putting itself as head of the axis; point of arrival of the new subway and link with the lower part of the city. The descent happens between the solid and inhabitated walls of an hypogean space and ends in a belvedere projected to the flat collenea . A wide cordoned leads to subway exit level where the road produce a silent contemplation area. The public spaces got different altimetric values to the road enhancing the urban room characteristic. The multiplication of height offers unusual city perspectives accordin to a displacement intention.

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1. sculpture garden 2. bar-restaurant 3. permanent exibithion space 4. temporary exibithion space 5. bar 6. market square 7. municipal offices 8. commercial space 9. commercial space 10. commercial space 11. subway arrival and exit

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SETE RIOS: TO PARASITE THE INFRASTRUCTURE

professor: Pedro Pacheco year 2007


The site is characterized by extremely complex topography articulation, molded around the main infrastructure network, so based on a rule that covers the scale of the city and its most delicate and crucial relations. Nor-Sul, the subway line and train are the signs that draw the space of Sete Rios by incisions, juxtapositions, overlaps and underground connections.Thus define actual rooms where each element is a “wall� with different properties and degrees of resistance. Nor-Sul is a highly porous structure, changing complexion and perception according to the position from which it is observed, from built to a completely empty space, coverage suspended. The underground allows more selective passages more in contiguity with the existing urban fabric, and with jardim zoo. The railroad digs hits way down, creating as an insurmountable barrier. Interfaces: the issue of permeability is crucial in this regard. The jardim zologico, the metro and the neighborhood behind, and the Monsanto triangulate the space, taken as a tabula rasa, and therefore defined only by the existing flows. The hugeness of the project area requires the production of a rule to measure the space, and accomodate existing flows and properlu calibrating resistence.The topography of the site allows a hierarchy of the project under certain visual relations, both internal and external area of the project, which will therefore be particularly considered. In fact is possible to gain the perception of the entire system from the area in Seven Rios correspondent to the Brazilian Embassy and from the Monsanto and small peaks close to the highway on the other side.The Alcantara valley defined by the railway track offers one of the deepest views of the site, culminating into the water and the city behind.Rua de Campolide represents a wide PRODUCAO DE UM RITMO ENTRE break in the middle of the area. His road section includes an AS BANDAS ENFARSTRUCTURAIS underground level of the underground passage and the respective outputs.

PONTOS DE ATRAVERSAMENTO

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d level of the underground passage and the respective outputs. An aim of the project is create pedestrian contiunuity in the project area using the existing underground system as an opportunity to connect the two sides and “urbanizing” of the subway system.The viaduct crosses the area placing himself in relation to all its parts in different ways, covered area at the interface with the zoo, buried tape into the hillside near the residential neighborhood to the north west, then again suspended on the rail.Its connective potential for and its DISPOSABILITY AS PURE STRUCTURE (Plan Obus, Algiers LC) mean that this element becomes a linear device that can specialize in several contact situations. Viaduct organized inside a dense Fun and educational functions network and is therefore able to act as a SOCIAL CATALYST AND ATTRACTOR, while maintaining the character of porosity and functional programmatic bricolage,usually associated to the urban imaginary.By solving its unity in just being a linear structure this system can accommodate almost any kind of function in either according a paradoxical indetermination cryterion.Regarding the residential neighborhood to the north west,the viaduct, appropriately reinterpreted, can generate connections where actually denies them; incorporates Monsanto in a more effective pedestrian system. Pavillons Beneath the infrastracture produce different configuration in order to answer different surrounding situations.The nature of the hydrogeological (hence the name) can also exploit the water transit system and any containment system variable as elements of landscape design.This technique of drawing the soil creates a recurring element that makes reading the underlying continuity of the park, its decline more urban than most “rural”.The function of this “topographical” building is both cultural and botanic-scientifical.

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PONTOS DE ATRAVERSAMENTO

PRODUCAO DE UM RITMO ENTRE AS BANDAS ENFARSTRUCTURAIS

PONTOS DE ATRAVERSAMENTO

CIRCULARIDADES

PONTOS DE ATRAVERSAMENTO CIRCULARIDADES

JUSTAPOSICCAO DE SISTEMAS

PONTOS DE ATRAVERSAMENTO

JUSTAPOSICCAO DE SISTEMAS CIRCULARIDADES

REFERENCIAS CONCEPTUAIS REFERENCIAS CONCEPTUAIS

B. Duarte, prof. Pedro Pacheco, Prof. Diogo Burnay | aluno Marco Zelli

B. Duarte, prof. Pedro Pacheco, Prof. Diogo Burnay | aluno Marco Zelli

FAUTL | 2007-2008 | 5째ano | projecto arquitectonico V | prof. Rui B. Duarte, prof. Pedro Pacheco, Prof. Diogo Burnay | aluno Marco Zelli

JUSTAPOSICCAO DE SISTEMAS


FLUXOS INTERNOS - escola da danรงa

- casa da musica

- escola da musica


aula dança principal

61 70.1 61.5

aula dança

62.7

61 aula dança

63.7

61

56.5

64.6 65.8

65

jardim de pedra

66.5

aula dança

aula dança

espacio produçao artistica

torre escritorios instituçao cultural

ludoteca

69 aula dança

61.5

cinema infantil

61

sala da luz

62 66

63

roupeiro

free net point

atelier ipogeo

reception bilheteria

64

60

66 66 patio info-point bilheteria

68.5

buffet

59.1

63

free net zone

65 livraria

expociçao

78.3

quarto pretovideo instalaçaoexibiçao casual

67

livraria

62.3

68.8 patio

69

vestiarios oficina

aula musica

escritorios

orchestra

aula musica

66.6 espacio panormico musical

67.3

61

66

69.6 61.9

terraço

58.2 62

jardim pensile

64.4

69.2

67.6

museo botanico- ponte

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LISBON THROUGHOUT THE TWENTIETH CENTURY

professors : Pedro Pacheco, Diogo Burnay year 2008


A twentieth century museum can’t be the only exposition of its content but must embody the principles of the age that the determined itself ... looking from afar, backwards.. SITE the museum arises in one of the most visible areas of the Sete Rios district.. Its eyes can see the whole valley of Alcantara. establishing relations of mutual monitoring with Nor Sul highway, real dynamic miradouro; and it clearly expresses the nature of the connection with arising bodies on both the infrastructure sides. PARASITE the museum interacts with the Highway infrastructure with the aim of inverting its traditional urban limit role. Embodies in this way an existential condition of contemporary architecture SEQUENCE museum experience is complex: a hypogean space, a second one of physical connection with the highway, a third one of suspension, organize themselves about a urban fragment, pedestrian link between the park and the popular quarter. Then the promenade is configured a sequence of shocks and produces a typical urban situation in the architecture scale. CADRAGE the building sets up a square and a miradouro: it provides a permeability relation with the first, a deep observation relation with the second, in correspondence of the Alcantara Valley, where two suspended elements produce a great intimacy and meditation space. A cadrage of the XXth century landscape. ASPHALT the XXth century museum skin is made of black shot concrete. The complexion of this treatment refers to the infrastructural and complex nature of the building. The interior is a smooth regular concrete surface. A tension arises between interior and exterior, based on this dicotomy and on the different representational needs.

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evoluçao da corta | pesquisa da unidade da esperiencia espacial

estudo de organizaçao espaçial interna | sequencia | subtracçao de massa

evoluçao do sistema estrutural

estudo do espaço em baixo das caixas expositivas | producçao de um ritmo estrutural e dissimulaçao da estrutura

estudo do espaço expositivo ipogeo

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sequencia

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A NEW SCHOOL CAMPUS FOR VIGNOLA

with the architects Pedro Campos Costa and Nuno Rodrigues Landscape project by PROAP year 2008


The city of Vignola is strongly characterized by a rural and agricultural identity, fully expressed in the traditional cherry cultivation and in the extraordinary territorial and architectural heritage care. The planning of a pubblic interest work in the proposed site, offers in this regard, a great opportunity to consolidate the town and redefining local eco system. The project proposal is based on these values and aims to: -The construction of an artificial landscape capable of establishing a dialogue with the existing in different ways: typological, formal, material. -The production of an urban form that create a clear rule on the edge of town. The whole school system is developed on one level with two types of patio: the first one is large and central area surrounded by a portico and usable by all students as a recreative area; the second a smaller and more intimate one, at each class, articulates the front in a sequence, and produces a recognizable landscape, placing the building and the environment in a reciprocal situation of “discrete intrusion” .. The coexistence of these two devices makes the school buildings highly permeable and provides a variety of relations with the outside world: more static and selective in the classrooms; more dynamic in the distribution spaces rhythmed by landscape views, filtered and envolving in the central patio The unitary sense of the project is also given by a movement of the cover which makes the intervention a complex topographical episode, capable of evoking the sensual and the hilly nature of this part of the Emilia region and at the same time generate internal tensions in the system according to a principle of variation of the series. The white brick building reinterprets the traditional local, in an abstract parallel, it makes the project happening at once familiar and strange.

The two squares, one to the north between the cafeteria and the middle school and one to the south between primary school and a gym are the connections and joints of the urban project. The landscape project is fully complementary to the building, and is based on a ‘unique’ way design “in the construction of exterior spaces and interior spaces that clearly constitutes only a process of appropriation. Outer space is proposed as a park incorporating the schools and their outer disengagement space. The intensity of expression of the “park”carachteristic decreases from the outer periphery of the action to the area where is localizated the greatest density of the built environment. Space is the conclusion in a hallway / path that exploits the existence of the lifecycle, to produce the constructive character of a public space. The corridor so conceived, and pedestrian and bicycle connection between the city and the cemetery becomes a structuring axis that intercepts the various accesses to the school complex. This concludes a small service building and equipment that will serve schools or other surrounding functions. Among the intervention area and the traffic circulation a movement of the ground simultaneously solves the problems of fencing and construction of an effective acoustic barrier. Among the buildings of different schools, for outer space, it is proposed the use of floors capable of bearing considerable weight, given the high density of users. These paved areas will still be regularly interrupted by a “mistake” in its constituent geometry, “error” which will be green and filled with material that will serve as a point of planting a tree. The missing piece of pavement will be placed to the side, overlapping the floor, and will serve as a bench. It’s proposed a framework which enables the use of different strategies for the enclosure of space, providing a joint possibility of fragmentation and different management of outer space, and ensuring that each of the many possible configurations corresponds to a solution that integrates with the remaining design features.

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WORKS 2005-2009