Issuu on Google+

report 2006

*The pleasure of use formation and information center in humac village


lab3_06 3rd year design course corsodi studi in scienze dell’architettura facoltà di architettura e società politecnico di milano


Richard Long | A line made by walking | 1967

editor stefania brunelli livia minoja francesca vargiu with gennaro postiglione lorenzo bini francesca murialdo layout stefania brunelli


*The pleasure of use formation and information center in humac village


index


1.1_the pleasure of use by gennaro postiglione 1.2_location hvar 1.3_location humac

2.1_describe 2.2_catalogue 2.3_analyse 2.4_deepen 2.5_measure 2.6_investigate

1_introduction

2_relief

3_the human heritage and sustainableturism by gennaro postiglione

4_functional programme 4.1_studentes’ residences 4.2_responsabiles’ residences 4.3_reading rooms 4.4_working rooms

6_manipulation

5_masterplan

4.5_multifunctional space/foyer 4.6_streets/breakspaces 4.7_ kitchen 4.8_bar

5.1_to think over humac 5.2_to choose 5.3_to move 5.4_to meet 5.5_to withdraw 5.6_to live

6.1_students’ residences 6.2_responsables’ residences 6.3_reading rooms/working rooms 6.4_multifunctional space/foyer 6.5_kitchen/streets/break point 6.6_bar


"the pleasure of use": centro di formazione e informazione a humac, per riscoprire l'arte di abitare

programma guida

caro Ivo, sono alla scuola di Architettura di Oslo e nell'attesa che arrivino gli amici da cui sono ospite, provo a scriverti del laboratorio del prossimo anno. La prima idea era di lavorare sull'housing all'interno di strutture industriali dismesse; poi, parlandone con alessia e lorenzo, sono passato all'idea di lavorare sui vuoti urbani di Milano, proponendo delle "temporary residences" per studenti, amici, anziani, ecc. Alla fine però l'idea di lavorare tra paesaggio, natura e architettura ha preso il sopravvento (mea culpa): così mi è tornato alla mente il villaggio abbandonato di Humac, sulla “tua” isola. Il tema potrebbe essere quello semplice della "piccola dimora", intesa però come parte di un insieme più ampio – il villaggio - che ha funzione di “Centro di formazione e informazione per riscoprire l’arte di abitare”. L'idea principale resta quella di intervenire su un esistente molto caratterizzato e in una situazione paesaggistica mozzafiato che va intesa come ulteriore elemento di progetto e da progettare. Una condizione tipica di tanta architettura mediterranea (all'Elba mi sono poi innamorato definitivamente della "macchia mediterranea": non ho mai fotografato tante piante in vita mia!). Vorrei che si lavorasse con gesti progettuali semplici, misurati, oserei dire quasi "quotidiani e archetipi" insieme, intorno al tema dell'abitare. Il corso potrebbe avere come slogan il titolo di un testo degli Smithsons, "the pleasure of use". Vorrei, infatti, cambiare il modo di abitare per recuperare e riscoprire ciò che un tempo era “l'arte di abitare”, rendendo l’architettura della casa più vera, più schietta, liberandola da stilemi mode vezzi tendenze, per farla tornare a essere una attività legata ai gesti, agli affetti, alle abitudini, alle cose che di cui ci circondiamo e all’ambiente nella quale si inserisce. Cosa servirebbe (da te): organizzare una settimana (a fine settembre, primi di ottobre) tra Spalato (la storia ha e deve continuare ad avere la sua parte!) e l'isola, in modo che gli studenti possano fare rilievi grafici e fotografici, rendersi conto del paesaggio e respirare l'area del luogo; magari potremmo anche incontrare qualcuno che ci racconti dell'isola e della storia di Humac, della sua nascita e del suo declino.


Pensavo che si potrebbe stare in una di quelle mega-strutture "socialiste" (insomma, quegli edifici “koolhaasiani” ante litteram su cui tanto ci siamo confrontati), dove non mancheranno sicuramente spazi per riunirsi, lavorare e discutere. Strutture, inoltre, in netta contrapposizione con le tipologie sulle quali andiamo a lavorare: un confronto che dovrebbe rivelarsi non privo di stimoli e riflessioni per tutti. Per concludere - gli amici ormai sono qui che mi aspettano attraverso "l'isola di Kvar", e paradigmaticamente attraverso Humac, vorrei che gli studenti si innamorassero dell'architettura rurale, dell'arte del costruire, della sapienza insediativa, della bellezza della natura, delle qualità espressive dei materiali, della semplicità che possono avere i gesti progettuali, dell'appropriatezza tra spazi vita e luoghi, smettendola una buona volta di "giocare" - nel migliore dei casi - a fare gli architetti alla moda. Per questo ho pensato che ad un mese dalla fine del corso, si potrebbe andare tutti insieme in un luogo in cui ritirasi a progettare, full immersion, magari anche tornando all’isola. Anche se mi rendo conto che un simile ambizioso programma prevede degli studenti fortemente motivati e disposti a lavorare duro senza risparmiarsi, ben determinati ad imparare e a esperire (Per chi è pronto a iniziare, perché si inizia sempre prima di cominciare, c’è già il sito dove prendere visione di materiali e programma e iscriversi al viaggio di sopralluogo: http://king.rett.polimi.it/ ?postigli/didattica) Ciao, Gennaro ps: dimenticavo le letture. Naturalmente frammenti dagli scritti degli Smithson, per la loro abilità pop nel comporre e costruire luoghi dal nulla e con nulla; e poi estratti da “La forma costruita” di Schmitthenner e “Osservazioni elementari sul costruire” di Tessenow, “Architettura senza architetti” di Rudofsky e “A Pattern Language” di Alexander, e altre piccole “lampade dell’architettura” che con attenzione sceglierò insieme ai collaboratori. pps: e di certo ci saranno “i casi-studio”, presentati assegnati scelti; mi vengono in mente il Cabanon di Le Corbusier, il Solar Pavilion degli Smithson, le case a Stintino di Umberto Riva, il cottage a Portør di Knutsen, le ville al mare di Ponti… e poi dovrei dirti dei contributi degli integratori… ma non c’è tempo.


1.2_location hvar


1.3_location humac

Humac


2.1_describe

L’esperienza del percorso è rappresentata dalle sole direzioni del vento incontrate lungo il cammino, senza supporto cartografico. Il vento non soffia solo in alcune direzioni prevalenti, ma riflette anche la forma del territorio. Quando cammini su un crinale il vento viene dalle due opposte direzioni, perchÊ viene come succhiato su, oltre la cresta. Altre volte, quando vai dietro un masso o una torre, il vento viene riflesso in altre direzioni. Il vento può soffiare in tutte le diverse direzioni per diverse ragioni che hanno a che fare con la forma del territorio. Mi piaceva molto questa idea che in un certo modo una linea del vento poteva riflettere la forma del territorio. Richard Long, Walking in circles, 1991


_humac

_hvar


_sezione 1 muretto

mure

RA

murett

L a v a n d a

M u r e t t i

L a v a n d a

M u r e t t i

S c a v o

M u r e t t i

L a v a n d a

M u r e t t i

PA i r c b c u o s l t i i

L a v a n d a

P i c c o l i

A r b u s t i

M u r e t t i

L a v a n d a

P i c c o l i

A r b u s t i

M u r e t t i

L MPA LM a u i r a u v r c b v r a e c u a e n t o s n t d t l t d t a i i i a i

PA i r c b c u o s l t i i

P i c c o l i

A r b u s t i

ADA S

ERR

B o s c a g l i a

L a v a n d a

L a v a n d a

M u r e t t i

L a v a n d a

M u r e t t i

M u r e t t i

B o s c a g l i a

pietra m uret to

o di

mu rett

ATA

_sezione 3

mu

mu

pie muretto di

mur

di

TA STRAD

D RA

RA TA

rett o

ST

STE ATA STRADA

A STERR

ra mur etto di

mu re

RADA STERRA TA ST TA RRA

R AD

di piet

STR

mu

m

m

M u r e t t i

tra mu

DA STERRATA

muretto di pietra mur etto di pie tra muretto muret to di pi etra m u re tto d muret i piet t ra muret t muretto di pietra mure tt o di murett pietra

T

muretto

m m u m u m u u m u

L a v a n d a

M u r e t t i

etra mu retto di pie

pietra m

L a v a n d a

M u r e t t i

o di pi

E

ST

retto di pie tr muretto di pietr a

muretto d i pietra muretto di p ietra muret

ST

murett o di pietra mu

etra m uretto di pie

muretto

R A S TE RR AT STRADA STRADA STE

L a v a n d a

A M b u e r t e i t t i

o di pietro mu rett muretto di pi

retto di pie tra

pi

A

A S T ER R

di pietra mu

to di

pietra

muretto

muretto

STERRAT TRADA A STR

A

ST

STRA

mu

ST

1

S TA ERRA S TR

M URO DI PIETRA MU

D AD

MURO DI PIETR A

to di piet

A ST

D

m re u

muretto di pi muretto di p ietra m muret

muret to mure

di

di muretto

urett

uretto

uretto di pietr

muretto di pietra

3

R R ADA STE RATA ST

ER R

m

A STRA RT

STR

TER RADA S

RA

ER RA TA

i pie

ST

A r b u s t i

A r e a d i s o s t a

mu

di pi

ST RA DA D

tto d

m ur i et od ur to rett et di mu t p t od ret re i p iet t u o iet m di m ur r pie et tra to mu di rett pie tra mu 2 ret to

m

mu

P i c c o l i

_sezione 2

L a v a n d a

L a v a n d a

P i c c o l i

A r b u s t i

M u r e t t i

L a v a n d a

P i c c o l i

A r b u s t i

M u r e t t i

L a v a n d a

P i c c o l i

A r b u s t i

M u r e t t i

L a v a n d a

P i c c o l i

A r b u s t i

M u r e t t i

S t r a d a

S t e r r a t a

M u r e t t i

P i n i

A r b u s t i

M a s i

M u r e t t i

L a v a n d a

muretto di


_sezione 1


_sezione 3

_sezione 2


2.2_catalogue


_vuoti

_ruderi

_costruito


_ percorsi

_ corti

_ terrazze/cisterne


2.3_analyse


_1 piano/1unità 2 piani/1 unità

_1 piano/2 unità

_1 piano/1unità


_2 piani/2unitĂ 

_2 piani/1unitĂ 


2.4_deepen


2.6_measure

b

a

c


_pianta primo piano

_pianta copertura _prospetto cc’

_pianta piano terra

_prospetto bb’

_prospetto aa’


2.7_to investigate


3_rural heritage and soustainable tourism by gennaro postiglione

Cultural landscape and rural heritage Landscape can be considered the cultural identity of a territory. In fact, each physical transformation of a territory, caused by new social instances, produces a modification of its identity and of the system of self representing. The landscape, as cognitive and cultural system of representation of a territory, is the medium to understand and to reveal more quickly the possibilities that are inherent in the characteristics of a places. Moving in a heritage context, this ability becomes even more important: a local community (like the one settled down in the village of Humac), uses the territorial context to settle down languages, common experiences and identity, and to facilitate the

transformation that represent possibilities inherent a specific context: talking about the territory as heritage, “the concept of vision is tight related to the one of vocation” (Mollica, 2006). In this case in fact, this approach is addressed to facilitate conscious processes of re-discovering and re-appropriation of the place by the local community and the visitors, in order to find out the real opportunities to focus on and strengthen to project a reviving action and a sustainable re-use.

subject keep on debating on: this subject is certainly the one of the author, but also the one of the reader. Therefore the theory of the text provoke the valorisation of a new epistemological item: the reading […]. The theory infinitely widens the freedom of the reading, and, more than this, strongly underlines the (proficient) equality of writing and reading […], - where – true reading is when the reader is the one who wants to write” .

metaphors, useful to express the complex situations in which the territorial elements are located in the reality. One of the metaphors is the use of the concept of layers, to distinguish the stratifications that lay down in a territory and are melted by the time: for instance the landscape and the territory inhabited by men.Others rules of a spatial syntax that refers to aggregative systems can be adopted, according to Paola Viganò (1999) like the puzzle


knowledge sharing between the people who is building the meaning of the place. In fact, if the man permanent inhabitation builds the significance of a places and establishes his primary belongings defining the name, the language, the alimentary and garments habits, the religious and political context, it is the landscape that makes sense of single portions of world, fixing relations, functions and orientations. This capacity to coherently understand and socialize the cultural values of a place, makes the landscape a privileged place to investigate looking for opportunities of transformations and valorisation of the local identity and history. Placed in a panoramic position in the centre of the island of Hvar, the ancient and small seasonal village of Humac, today semi-abandoned, has been singled out as a typical Croatian rural culture of living and inhabit the territory, and therefore a meaningful form of cultural landscape patrimony, that needs a strategic and synergic system of rediscovering, divulgation and valorisation. A descriptive methodology of valorisation Corresponding to the theories of the descriptive geography (Dematteis, 1995), a metaphorical mediation of the physical and spatial meanings of the places has been adopted, and a descriptive approach has been used as methodology of work. A project is descriptive if is directed to generate models of

Consequently, the actions of analysing, describing and representing the site, the architecture typologies and their relations with the natural context, are considered as a powerful experience-led approach, necessary for the comprehension and definition of the already existing and exploitable intangible and tangible values of the village. In this process, the descriptions, using conceptual categories that over pass the traditional ones of the cartography, became maps of the experience of the space, produced by subjective practices, like the exploration . These descriptions try to represent routes and relations of the places through the narrative structure typical of a text and may enable a more contemporary and dynamic concept of Cultural Heritage, where the valorisation actions are directed to allow an active culture fruition and experience by individuals. A direct experience of reading and representing Humac heritage “Every meaningful activity can generate text: painting, composing music, filming, etc..[…] If the theory of the text tends to abolish the separation between the different art disciplines it is because their artworks are not anymore considered as simple ‘messages’ […] but as perpetual products, statements, which the

The theory of the text of Roland Barthes assumes the act of reading as an interpretation and re-writing of the sense of the text operated by the reader. Borrowing this model and applying it to the comprehension of the territory, it means to adopt an active process of knowledge enabling the production of a new significance of the place. “Considering the territory as a text, it means, before all, to look for its oppositions. Texts are complex structures carrying excesses of sense and they can produce memory only through difference (Deridda, 1971), using their skill of combining systems of expressive opposition to create contents” A text has a meaning because some of its characteristics are agreed as different. In fact, the “indistinct” reduce a text as object without sense. The textual reading instead, as observation praxis able to interpret and signify different elements, allows to represent the specific aspects of a place in a model suitable of interventions. The application of the textual reading method in the Humac context has led to develop exploration and survey exercises like walks, sketches, photo reports, and to activities of activities of interpretation of the data in order to rebuild sequences, rhythms, repetitions and to specify a territorial syntax. According to Giuseppe Dematteis, the territorial syntax can be usually explained by conceptual

system, that organises elements corresponding to a stated plan, and to a project, or the dominoes, that like the game, works with the approach of the elements margins with the others. A spontaneous process of shaping of the territory by continuous modifications, can be described, with this system, according to Paola Berenstein Jaques (2001) starting from fragments that aggregate with others in form of labyrinth and rhizome, developing a specific and particular structure. In this sense the ancient rural village of Humac responds to a cultural complexity different from the one of a formal and planned city, but owns a specific aesthetic. Syntactic maps represents this information as the cultural elements of the process of rediscovering and valorisation of the site, providing two different forms of communication: a descriptive form, textual and iconic, of the context features, and a narrative one, more focused on the production of new significance of those characteristics, like the creation and the staging of the imaginary of the place in a tourist perspective.The process of exploration and reading of Humac produced various analytic representations of the place and clarified the cultural and social values of the architecture and the manufactured elements of the village in relation with the surrounding landscape that would have been considered as the essential factors of the genius loci and basic bonds forthe exploitation projects.


The significance produces by these representation is basically direct (physical and spatial) or mediate (relations), depending on the kind of information included : 1. enumerative if is related to the physical location of single things at different scales; 2. syntactic, if is related to the relationships among the categories of objects, like relations, configurations, patterns. This level selects and arranges the information of the previous one; 3. symbolic, if makes explicit and culturally legitimate the whole sense of the representation, assigning objective meaning to abstract forms and transforming the space as container for real facts.Some examples will show these different qualities and scales of observation analysed in the site. The surveys related to the landscape privileged an evocative and narrative language, as shown by the sketches and the maps.

Corresponding to this approach, the possibilities of reuse have been selected within activities characterised by temporary presences, substituting the seasonal use with another one. The village is transformed in an International Information and Education Centre; a place where private companies, public institutions can arrange intensive meetings or workshops, for short times, far away from the stress of the contemporary city. This use will fulfil the calendar of the activities for the whole year, but with different groups of individuals for each period, allowing people to experience the seasonal memory of the place.

As stated before, the intervention is based upon simple remarks derived by the context knowledge gained by the reading practice. The recovery interventions of the integral buildings and the voids have been projected privileging the respect of the existent situation and the necessity to distinguish the new structures from the old ones by materials and aspect. The new structures are autonomous in perimeter and roof and “inserted� in the old ones, to maintain the actual visual impact. The new roofs projected for the voids are pitch shaped, to be similar to the others. Not all the voids have been closed by the roof: many of them have been reused keeping the perceptive relations of a hortus conclusus, a closed garden or a room under the sky.

preferred places far away from the quotidian life of the guests. The necessity of changing scenery and context, together with the intuition of the intense and evocative impact supplied by places full of history and culture, have decreed the fortune of sites that were outside of the tourist routes.These places have become the highlights of a global tourist system, and have been equipped to guest in the best conditions similar meetings. The increasing of the communication and transportation systems, especially by water or by plane, helped those places to free themselves from other heavy systems like the roads and the railways. Secluded and wild localities have suddenly become little but essential knots of


At the urbane scale, the representations try to find out the syntax of the place collocating in different layers all the elements of the village: the buildings still existing (dividing them by the number of the floors), the ruins, the empty areas, the courts and the public spaces, the pathways. At a more detailed scale one single building is described using the conventional drawings. A functional typology according to the identity of the place Humac Village, like many others rural villages, was destined to be occupied only seasonally, during the time connected with the cultivating activities: olive trees, and more recently, lavender. For this reason the building typologies and the structure of the village present characteristics that are more simple that the ones typical of a permanent inhabited rural architecture. It is missing an idea of urban shape and the village is more or less the “petrifying” of a nomadic camp: the settling choices are guided by contingent opportunities and correspond to the character of temporary inhabitation of these places. The village in fact derives its historical and cultural identity from these peculiarities, and the research of a new functional typology has been developed according to the same elements, in order to guarantee an ideal continuity between past heritage and future uses. This precise introductive statement of the project specifies our cultural and methodological approach directed to the sustainable recovery and transformation of the Rural Heritage (dismissed, abandoned or not fully active). Refusing the theory and the technique aimed exclusively to stylistic questions (the maintenance of the status quo ) or economic ones (the maximum commercial exploitation), the project developed for the village of Humac is based on the awareness that the knowledge of the places, its history and manufactured elements ( a knowledge as it is before showed not only philological but also phenomenological), should lead to a project able to interpret the identity and interrogate the memory of the site. That is a project capable to propose new uses respecting the cultural continuity.

The morphological aspects and the master plan for the intervention The morphological fragmentation of the village, arranged in independent units in different state of maintenance ( there are preserved building as well as ruins), the presence in the site of a system of dry-stone walls (that suggests a sort of matrix of the settling down), and the availability of further enlargements (as in the history of the village), constituted the elements of negotiation of the project and delimitated four areas in the site.Expecting a maximum amount of 100 contemporary presences (that correspond with the measurement of the disposability offered by the existent buildings), the project was developed undergoing the following guidelines: 1. the residences for the guests are located in the buildings actually still integral; 2. the organisers residences are located in new buildings places in the western area of the village, individuated by a slight slope and low dry-stone walls; 3. the halls for the meetings and the workshops are foreseen as independent new buildings aside the unroofed existent ones; these voids are used to provide the necessary services for the working rooms; 4. reading halls, common living rooms and kitchens are located in the same voids, but with the condition to keep free at least a part of the existent situation, saving the hybrid nature of “interior area under the sky”; 5. Beside the kitchens are located the dining rooms, projected like further enlargements of the buildings, in order to increase with new structures the density of the edification; 6. all the volumes of the voids that are not used for different scopes, are destined to become gardens and equipped relax areas, enabling the experience “to be inside being open air”; 7. Finally in a more isolated context, in the eastern part of the village, close to some evocative traces, the place for a multi purpose hall ( exhibitions, parties etc.) has been chosen.

These places satisfy the ambiguous situation of entering in a space that maintains the memory of the previous building without any covering. To underline this perceptive relation, all the voids not used as new buildings, are projected as relax areas in the village: entering in these places we are introduced in a sort of Eden garden, delimitated by the perimeter in dry stone, the luxurious vegetation and the coloured sky. The ruins, semi destroyed buildings pointed out by few stones, are projected with the same approach: in this way the interventions on the ruins rebuild the empty areas with the same typologies of the village. For the new building instead, the use of the pitch roof resulted impossible, and it has been chosen to insert these new constructions trying to locate them simulating the natural process of stratification of the village, and creating a debate in order to make more actual the old structures. The organisers residences, have been considered as a natural expansion of the village, according with its making: they are integrated in the landscape and with the system of dry stones walls, and define a new building typology, more horizontal and close to the ground. Finally, the multi purpose space has been conceived as the only occasion for an autonomous architectonic element, but it still operates a negotiation with the presence of a meaningful walkble wall. With the same concept is characterised the Church of the village, the only structure with a different functional destination, that is far away, located at the margins of the village. A cultural project of sustainable tourism and development Always more frequently, small and big enterprises, educational institution like schools and Universities, organise moments of training that last from few days to weeks, that is a time never too much long in order to make them not difficult. Whether they would be training courses or intense workshops or international and national meetings, the organisers, following the indications of psychologists or sociologists and experts of educations, have

the global system that involves the whole world. In ha same way, the small village of Humac, located in as isolated place in the island of Hvar, will lose its marginal condition and become one of the possible destination of this cultural tourism. A tourism different, directed not to escape from the stress of the work and urban life but to find better and stimulating contexts in order to improve the creativity and effectiveness of the same work. In this vision, the development of some infrastructures, still missing in the island, but under discussion within the public institutions, like a national airport, will connect Humac with the global relations net. The island is moreover easily reachable by the sea, from the main harbours of Italy, Greece, Croatia and Turkey. This position in the barycentre of the Adriatic sea will transform the island in destination of new important commercial flows. In this case, however, persons and their intelligences and culture will travel, and not products, improving the awareness of the strategic importance of Cultural Heritage within the Soft Economy, based on knowledge, innovation, creativity and quality: “an economy that connects social cohesion and competitiveness, and able to learn from communities and territories” (Cianciullo, Realacci , 2005). As an international cross-road, Humac, will provide its International Information and Education Centre, and the adequate hospitality infrastructures, attracting groups from all over the world. The process will get the points of improving cultural heritage fruition providing the tools, infrastructures and services, and increasing an innovative competitiveness in the global system based on relations and cultural differences preservation (Trimarchi, 2005; Semprini, 2005). This ancient village in fact could offer the opportunity of a different nomadic life, more conscious and well educated than the one which shaped its existence. A “chic nomadic life”, according to the famous architecture critic Banahm, able to change the future of this rural Heritage in the middle of the Adriatic sea, on the top of the ridge dividing the island of Hvar.


2_functional program


4.1_students’ residence


vincoli di progetto

nuclei

servizi

collocazione costruito


4.2_responsabiles’ residence


dimensionamento

superficie esterna

collocazione


4.3_reading rooms


vincoli di progetto

superficie esterna

collocazione


4.4_working rooms


vincolid di progetto

hardware + ampliamento

collocazione


4.5_multifunctional space/foyer


o multifunzionale

collocazione


4.6_streets/break spaces


luoghi di sosta esterni

luoghi di sosta interni


4.7_kitchen


vincoli di progetto

dimensionamento

collocazione


4.8_bar


vincoli di progetto

collocazione belvedere


5_masterplan


5.1_to think over humac


exterior street

interior street

building


5.2_to choose


principal streets

trasversal streets

external users street + parking responsabiles/students’ residence

kitchens

working/reading’s rooms

bar

restaurant

expositive/conference room


5.3_to move


pricipal streets

trsversal streets

external users streets + parking


5.4_to meet


kitchens

bar

retaurant

working rooms

reading rooms

exposition/conference room


5.5_to withdraw


responsabiles’ residences

students’ residences


5.6_to live


principal streets

trasversal streets

external users street + parking responsabiles/students’ residence

kitchens

working/reading’s rooms

bar

restaurant

expositive/conference room


6_manipulation


BVWXGHQWV¶UHVLGHQFHV


Elisabetta Buffa di Perrero_Francesco Maria Giulini_Andrea Milesi


Alessio Casiraghi_Alessio Cavenati


BUHVSRQVDEOHV¶UHVLGHQFH


Alfonso Lacamara_Livia Minoja


Marco Valvassori


6.3_reading rooms/working rooms


Julia Hutzler


Cinzia Martinoni


Maria Soo-Ran Accorsi_Arianna Rossella


6.5_multifunctional space/foyer


Stefania Brunelli_Francesca Vargiu


rallentare

ammirare passeggiare

tastare sentire contemplare

sostare ammirare

percepire

scrutare

contemplare vedere toccare

arrestarsi

esplorare

sfiorare cogliere

rimanere

avvertire

maneggiare

fermarsi

esaminare trattenersi

avvicinarsi


_bookshop

_sezione bb'

a'

_sezione aa'

3.80

0.00

-1.20

326

275

_planivolumetrico

a

3.80

0.00

-1.20


_dettaglio libreria


_sezione aa'

_planivolumetrico

_coffee shop

a a'


_sezione


_sezione aa'

_planivolumetrico

_conference/exposition hall a a'

_giardino dei sogni

_sala espositiva

_sala conferenze


_ripiano espositivo

45

_seduta

90

_sezione


_bathroom


Sigrun Sumarlindadottir


6.5_kitchen/streets/break point


Mirko Garavaglia_Cinzia Marescotti


6.6_bar


Marco Giovinazzo_Francesca Guarascio


Annamaria Renis


accorsi maria sooran ambrosini cristiano borgogna carlotta brunelli stefania buffa di perrero elisabetta casiraghi alessio

garavaglia mirko

cavenati alessio di filippo anna

giovinazzo marco giulini francesco maria guarascio francesca hutlzer julia lacamara alfonso

martinoni cinzia

marescotti cinzia maria milesi andrea

ozzolins karlis

minoja livia ormonova vessela perego francesca renis annamaria rossella arianna salsi michele sigrun sumarlindadottir taiocchi tamara tatti marco valvassori marco vargiu francesca veronesi giovanni



report lab 3-'05: Humac Seminar Centre