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Basel · Bergisch Gladbach · Bern · Genève · Lausanne · Lugano · Lyon · Milano · New Delhi · Tel Aviv · Wien · Zürich

Compilation

Kokkugia, Babiy Yar Memorial, 2010. Š Kokkugia

ARCHILAB 9 Archilab is making a major comeback on the scene with an event devoted to the most cuttingedge architectural experimentation. In the brand new Frac space in OrlĂŠans, a futuristic building designed by Jacob + MacFarlane, Archilab 9 will be displaying projects by 40 architects, designers and artists through to 2 February 2014 under the title “Naturalising Architectureâ€?. Focused on interaction between digital architecture and sciences, the exhibition explores the current state of architectural design incorporating WKH Ă€HOGV RI URERWLFV QDQRWHFKQRORJ\ JHQHWLFV DQG biotechnology through interactive environments, installations and pavilions. frac-centre.fr

Studio Erick Saillet

ARCHILAB 9 Grande rentrĂŠe sur la scène d’Archilab, l’ÊvĂŠnement consacrĂŠ aux recherches les plus avancĂŠes en matière de crĂŠation architecturale. Dans le tout nouveau Frac d’OrlĂŠans, bâtiment audacieux conçu par Jacob + McFarlane, Archilab 9 rĂŠunira jusqu’au 2 fĂŠvrier 2014 les projets de 40 architectes, designers et artistes sous le thème “Naturaliser l’Architectureâ€?. FocalisĂŠe sur l’interaction entre architecture numĂŠrique et sciences, l’exposition explore Ă travers des environnements interactifs, des installations et des pavillons, les nouvelles conditions de production de l’architecture qui intègrent les champs de la robotique, des nanotechnologies, de la gĂŠnĂŠtique et des biotechnologies.

C’EST L’ESPACE UDIĂ€Qp HW FRQWHPSRUDLQ GH &ODXGH &DUWLHU 'pFRUDWLRQ j /\RQ TXH la marque italienne d’ameublement Moroso a choisi pour cĂŠlĂŠbrer en France ses 60 ans. Dans une scĂŠnographie spĂŠcialement conçue pour cet ĂŠvĂŠnement, trois ĂŽlots boĂŽte prĂŠsentent les diffĂŠrents univers de Moroso mĂŞlant pièces historiques et contemporains. Recherche de nouveaux langages, expĂŠrimentation de matĂŠriaux et GH WHFKQRORJLHV DSSOLTXpV j OD GpĂ€QLWLRQ formelle et fonctionnelle, designers de renom – de Ron Arad Ă Patricia Urquiola ou Massimo Iosa Ghini – et ouverture aux MHXQHV JpQpUDWLRQV TXDOLĂ€HQW O¡XQLFLWp GH OD philosophie Moroso, en parfaite harmonie avec l’espace de Claude Cartier DĂŠcoration.

Bloom Games, Alisa Andrasek, Jose Sanchez, Bloom, 2012. Š Bloom Games

Steven Ma / Xuberance, Taiwan tower, 2010. Š Xuberance

ARCHILAB 9 Grande ritorno sulla scena di Archilab, l’evento dedicato alle ricerche architettoniche piĂš all’avanguardia. Nel nuovissimo Frac di 2UOpDQV DYYHQLULVWLFR HGLĂ€FLR SURJHWWDWR da Jacob + MacFarlane, Archilab 9 ULXQLUj Ă€QR DO IHEEUDLR L SURJHWWL di 40 architetti, designer e artisti sotto il tema “Naturalizzare l’Architetturaâ€?. Focalizzata sull’interazione tra architettura digitale e scienze, la mostra esplora attraverso ambienti interattivi, istallazioni e padiglioni, le nuove condizioni di produzione archittetonica che integrano i campi della robotica, delle nanotecnologie, della genetica e delle biotecnologie.

L'ARCHIVE DE l’agence d'architecture de Vittorio Gregotti, constituĂŠ de plus de 800 projets et de 44.000 dessins relatifs Ă des propositions d'architecture, d'urbanisme, de dĂŠcoration, de paysage, de design industriel et de graphisme, est devenu propriĂŠtĂŠ de la Ville de Milan. Cette archive sera consultable gratuitement au Château Sforzesco. E’ DIVENTATO proprietĂ del Comune di Milano l’archivio dello studio d’architettura Vittorio Gregotti, costituito da oltre 800 progetti, 44.000 disegni relativi a interventi in architettura, urbanistica, arredamento, SDHVDJJLR GLVHJQR LQGXVWULDOH H JUDĂ€FD /¡DUFKLYLR sarĂ consultabile gratuitamente nella Sala Sforzesca del Castello. THE VITTORIO GREGOTTI Architecture Studio Archive is now owned by the City of Milan. It consists of 800 projects and 44,000 designs related to architectural works, urban planning, furniture, landscaping, industrial design and graphics. The archive can be consulted free of charge in the Sforza Castle Hall. gregottiassociati.it

E’ LO SPAZIO UDIÀQDWR H FRQWHPSRUDQHR GL &ODXGH &DUWLHU 'pFRUDWLRQ D /LRQH FKH l’azienda italiana Moroso ha scelto per FHOHEUDUH L VXRL DQQL ,Q XQD VFHQRJUDÀD articolata in tre spazi-isola, si succedono i diversi universi Moroso coniugando pezzi storici e contemporanei. Ricerca di nuovi linguaggi, sperimentazione di materiali e WHFQRORJLH DSSOLFDWH DOOD GHÀQL]LRQH IRUPDOH e funzionale, grandi designer – da Ron Arad a Patricia Urquiola o Massimo Iosa Ghini – e DSHUWXUD DOOH QXRYH JHQHUD]LRQL TXDOLÀFDQR l’unicità Moroso, in perfetta sintonia con lo spazio di Claude Cartier DÊcoration. THE ITALIAN company Moroso chose Claude Cartier DÊcoration's refined and FXWWLQJ HGJH VSDFH LQ /\RQ WR FHOHEUDWH its 60th anniversary. The various worlds of Moroso were arranged in an elaborate set design divided into three islandspaces featuring a combination of old and new pieces. Moroso's uniqueness comes from its research into new languages, experimentation into materials and technology applied along both formal and functional lines, leading designers – from Ron Arad to Patricia Urquiola and Massimo Iosa Ghini - and an openness to the up-and – coming generations, in perfect harmony with the space belonging to da Claude Cartier. claude-cartier.com

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Rayonnant de beautĂŠ Radiateurs en glace de verre

CampastyleGLACE > www.campa.fr Pub Arca.indd 1

19/07/13 15:53

focus on the issue of Territories, involving industrialists, designers, craftsmen, distributors and concept stores from all the surrounding territories. Important exhibitions will be on his way in emblematic locations in each city., A famous old building featuring 1930s style architecture will be at the focus of the Lyon event from 16th October-28th November. This is the city where l’Arca International and the Êcole CrÊad will join the Design Tour with a project jointly developed working in partnership. designtour.fr

EVÉNEMENT Ă€ LA FOIS culturel et commercial, professionnel et grand public, Design Tour 2013 traversera la France du 16 octobre au 28 novembre et touchera 5 villes : Bordeaux, Nantes, Lyon, Montpellier et Marseille. PlacĂŠe sous le signe des Territoire(s), cette ĂŠdition mettra en lumière les acteurs locaux et (inter)nationaux invitant les industriels, les designers, les artisans, les distributeurs, les concepts stores et les lieux d’art de vivre Ă s’exprimer sur leur territoire. 4 expositions d’envergure nationale seront prĂŠsentĂŠes dans des lieux emblĂŠmatiques de chaque ville. A Lyon, le garage CitroĂŤn, bâtiment historique de l’architecture annĂŠes 30 sera au cĹ“ur de la manifestation du 6 au 10 novembre. Et c’est dans cette mĂŞme ville que l’Arca International avec l’Ecole CrĂŠad rejoindront le Design Tour avec un projet en partenariat. EVENTO CULTURALE e commerciale, professionale e grande pubblico, Design Tour 2013 attraverserĂ la Francia dal 16 ottobre al 28 novembre toccando 5 cittĂ : Bordeaux, Nantes, Lione, Montpellier e Marsiglia. La manifestazione focalizzata sulla tematica dei Territori, coinvolgerĂ industriali, designer, artigiani, distributori, concept store di ogni realtĂ territoriale. 4 importanti esposizioni saranno presentate in luoghi emblematici di ogni cittĂ . A /LRQH LO *DUDJH &LWURsQ HGLĂ€FLR storico dell’architettura anni 30 sarĂ al centro dell’evento dal 6 al 10 novembre. Ed è in questa cittĂ che l’Arca International con l’Êcole CrĂŠad raggiungeranno il Design Tour con un progetto sviluppato in partenariato. DESIGN TOUR 2013, an extremely popular cultural, commercial and professional event, will cross France from 16th October-28th RI 1RYHPEHU YLVLWLQJ Ă€YH FLWLHV Bordeaux, Nantes, Lyon Montpellier and Marseille. the events will

NUAGE L’exposition en cours au MusĂŠe RĂŠattu Ă Arles jusqu’au 31 octobre rĂŠunit, plus de 120 Ĺ“uvres et 57 artistes autour d’un thème Ă rĂŠsonnance universelle, au croisement entre nature et culture, art et sciences naturelles. Elle s’intĂŠresse aux structures anthropologiques de l’imaginaire proposant une approche diffĂŠrente de l’art moderne et contemporaine. NUAGE La mostra in corso al MusĂŠe RĂŠattu GL $UOHV Ă€QR DO RWWREUH SUHVHQWD ROWUH opere di 57 artisti accomunati da un tema di risonanza universale, all’incrocio tra natura e cultura, arte e scienze naturali. La mostra si interessa alle strutture atropologiche dell’immaginario proponendo un approccio diverso all’arte moderna e contemporanea. NUAGE, the exhibition on display at the MusĂŠe RĂŠattu in Arles through 31st October, consists of over 120 works by 57 artists sharing a common interest in a universal theme at the intersection between nature and culture, art and the natural sciences. The exhibition focuses on the anthropological structures of the imagination offering a different approach to modern and contemporary art. museereattu.arles.fr

dell’artista con la Costa Azzura tra il 1920 e il 1946; “Picasso nella collezione Nahmadâ€? presenta un’importante selezione di opere appartenenti a questa rinomata collezione privata. “MONACO FĂŠTE PICASSOâ€? , the exhibition running at the Grimaldi Forum in Monaco through to 15th September, provides a brand-new overview of the artist's work based on two thematic collections and over 150 works. “Picasso CĂ´te d’Azurâ€? focuses on the artist’s privileged relations with the French Riviera between 1920-1946. grimaldiforum.com

Pablo Picasso, Les femmes d'Alger (Version H), Collection Ezra et David Nahmad Š Succession Picasso 2013

DESIGN PARADE 8. Autour du concours international dĂŠdiĂŠ aux jeunes designers la Villa Noailles Ă Hyères organise jusqu’au 29 septembre plusieurs expositions. Les salles voĂťtĂŠes accueillent les dix designers en compĂŠtitions, Ă la piscine et squash Bertjan Pot, Marcel Breuer au bâtiment initial et Ă la Tour des Templiers, Aldo Bakker au gymnase, Julie Richoz Ă la galerie nouvelle, India Mahdavi dans le hall et la verrière, Julien Renault aux paliers 1 et 2. DESIGN PARADE 8. In occasione del concorso internazionale aperto ai giovani designer la Villa Noailles Ă Hyères organizza Ă€QR DO VHWWHPEUH GLYHUVH HVSRVL]LRQL /H VDOOHV YR€WpHV ospitano i dieci designer in concorso, alla piscina e squash %HUWMDQ 3RW 0DUFHO %UHXHU QHOO¡HGLĂ€FLR SULQFLSDOH H QHOOD 7RXU des Templiers, Aldo Bakker nella palestra, Julie Richoz nella nuova galleria, India Mahdavi nell’ingresso, Julien Renault sui pianerottoli 1 e 2.

Man Ray, A l’heure de l’observatoire les amoureux, 1934. Coll. MusĂŠe National d’Art Moderne, Centre Georges Pompidou, Paris Š Man Ray Trust / ADAGP, Paris 2013

“MONACO FĂŠTE PICASSOâ€?, l’exposition en cours jusqu’au 15 septembre au Grimaldi Forum de Monaco offre un regard inĂŠdit Ă la production de l’artiste Ă travers deux ensembles thĂŠmatiques et plus de 150 Ĺ“uvres. “Picasso CĂ´te d’Azurâ€? rĂŠvèle les liens privilĂŠgiĂŠs que l’artiste a entretenus avec la CĂ´te d’Azur entre 1920 et 1946 ; “Picasso dans la collection Nahmadâ€? prĂŠsente une importante sĂŠlection d’œuvres issues de cette collection privĂŠe remarquable. “MONACO FĂŠTE PICASSOâ€?, la mostra in FRUVR Ă€QR DO VHWWHPEUH DO *ULPDOGL )RUXP di Monaco offre uno sguardo inedito alla produzione dell’artista attraverso due insiemi tematici e oltre 150 opere. “Picasso CĂ´te d’Azurâ€? si concentra sui legami privilegiati

Marcel Breuer, IBM La Gaude, Building 1, frontage and poles, 1962. ph. Guillemaut /property of MBA

DESIGN PARADE 8. During the international competition open to young designers, Villa Noailles in Hyères will be organising various different exhibitions running through to 29th September. The salles voÝtÊes will be hosting the ten designers in the competition at Bertjan Pot Squash Club and swimming pool, Marcel Breuer in the main building and Tour des Templiers, Aldo Bakker in the gym, Julie Richoz in the new gallery, India Mahdavi in the entrance area, and Julien Renault on landings 1 and 2. villanoailles-hyeres.com

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Photo : Centre commercial Akmerkez, Istanbul (plafonds lumineux) - Architecte : Filiz Yilmaz - Installateur : TTI Elektrik Elektronik

Š Studio Erick Saillet - Prison St Paul, Lyon

STUDIO ERICK SAILLET An expert in photographing architecture and design, Erick Sailler is the head of an important agency in the 7th arrondissement of Lyons. His work ranges from outdoor and studio photography to competition models, photographs of completed constructions, design works and interior furnishing‌ His ÀUP WKH FRQYHUVLRQ RI DQ ROG factory into a modern loft, is one of the city’s most soughtafter addresses, and his fame has now made him one of the photographers most in demand from architecture and design magazines, not to mention monographs on architects.

Š Studio Erick Saillet – Architecte Philippe Magnin du Sauzey

STUDIO ERICK SAILLET Specializzato nelle foto di architettura e di design, Erick Saillet è a capo di un’importante agenzia di Lione, nel 7° arrondissement. Il suo campo d’attivitĂ spazia dalle foto di esterno a quelle in studio, dai modelli di concorso a quelli delle realizzazioni, passando dai soggetti di design e di arredo di interni‌ Il suo studio, ricavato dalla trasformazione di una vecchia fabbrica in loft contemporaneo, è uno degli indirizzi piĂš ricercati della cittĂ . Erik Saillet è ormai diventato un riferimento irrinunciabile per molte riviste di architettura e di GHVLJQ FRPH GL PRQRJUDĂ€H GL architetti.

Š Studio Erick Saillet – Architecte Pierre Minassian

STUDIO ERICK SAILLET SpĂŠcialisĂŠ dans la photographie d’architecture et de design, Erick Saillet est Ă la tĂŞte d’une importante agence lyonnaise situĂŠe dans le 7e arrondissement. Son domaine d’activitĂŠ englobe aussi bien la pratique extĂŠrieure de la photographie d’architecture que le travail en studio, de la maquette de concours Ă celle de rĂŠalisation, en passant par des prises de vues de design et de dĂŠcoration.... Son agence amĂŠnagĂŠe dans une ancienne usine, transformĂŠe en loft contemporain, est l’une des adresses les plus ‘courues’ de Lyon et sa renommĂŠe est dĂŠsormais devenue une rĂŠfĂŠrence incontournable pour plusieurs revues d’architecture et de design, ainsi que pour des monographies d’architectes. www.studio-ericksaillet.com

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© Studio Erick Saillet - MSH de Dijon - Nicolas Guillot Architecte

© Studio Erick Saillet – Architecte Philippe Magnin du Sauzey

© Studio Erick Saillet - Décoration : Claude Cartier Décoration

LA DERNIĂˆRE rĂŠalisation de Fabbian, “The Wingâ€? est une installation conçue par Foster+Partners. Il s’agit d’une sculpture de verre et de lumière installĂŠe au lounge de la Cathay 3DFLĂ€F j O¡DpURSRUW GH +RQJ .RQJ Cette Ĺ“uvre est composĂŠe de vingt lames de verre, de diffĂŠrentes formes et hautes de plus de trois mètres chacune, qui crĂŠent un effet absolument saisissant, notamment grâce aux LED insĂŠrĂŠes Ă la base. “The Wingâ€? fait de Fabbian une brand icon de la compagnie aĂŠrienne DVLDWLTXH HW FRQĂ€UPH OD UHQRPPpH GH cette marque parmi les excellences du secteur. ULTIMA REALIZZAZIONE di Fabbian, “The Wingâ€?, installazione ideata da Foster+Partners, è una scultura di vetro e luce che caratterizza OD ORXQJH GHOOD &DWKD\ 3DFLĂ€F DOO¡DHURSRUWR GL +RQJ .RQJ (¡ un’opera imponente con venti lame di vetro di forme diverse, alte piĂš di tre metri ciascuna, con cesellature dall’effetto stupefacente grazie ai LED inseriti alla base. L’installazione consacra Fabbian come brand icon della compagnia aerea asiatica e ne riconferma la qualitĂ mettendo in evidenza il marchio tra le eccellenze italiane nel mondo. FABBIAN’S LATEST creation, “The Wingâ€?, an installation designed by Foster+Partners, is a sculpture made of glass and light located in the &DWKD\ 3DFLĂ€F ORXQJH LQ +RQJ .RQJ Airport. This imposing work features twenty glass “bladesâ€? of various different shapes,, each over three metres tall, with chiselling creating astounding effects thanks to the LEDs incorporated in the base. The installation consecrates Fabbian as the “brand iconâ€? of this Asian airline and once again emphasises its quality by highlighting the brand as an example of Italian excellence around the world. fabbian.com

PARMI LES ÉVÉNEMENTS du Cersaie 2013 (23-27 Septembre) Ă Bologne, “Lezione alla rovesciaâ€? aura lieu le 26 septembre Ă l’Europauditorium. Riccardo Dalisi rencontrera les ĂŠlèves des instituts supĂŠrieurs de Bologne, qui se sont prĂŠparĂŠs depuis mai sur des matĂŠriaux proposĂŠs par l’architecte et qui seront invitĂŠs Ă participer Ă des ateliers dans le cadre du programme “Construir, habiter, penser “. L’historien Fulvio Irace prĂŠsentera Riccardo Dalisi. TRA GLI EVENTI del Cersaie 2013 (2327 settembre) a Bologna torna “lezione alla rovesciaâ€?. Il 26 settembre all’Europauditorium Riccardo Dalisi incontrerĂ gli studenti degli istituti superiori di Bologna, che si sono preparati Ă€Q GDO PHVH GL PDJJLR VX PDWHULDOL SURSRVWL dal designer e che saranno invitati a partecipare a esperienze di laboratorio nell’ambito del programma culturale “Costruire, abitare, pensareâ€?. A introdurre Dalisi sarĂ lo storico dell’architettura Fulvio Irace. “LEZIONE ALL ROVESCIAâ€? (Backwards Lecture) will be back as one of the events at Cersaie 2013 (23rd -27th September) in Bologna. Riccardo Dalisi will be meeting with high-school students from Bologna at the Europauditorium on 26th September. The students have been studying the subject matter proposed by the designer since may and will be asked to take part in workshop experiments as part of the “Costruire, abitare, pensareâ€? (Construct, Inhabit, Think) cultural programme. Dalisi will be introduced by the architecture historian Fulvio Irace. cersaie.it COHÉRENT avec le principe de l’entreprise de rĂŠaliser des produits ĂŠco-compatibles, Ă H[LEOHV HW pFRQRPLTXHV 0DPROL D PLV DX point un système de robinetterie Acquachiara caractĂŠrisĂŠ par sa simplicitĂŠ fonctionnelle, sa technologie sophistiquĂŠe, son design rigoureux et sa praticitĂŠ. Acquachiara est dotĂŠ de limiteurs de tempĂŠrature, de portĂŠe et d’Ênergie. Une cartouche dotĂŠe d’un système d’ÊtanchĂŠitĂŠ hydraulique avec des disques en cĂŠramique de haute prĂŠcision et Ă faible frottement, garantit, dans le temps, la Ă XLGLWp GHV PRXYHPHQWV GH UpJXODWLRQ GH OD tempĂŠrature et de la portĂŠe.

COERENTE con il principio aziendale di realizzare prodotti impostati su HFRFRPSDWLELOLWj Ă HVVLELOLWj H FRVWL DFFHVVLELOL 0DPROL KD PHVVR D SXQWR LO VLVWHPD GL rubinetteria Acquachiara che, caratterizzato da semplicitĂ funzionale e dotato di

VRĂ€VWLFDWD WHFQRORJLD VL GLVWLQJXH SHU LO GHVLJQ ULJRURVR H puro e la morbidezza dell’uso. Espressione di un’attenta ricerca progettuale, Acquachiara è dotato di limitatore di temperatura, di portata e di energia. Una cartuccia con sistema di tenuta idraulica con dischi ceramici di elevata SUHFLVLRQH D EDVVR DWWULWR JDUDQWLVFH QHO WHPSR Ă XLGLWj GHL movimenti di regolazione della temperatura e della portata. IN ACCORDANCE WITH company policy to design SURGXFWV EDVHG DURXQG HFR FRPSDWLELOLW\ Ă H[LELOLW\ DQG DIIRUGDEOH SULFHV 0DPROL KDV GHYHORSHG WKH $FTXDFKLDUD UDQJH RI WDSV DQG Ă€WWLQJV ZKLFK EDVHG DURXQG IXQFWLRQDO simplicity and sophisticated technology, stands out for its clean and simple design and the gentle way in which it can EH XVHG $FTXDFKLDUD LV Ă€WWHG ZLWK D WHPSHUDWXUH Ă RZ DQG energy limiter. A cartridge with a hydraulic sealing system with high-precision, low-friction, ceramic disks guarantees WKH Ă XLGLW\ RI PRYHPHQWV WR DGMXVW WKH ZDWHU WHPSHUDWXUH DQG Ă RZ UDWH mamoli.com .EXNOVO, la rĂŠfĂŠrence europĂŠenne du Professional 3D Printing dĂŠdiĂŠe Ă la production d’objets de design haut GH JDPPH D PLV DX SRLQW DYHF ´1RWWH +DQJLQJÂľ OD nouvelle version de la lampe best-seller de la marque, qui s’est inspirĂŠe du satellite homonyme de Pluton. Capable de renforcer l’effet suggestif de Notte “classiqueâ€?, la nouvelle lampe, disponible en version unique aux modules composables (duster), produit de nombreuses petites sphères de lumière dans l’obscuritĂŠ, et confère ainsi Ă l’espace des ĂŠmotions suggestives, dĂŠlicates, presque cĂŠlestes. Notte +DQJLQJ D pWp GHVVLQpH SDU 6HOYDJJLD $UPDQL

.EXNOVO, riferimento europeo del Professional 3D Printing dedicato alla produzione di oggetti dall’elevato GHVLJQ KD PHVVR D SXQWR FRQ ´1RWWH +DQJLQJÂľ OD QXRYD versione della lampada che, giĂ best seller del marchio, ha preso ispirazione dell’omonimo satellite di Plutone. In grado di potenziare l’effetto suggestivo di Notte “classicaâ€?, la nuova lampada, disponibile sia in versione singola a moduli componibili, determina numerose piccole sfere di luce nell’oscuritĂ , conferendo nell’ambiente emozioni suggestive e delicate che richiamano l’ineffabile PDJLD FHOHVWH 1RWWH +DQJLQJ q VWDWD GLVHJQDWD GD 6HOYDJJLD Armani. .EXNOVO, a European benchmark in Professional 3D Printing that manufactures high-quality designer objects, has developed a new version of one of the brand’s bestVHOOLQJ ODPSV WKDW LV FDOOHG ´1RWWH +DQJLQJÂľ DQG LV LQVSLUHG by the satellite of the same name orbiting around the planet Pluto. Capable of enhancing the striking effects created by old “classicâ€? Notte lamp, the new lamp available in a single cluster version producing numerous little spheres of light shining in the dark and instilling striking yet delicate emotions in the surrounding environment reminiscent of WKH LQHIIDEOH KHDYHQV 1RWWH +DQJLQJ ZDV GHVLJQHG E\ Selvaggia Armani. exnovo-italia.com

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Delta Light France 1 rue Centrale 69960 CORBAS Tél : 04 72 90 45 45 dlinfo@deltalight.fr

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FRANCE Partenaire du concours d’idées 2013 L’appart’hôtel de demain

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Luca Casonato

DESSINÉE POUR Zonca par Doriana et Massimiliano Fuksas, la sĂŠrie de lampes “Candy Collectionâ€? rĂŠpond Ă une multiplicitĂŠ kalĂŠidoscopique et spectaculaire de solutions d’Êclairage, chaque lampe ayant une structure constituĂŠe de douze faces pentagonales. Chaque pOpPHQW SHXW rWUH FRQĂ€JXUp FRPPH XQ FRUSV lampe caractĂŠrisĂŠ par sa propre ossature, oĂš la structure reste visible ou habillĂŠe par un revĂŞtement micro-perforĂŠ. Une variante pour diriger le faisceau de la lumière complète la sĂŠrie.

DISEGNATA PER Zonca da Doriana e Massimiliano Fuksas, la serie di lampade “Candy Collectionâ€? risponde a una molteplicitĂ caleidoscopica e spettacolare di soluzioni illuminanti, che prende origine da un elemento costituito da dodici facce pentagonali quale GHĂ€QL]LRQH VWUXWWXUDOH GL RJQL ODPSDGD &LDVFXQ HOHPHQWR VL SXz FRQĂ€JXUDUH FRPH XQ FRUSR lampada concepito con un’ossatura, dove la struttura è lasciata a vista o completata con un rivestimento delle facce con un motivo microforato. Completa la serie una variante per direzionare il fascio di luce. DESIGNED FOR Zonca by Doriana and Massimiliano Fuksas, the “Candy Collectionâ€? range of lamps offers a kaleidoscopic and spectacular array of lighting appliances based RQ DQ HOHPHQW FRPSRVHG RI WZHOYH SHQWDJRQDO IDFHV SURYLGLQJ WKH VWUXFWXUDO GHĂ€QLWLRQ IRU DOO WKH ODPSV (DFK HOHPHQW PD\ EH FRQĂ€JXUHG LQ WKH IRUP RI D ODPS GHVLJQHG ZLWK D IUDPH LQ ZKLFK WKH VWUXFWXUH LV HLWKHU OHIW H[SRVHG RU FRPSOHWHG E\ FRDWLQJ ZLWK D PLFUR SHUIRUDWHG pattern. The idea is to provide plenty of freedom for creativity through customised solutions and combinations of lighting features consisting of sets of coloured lamps that can be matched together. The range is completed by a model ZKRVH EHDP RI OLJKW FDQ EH FDUHIXOO\ GLUHFWHG zonca.com ROD est la nouvelle lampe de terre ĂŠlĂŠgante et rĂŠglable crĂŠĂŠ par Dante Donegani et Giovanni Lauda pour Rotaliana. Elle est caractĂŠrisĂŠe G¡XQH WLJH FRQVWLWXpH GH GHX[ FDQQHV HQ Ă€EUH de verre et de charbon de diffĂŠrents diamètres. &HOOH DX GLDPqWUH PLQHXU GRWpH GX UpĂ HFWHXU HVW Ă H[LEOH HW GpĂ€OH j O¡LQWpULHXU GH OD FDQQH PDMHXUH PRQWpH VXU OD EDVH /H UpĂ HFWHXU en aluminium moulĂŠ, est articulĂŠ et ĂŠmet un faisceau de lumière de moyenne ou de large portĂŠe, gĂŠnĂŠrĂŠ par une source LED de 24W. ROD è un’elegante e leggera lampada da terra regolabile che, compresa nella Collezione 5RWDOLDQD q Ă€UPDWD GD 'DQWH 'RQHJDQL e Giovanni Lauda. Si tratta di uno stelo di apparente esilitĂ , costituito da due canne in

Ă€EUD GL YHWUR H FDUERQLR GL GLIIHUHQWH diametro, quella con diametro minore, dove è collocata la testa GHO ULĂ HWWRUH q Ă HVVLELOH H VFRUUH all’interno della canna maggiore PRQWDWD VXOOD EDVH ,O ULĂ HWWRUH LQ alluminio pressofuso, è snodato ed emette un notevole fascio di luce diportata media o larga, originato da una sorgente LED da 24W. ROD is a light and elegant adjustable Ă RRU ODPS ZKLFK LQFOXGHG LQ WKH Rotaliana 2013 Collection, bears the hallmark of Dante Donegani and Giovanni Lauda. It consists of a seemingly slender stem composed of WZR Ă€EUHJODVV DQG FDUERQ URGV ZLWK GLIIHUHQW GLDPHWHUV 7KH RQH ZLWK WKH VPDOOHU GLDPHWHU ZKHUH WKH UHĂ HFWRU LV ORFDWHG LV Ă H[LEOH DQG UXQV WKURXJK WKH LQVLGH RI WKH ODUJHU URG Ă€WWHG RQ WKH EDVH 7KH UHĂ HFWRU ZKLFK LV PDGH of moulded aluminium, is jointed and gives off a notable average-size or ZLGH EHDP RI OLJKW RULJLQDWLQJ IURP D 24 W LED source. rotaliana.it

DESSINÉE PAR Enzo Berti pour Torremato, la collection de lampes G¡H[WpULHXU 2YR D GHV DIĂ€QLWpV HW des ressemblances avec les oronges. Grâce Ă son design parfait et Ă son caractère ĂŠsotĂŠrique, la collection s’adapte facilement Ă tous les environnements outdoor. RĂŠalisĂŠe en terre cuite de Sienne, la collection ĂŠmet de la lumière par un anneau perforĂŠ au sommet de l’abat-jour, et produit ainsi des halos doux et sinueux. Ovo a une hauteur de 44,2 cm et un diamètre de 26 cm. DISEGNATA PER Torremato da Enzo Berti, la collezione di lampade SHU HVWHUQL 2YR KD DIĂ€QLWj H SDUYHQ]H simili ai funghi ovuli. Si integra con naturalezza, ottimo design e una piacevole sensazione esoterica in ogni ambito outdoor. Realizzata in

terracotta di Siena, la collezione emette luce da un cerchio di fori all’apice del paralume, determinando aloni sinuosi e morbidi. Ovo ha altezza 44,2 cm e 26 cm di diametro.

DESIGNED FOR Torremato by Enzo Berti, the Ovo FROOHFWLRQ RI RXWGRRU ODPSV KDV SOHQW\ RI DIĂ€QLWLHV DQG VLPLODULWLHV ZLWK &DHVDU¡V PXVKURRPV ,W Ă€WV QHDWO\ RQ WKH ground, has an excellent design and adds a pleasant exoteric feel to any outdoor setting. Made of Siena terra-cotta, the collection gives off light from a circle of holes at the top of lampshade creating soft and sinuous circles of light. Ovo is 44.2 cm tall and 26 cm in diameter. torremato.com PARMI LES nouveautĂŠs de Cini&Nils, les lampes pour intĂŠrieurs FormaLa et FormaLa plus, conçues par Luta Bettonica, sont des lampes de mur, Ă LED, dimmables, pour un ĂŠclairage indirect et diffus. Il s’agit d’un “rubanâ€? de lumière Ă modeler selon ses envies, disponible en quatre longueurs. Les plus courtes sont utilisables comme appliques, alors que les plus longues sont prĂŠdisposĂŠes aux personnalisations des murs. Deux types d’alimentation : intĂŠgrĂŠe pour FormaLa ou externe pour FormaLa plus. TRA LE NOVITĂ€ GL &LQL 1LOV DQFKH O¡LPPDJLQLĂ€FD lampada per interni FormaLa e FormaLa plus che, ideata da Luta Bettonica, è da parete, a LED dimmerabile, per una illuminazione indiretta e diffusa. Si tratta di un nastro di luce da modellare secondo gradimento, disponibile in quattro lunghezze. Fra queste le piĂš corte sono utilizzabili quali applique, mentre le piĂš lunghe sono predisposte per manipolazioni fantasiose e personalizzanti delle pareti. Due i tipi di alimentatore: integrato per FormaLa o remoto per FormaLa plus. AMONG THE VHYHQ ODWHVW ZULWLQJ OLJKWLQJ DSSOLDQFHV UHFHQWO\ developed by Cini&Nils there is the visionary FormaLa and )RUPD/D SOXV LQGRRU ODPS GHVLJQHG E\ /XWD %HWWRQLFD ZKLFK FRPHV LQ ZDOO PRXQWHG /(' DQG GLPPHU YHUVLRQV IRU ERWK indirect and diffused lighting. It is actually a strip of light to be adjusted according to taste, available in four different lengths. 7KH VKRUWHVW PD\ EH XVHG IRU ZDOO PRXQWLQJ ZKLOH WKH ORQJHVW DUH LGHDO IRU FXVWRPL]HG LPDJLQDWLYH PDQLSXODWLRQV RQ ZDOOV 7KHUH DUH WZR W\SHV RI SRZHU VXSSO\ LQWHJUDWHG IRU )RUPD/D RU remote-controlled for FormaLa plus. cinienils.com

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Mirko Giorgetti Mirko Giorgetti

Media Library and Community Centre in Mokrá, Czech Republic (Century)

Mirko Giorgetti

The new square in Spezzano di Fiorano, Italy (Floor Gres)

Mirko Giorgetti

Yacht Club Porto Mirabello in La Spezia, Italy (Piemme)

The inner-city park in Imperia, Italy (Sannini Impruneta)

CERAMICS OF ITALY IN THE URBAN SPACE Le projet des espaces urbains, et des lieux publics en général, est un thème central du débat d’architecture contemporain, surtout à une époque comme la nôtre caractérisée par une aI¿rmation croissante du rôle social, relationnel et émotionnel de ces espaces ,ls associent des valeurs esthétiques, paysagères, techniques et fonctionnelles en ouvrant de nouveaux horizons créatifs, notamment grâce à la recherche développée par les entreprises du secteur, en allant de l’aménagement urbain à l’illumination et aux revrtements 'ans ce contexte, la céramique italienne est devenue une industrie de référence appréciée par les plus grands concepteurs internationaux pour ses qualités techniques et esthétiques, l’ampleur de ses gammes, de ses formats, de ses couleurs et l’originalité et l’unicité de ses produits, tels que le grès porcelaine, la terre cuite ou le klinker spécialement adaptés à ce type d’applications La résistance mécanique, chimique et hygrométrique unie à la recherche de nouvelles textures et surfaces sont les points forts de le céramique italienne qui s’af¿rme en tant qu’interprète privilégiée de prestigieuses réalisations architecturales et urbaines 'es exemples emblématiques en con¿rment le leadership international le sol en grés cérame du porche de la nouvelle place de Spezzano de Fiorano, réalisé par Floor Gres; le bord de mer en lamelles de terre cuite Sannini ,mpruneta dans le parc urbain d’,mperia ; le yacht club Porto Mirabello à La Spezia de Piemme où 11000 m2 de dalles en céramique de Piemme et Piemmegres ont été utilisés ; le palier et l’escalier de la médiathèque de Mokri %rno 5épublique 7chèque réalisés en grès cérame grand format de &entury

,l progetto degli spazi urbani, e più in generale dei luoghi pubblici, è un tema centrale del dibattito architettonico contemporaneo, soprattutto in un’epoca che come la nostra vede una sempre maggiore affermazione del ruolo sociale, relazionale ed emozionale di questi ambienti ,n essi conÀuiscono valori estetici, paesaggistici, tecnici e funzionali aprendo alla progettazione nuovi orizzonti creativi, grazie anche alla ricerca sviluppata dalle aziende di settore, all’arredo urbano, all’illuminazione, ai rivestimenti ,n questo contesto, la ceramica italiana è ormai divenuta un’industria di riferimento apprezzata dai più grandi progettisti per le qualità tecniche ed estetiche, l’ampiezza di gamme, formati, colori disponibili nonché l’originalità e unicità di prodotti, quali il grès porcellanato, il cotto o il klinker, particolarmente adeguati a questo tipo di applicazioni La resistenza meccanica, chimica e igrometica unita alla ricercatezza delle super¿ci sono i punti di forza della ceramica italiana che si fa inteprete di prestigiose realizzazioni architettoniche e urbane confermando la sua leadership sul mercato internazionale Lo dimostrano alcuni esempi emblematici, quali la nuova piazza di Spezzano di Fiorano (MO), il cui portico è stato pavimentato e rivestito con grès porcellanato di Floor Gres; il parco urbano di ,mperia, dove la passeggiata a mare è stata realizzata con listelli in cotto di Sannini ,mpruneta; lo <acht &lub Porto Mirabello a La Spezia, che ha visto l’impiego di 11 000 mq di lastre ceramiche di Piemme e Piemmegres; in¿ne, la mediateca di Mokri, nei pressi di %rno (5epubblica &eca), dove grès porcellanato in grande formato a ¿rma &entury è stato impiegato per la pavimentazione del pianerottolo e della scala esterna The design of open spaces and, more generally speaking, public places is a key issue in modern-day architectural debate, particularly at a time like ours when the social, relational and emotional aspects of these settings are increasingly coming to the fore $esthetic, landscape, technical and functional values Àow into these spaces opening up new creative horizons for design, thanks also to research carried out by companies working in ¿elds like urban furnishing, lighting and coatings :ithin this context ,talian ceramics now sets a kind of industrial benchmark admired by leading designers for its technical-aesthetic qualities, the range of its products, it formats and the colours available, not to mention the originality and uniqueness of its products, like for example porcelain tiling, terracotta and klinker cement, particularly suitable for applications like these Mechanical, chemical and hygrometric resistance combined with elaborately designed surfaces are the strong points of ,talian ceramics, which has taken on a number of prestigious architectural and urban projects, thereby asserting its leadership on the internatonal market This is demonstrated by such ¿ne examples as the new square in Spezzano di Fiorano whose portico has been paved with porcelain grès by Floor Gres; the urban park in ,mperia where the waterfront promenade has been realized with cotto listing by Sannini ,mpruneta; Porto Mirabello <acht &lub in La Spezia where 11,000 m2 of Piemme and Piemmegres ceramic slabs were used; Mokrá Media Library (near Brno in the Czech Republic) where Century’s great format porcelain grès has been used for the Àoors of the landing and external stair

Ceramics of Italy Edi.Cer. S.p.A. Viale Monte Santo, 40 41049 Sassuolo (Modena) - Italy Tel +39 0536 80 45 85 Fax +39 0536 80 65 10 www.laceramicaitaliana.it info@laceramicaitaliana.it

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AIAC – Associazione Italiana di Architettura e Critica e presS/Tfactory hanno presentato il Terzo Meeting Internazionale “Architects meet in Selinunte - L’Architettura che verrĂ â€? a cui hanno partecipato giovani architetti provenienti da tutto il mondo e personalitĂ quali Daniel Libeskind, -DPHV :LQHV H 0DVVLPLOLDQR )XNVDV L’evento, articolato in dibattiti e conferenze, si è svolto all’interno del Parco Archeologico di Selinunte, e nella mitica area del Tempio di Hera dove sono state presentate idee e progetti per architetture future e le opere del Premio Fondazione Piano GHO &RQFRUVR <RXQJ ,WDOLDQ $UFKLWHFWV GHO 3UHPLR 1D]LRQDOH Rostagno e del Premio Internazionale “Abitare il Mediterraneoâ€?. In scena LPSRUWDQWL VWXGL GL DUFKLWHWWXUD italiani. AIAC – the Italian Association of Architecture and Criticism and presS/Tfactory presented the Third International Meeting “Architects meet in Selinunte – L’Architettura che verrĂ â€? (the Architecture to come), which was based on the participation of celebrities such DV 'DQLHO /LEHVNLQG -DPHV :LQHV and Massimiliano Fuksas. The event unfolded in the Archeological Park of Selinunte, in the area of the Temple of Hera and where ideas AIAC – Association Italienne d’Architecture and projects for future architectural HW GH &ULWLTXH HW SUHV6 7IDFWRU\ RQW SUpVHQWp ZRUNV ZHUH SUHVHQWHG $V PDQ\ DV le Troisième Meeting International “Architects important Italian architecture studios meet in Selinunte â€? qui a vu la participation de participated. architetturaecritica.it, jeunes architectes provenant du monde entier et GH SHUVRQQDOLWpV FRPPH 'DQLHO /LEHVNLQG -DPHV presstletter.com :LQHV HW 0DVVLPLOLDQR )XNVDV &HW pYpQHPHQW V HVW GpURXOp j O LQWpULHXU GX 3DUF $UFKpRORJLTXH LE PARTNERSHIP entre Vimar de Selinunte, et dans la zone du Temple de Hera, et MSC Croisières, la compagnie oĂš des projets pour les architectures futures ont italienne leader dans le secteur des pWp H[SRVpV pWXGHV LWDOLHQQHV PDMHXUHV VXU FURLVLqUHV D pWp FRQĂ€UPp SRXU O DUFKLWHFWXUH VRQW SURSRVpHV / HQWUHSULVH GH 0DURVWLFD D LQVWDOOp sur l’amiral MSC Preziosa, capable G DFFXHLOOLU MXVTX j SDVVDJHUV OD VpULH FLYLOH ,GHD GH 9LPDU TXL VH FDUDFWpULVH SDU O¡pOpJDQFH HW OD VREULpWp GH OD SODTXH &ODVVLTXH DLQVL que par le design de Rondò et les OLJQHV SHUVRQQDOLVpHV DYHF XQ FKRL[ GH FRXOHXUV CONFERMATA SHU LO la partnership tra Vimar e MSC Crociere, compagnia italiana leader nelle crociere programmate lungo il Mediterraneo, il Sudafrica e il Brasile. Infatti l’azienda di Marostica ha installato anche sull’ammiraglia MSC Preziosa, capace di ospitare oltre SDVVHJJHUL OD VHULH FLYLOH ,GHD GL 9LPDU GLVWLQJXLELOH SHU OD UDIĂ€QDWH]]D VREULD GHOOD SODFFD &ODVVLFD QRQFKp per il design plastico di Rondò, linee SHUVRQDOL]]DWH GD XQD VFHOWD GL colori. THE PARTNERSHIP between Vimar and MSC Crociere has EHHQ UHFRQĂ€UPHG IRU 06& Crociere is a leading Italian company in organized cruises along the

NOCTIS annonce l'acquisition de la division %RQWHPSL &DVD /HWWL 'HVLJQ /HV ÀQDOLWpV GH FH SURMHW LQGXVWULHO VRQW pODUJLVVHPHQW GH OD JDPPH GX UpVHDX FRPPHUFLDO HW GX UpVHDX de distribution mondial de ses produits, dans l'optique d'une internationalisation croissante. 3LHUR 3ULRUL OH IRQGDWHXU HW SUpVLGHQW GH 1RFWLV DIÀUPH FRQVLGpUHU FHWWH DFTXLVLWLRQ FRPPH un investissement pour le Made in Italy, en PLVDQW VXU OD KDXWH TXDOLWp FRPPH UpIpUHQFH GH prestige. NOCTIS annuncia l’acquisizione della divisione Bontempi Casa Letti Design. Finalità del progetto industriale sono l’allargamento della gamma e l’ampliamento della rete commerciale e distributiva mondiale dei prodotti in un’ottica di sempre crescente internazionalizzazione. Piero Priori, fondatore H SUHVLGHQWH GL 1RFWLV DIIHUPD GL DYHU GHFLVR questa acquisizione quale investimento per il Made in Italy, puntando sull’alta qualità come riferimento di prestigio. NOCTIS announces the takeover of the Bontempi Casa Letti design department. The aim of the industrial project is to widen the company’s range of products and to extend its worldwide business and distributive network with an eye to greater and greater internationalization. Piero Priori, founder and 3UHVLGHQW RI 1RFWLV VWDWHG WKDW KH GHFLGHG RQ the takeover as an investment for Made in Italy products, aiming for high quality as a sign of prestige. noctis.it

Mediterranean, South Africa, and Brazil. Indeed, the company, from Marostica, has installed the civil series Idea di Vimar on LWV 06& 3UH]LRVD Ă DJVKLS ZKLFK FDQ KROG PRUH WKDQ SHRSOH 7KH VHULHV GLVWLQJXLVKHV LWVHOI IRU WKH VREHU UHĂ€QHPHQW of its Classica plate and the plastic design of Rondò, lines ZKLFK DUH FXVWRPL]DEOH LQ FRORUV vimar.it LE SYSTĂˆME 0HFFDQLFD GH 9DOFXFLQH UpSRQGH j XQ W\SH UpYROXWLRQQDLUH GH FXLVLQH pFR GXUDEOH *UkFH j VHV SRUWHV FRPSRVpHV G¡pOpPHQWV VWUXFWXUHOV LQGLYLGXHOV UHOLpV SDU GHV MRLQWV PpFDQLTXHV VDQV FROOH HW TXL GRQF QH SURGXLVHQW SDV GH IRUPDOGpK\GH 0pFDQLTXH HVW UpXWLOLVDEOH HW UHF\FODEOH /HV SRUWHV VRQW GLVSRQLEOHV HQ FRQWUHSODTXp GH VDSLQ QDWXUHO FRXFKHV YHUQL j O¡DQLOLQH SRXU GRQQHU QDWXUDOLWp RX GH IHU DYHF FDGUH HQ DOXPLQLXP DQRGLVp SOXW{W TXH GH WLVVX pODVWLTXH GH WLVVX WpĂ RQ GHUQLqUH JpQpUDWLRQ j l'aspect technique, antitache, lavable et interchangeable, car amovible et personnalisable.

IL SISTEMA Meccanica di Valcucine risponde a una rivoluzionaria tipologia di cucina eco-sostenibile. L’anta dell’intelaiatura light dispone di singoli elementi strutturali tra loro uniti mediante giunzioni meccaniche prive di colle, che non producono formaldeide, rendendo Meccanica ULXWLOL]]DELOH DOO¡ H ULFLFODELOH DO /H DQWH VRQR GLVSRQLELOL LQ OHJQR PXOWLVWUDWR GL DEHWH QDWXUDOH VWUDWL verniciato all’anilina per conferire naturalitĂ , oppure in ferro con telaio in alluminio anodizzato, piuttosto che in tessuto HODVWLFR GL WHOD WHĂ RQDWD GL XOWLPD JHQHUD]LRQH GDOO¡DVSHWWR tecnico, e con prerogative antimacchia, di lavabilitĂ e di LQWHUFDPELDELOLWj SRLFKp DVSRUWDELOL H SHUVRQDOL]]DELOL VALCUCINE’S Sistema Meccanica responds to the need for a revolutionary type of eco-sustainable. Indeed, the door frames are provided with single structural elements that are fastened through mechanical junctions that make no use of glue and no formaldehyde emissions, thus rendering 0HFFDQLFD UHXVDEOH DQG UHF\FODEOH 7KH GRRUV DUH HLWKHU LQ PXOWLOD\HU OD\HU QDWXUDO VSUXFH ZRRG YDUQLVKHG with aniline - which adds to its natural quality - or in iron with an anodized aluminum frame, or in a state-of-the-art HODVWLF 7HĂ RQ IDEULF ZLWK D KLJK WHFK ORRN ZKLFK LV VWDLQ resistant, washable, and interchangeable, as the doors are removable and can be customized. valcucine.it

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ABOU DHABI. L’exposition “Naissance d’un musĂŠeâ€? organisĂŠe par le Louvre Abou Dhabi Ă Manarat al Saadiya porte Ă nouveau l’attention sur l’ambitieux projet du district culturel de l’Île de Saadiyat (un investissement estimĂŠ Ă 27 PLOOLDUGV GH GROODUV Ă€QDQFpV par le Gouvernement des Emirats) qui tarde Ă voir le jour. Les inaugurations du Louvre Abou Dhabi (Jean Nouvel), du Guggenheim Abou Dhabi (Frank Gehry) et du Zayed National Museum (Norman Foster), prĂŠvus entre 2012 et 2013 sont loin d’être respectĂŠes, la conjoncture ĂŠconomique ayant freinĂŠ les enthousiasmes et surtout les disponibilitĂŠs Ă€QDQFLqUHV (Q HVW SRVpH OD SUHPLqUH SLHUUH GX /RXYUH $ERX Dhabi, mais son inauguration annoncĂŠe pour 2015 a dĂŠjĂ ĂŠtĂŠ reportĂŠe Ă 2016, mĂŞme date prĂŠvue pour l’ouverture du Zayed National Museum, alors que pour le Guggenheim Abou Dhabi on parle de l’annĂŠe 2017. Quelques signaux sont pourtant encourageants, comme le cette exposition, ou l’enrichissement de la collection du Guggenheim Abou Dhabi qui organise en QRYHPEUH GHV $WHOLHUV G¡DUW DĂ€Q de parler du futur musĂŠe. ABU DHABI. La mostra “Naissance d’un musĂŠeâ€? organizzata dal Louvre Abu Dhabi a Manarat al Saadiyad, riporta l’attenzione sull’ambizioso progetto del distretto culturale dell’Isola di Saadiyat (un investimento di PLOLDUGL GL GROODUL Ă€QDQ]LDWL dagli Emirati Arabi) che tarda a concretizzarsi. Le inaugurazioni del Louvre Abu Dhabi (Jean Nouvel) e dello Zayed National Museum (Norman Foster), previste tra il 2012 e 2013, sono ben lungi dall’essere rispettate a causa della congiuntura economica che ha “sedatoâ€? gli entuasmi e soprattutto le GLVSRQLELOLWj Ă€QDQ]LDULH 1HO 2012 posa della prima pietra del Louvre Abu Dhabi, ma la sua inaugurazione annunciata SHU LO q JLj VOLWWDWD QHO 2016, come per il Zayed National Museum: anche per il Guggheneim Abu Dhabi si parla di uno slittamento dell’apertura al 2017. Ma qualche segnale fa comunque ben sperare: per esempio questa mostra, o il continuo arricchimento della collezione del Guggenheim Abu Dhabi e l’organizzazione ad Abu Dhabi di una serie di laboratori d’arte.

Jean Nouvel, Louvre Abu Dhabi Museum

Frank Gehry, Guggenheim Abu Dhabi

Norman Foster, Zayed-National Museum

ABU DHABI. The exhibition “Naissance d’un musĂŠeâ€? organised by the Abu Dhabi Louvre, on display in Manarat al Saadiyad, focuses attention on the ambitious project for a cultural district on 6DDGL\DW ,VODQG ELOOLRQ Ă€QDQFHG E\ WKH (PLUDWHV Government). The plans to open the new facilities in 2012-2013 are far from being respected; the economic turndown has “dampenedâ€? all enthusiasm DQG PRVW VLJQLĂ€FDQWO\ GUDLQHG WKH Ă€QDQFLDO UHVRXUFHV

DYDLODEOH 7KH ÀUVW VWRQH RI WKH $EX 'KDEL /RXYUH ZDV ODLG LQ EXW LWV RIÀFLDO RSHQLQJ SODQQHG IRU KDV EHHQ delayed to 2016, when Zayed National Museum is also planned WR RSHQ ZKLOH WKH GDWH VHW IRU WKH RIÀFLDO RSHQLQJ RI WKH $EX Dhabi Louvre is now 2017. But there are some encouraging signs, such as this exhibition, not to mention the constant enhancing of the Abu Dhabi Guggenheim and the organisation of a series of art workshops in Abu Dhabi in November. saadiyatculturaldistrict.ae - louvre.fr/louvre-abou-dabi

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Ivelisse Jimenez, Detour #21, 2012 LES 5 PREMIERS PRIX pour l'annĂŠe 2012-2013 de la septième ĂŠdition du 3UL[ $UWH /DJXQD RQW pWp DWWULEXpV /H prestigieux jury international, prĂŠsidĂŠ par Igor Zanti, critique et conservateur indĂŠpendant, a proclamĂŠ les laurĂŠats dans les cinq catĂŠgories: Peinture, Ivelisse Jimenez (Santurce, Porto Rico) ; 3KRWRJUDSKLH 5LFKDUG $QVHWW /RQGUHV 8. 9LGHR $UW 3HUIRUPDQFH &DUORV 0DUWLHO /D +DYDQH &XED 6HFWLRQ $UW 9LUWXHO Nirit Zer (JĂŠrusalem, IsraĂŤl) ; Sculpture, Constantin Zlatev (Ruse, Bulgarie). PROCLAMATI I 5 vincitori assoluti per il 2012-2013 della settima edizione GHO 3UHPLR $UWH /DJXQD /¡LOOXVWUH giuria internazionale, presieduta da Igor Zanti, critico e curatore indipendente, ha assegnato la vittoria nelle cinque categorie del Premio rispettivamente a: Jvelisse Jimenez (Santurce, Porto Rico) SHU OD 6H]LRQH 3LWWXUD D 5LFKDUG $QVHWW /RQGUD 8. SHU OD VH]LRQH IRWRJUDĂ€D D &DUORV 0DUWLHO /D +DEDQD &XED SHU OD sezione video arte performance; a Nirit Zer (Gerusalemme, Israele) per la sezione $UWH 9LUWXDOH D &RQVWDQWLQ =ODWHY 5XVH Bulgaria) per la sezione Scultura. THE 5 ABSOLUTE winners for the 2012 VHYHQWK HGLWLRQ RI WKH $UWH /DJXQD $UW 3UL]H KDYH EHHQ DQQRXQFHG $Q LOOXVWULRXV international jury chaired by Igor Zanti, an independent art critic and curator, awarded WKH SUL]H LQ WKH Ă€YH FDWHJRULHV UHVSHFWLYHO\ to : Jvelisse Jimenez (Santurce, Puerto Rico) for the Painting Section; Richard $QVHWW /RQGRQ 8. IRU SKRWRJUDSK\ &DUORV 0DUWLHO /D +DEDQD &XED IRU YLGHR art performance; Nirit Zer (Jerusalem, ,VUDHO IRU 9LVXDO $UWV DQG &RQVWDQWLQ Zlatev (Ruse, Bulgaria) for Sculpture. premioartelaguna.it

PARMI LES INITIATIVES de l’ÊvĂŠnement milanais Fuori Salone s'est signalĂŠe l'exposition nĂŠe du concours “Deco Terâ€?, qui a vu la participation de 70 designers rĂŠunis en 17 groupes de travail, avec 40 prototypes rĂŠalisĂŠs, accompagnĂŠs de 40 entreprises lombardes dans OH GRPDLQH GX GHVLJQ / H[SRVLWLRQ SUpVHQWpH j O 8QLYHUVLWp 6WDWDOH GH 0LODQ j O¡RFFDVLRQ GH ´+\EULG $UFKLWHFWXUH 'HVLJQÂľ pYpQHPHQW organisĂŠ par Interni, a mis en ĂŠvidence les projets de jeunes designers dans quatre domaines : ameublement urbain, ameublement des espaces de commerce, de restauration et de structures WRXULVWLTXHV SDFNDJLQJ GDQV OH VHFWHXU GX IRRG EHYHUDJH DLQVL que l'illumination et la signalĂŠtique pour les espaces publics. Des chaises, des bancs, des tables, des porte-parapluies, des signalĂŠtiques lumineuses, des lampes, des jardinières, des bouteilles ont dĂŠvoilĂŠ un surprenant rĂŠpertoire d’idĂŠes en stimulant de nouvelles recherches et en exaltant la crĂŠativitĂŠ qui alimente et supporte le Made in Italy dans le monde. TRA LE INIZIATIVE che rientrano tra i Fuori Saloni del Mobile organizzati a Milano nel corso dei Saloni di Primavera, si è distinta la mostra nata dal Bando “Deco Terâ€?, che ha visto la partecipazione di 70 designer riuniti in17 gruppi di lavoro, con 40 SURWRWLSL UHDOL]]DWL DIĂ€DQFDWL GD LPSUHVH ORPEDUGH LPSHJQDWH sul fronte del design. La mostra, che si è articolata all’interno GHOO¡HYHQWR ´+\EULG $UFKLWHFWXUH 'HVLJQÂľ VYLOXSSDWR GD ´,QWHUQLÂľ SUHVVR O¡8QLYHUVLWj GHJOL 6WXGL GL 0LODQR KD HYLGHQ]LDWR OH LGHH progettuali dei giovani designer impegnati nell’interpretazione delle quattro aree tematiche proposte: l’arredo urbano per distretti commerciali; l’arredo per locali commerciali, pubblici esercizi e VWUXWWXUH WXULVWLFKH LO SDFNDJLQJ QHO VHWWRUH GHO IRRG EHYHUDJH O¡LOOXPLQD]LRQH H OD VHJQDOHWLFD SHU VSD]L SXEEOLFL /¡RULJLQDOLWj H OD FUHDWLYLWj KDQQR SURGRWWR VHGXWH SDQFKLQH WDYROL SRUWD RPEUHOOL VHJQDOHWLFKH OXPLQRVH ODPSDGH Ă€RULHUH ERWWLJOLH H PROWR DOWUR sorprendendo e stimolando possibili sviluppi e ottimistiche SUHYLVLRQL JHQHUDQGR FRQWDWWL HG HVDOWDQGR TXHOOD FUHDWLYLWj FKH alimenta e promuove il Made in Italy nel mondo.

ONE OF THE INITIATIVES that has distinguished itself within the Fuori Saloni del Mobile Design Fair organized in Milan during the Spring Fairs is “Deco Terâ€?, which saw the participation of 70 designers divided into 17 work groups, with 40 implemented SURWRW\SHV EDFNHG E\ GHVLJQ Ă€UPV EDVHG LQ /RPEDUG\ 7KH VKRZ ZKLFK ZDV SDUW RI WKH ´+\EULG $UFKLWHFWXUH 'HVLJQÂľ HYHQW GHYHORSHG E\ ´,QWHUQLÂľ PDJD]LQH DW WKH 6WDWH 8QLYHUVLW\ of Milan, highlighted the ideas of the young designers devoted to the interpretation of four thematic areas: street furniture for commercial districts; furniture for commercial areas, public HVWDEOLVKPHQWV DQG WRXULVW IDFLOLWLHV SDFNDJLQJ LQ WKH IRRG beverage sector; lighting and signage in public areas. Their originality and creativity has produced stunning seats, benches, WDEOHV XPEUHOOD VWDQGV LOOXPLQDWHG VLJQV ODPSV Ă RZHU ER[HV bottles, and many other objects, thus stimulating feasible developments and optimistic forecasts, generating contacts and enhancing the creativity that fosters and promotes the Made in Italy around the world. DANILO PREMOLI a lancĂŠ “Milano Design Plaza “, un projet qui prĂŠvoit la crĂŠation d'un lieu attractif dans la ville de Milan, dĂŠdiĂŠ aux personnalitĂŠs de l'architecture. Les empreintes des mains de ces protagonistes, considĂŠrĂŠes comme les vĂŠritables stars de rĂŠfĂŠrence, VRQW SUpOHYpHV DĂ€Q G HQ REWHQLU OHV PRXODJHV GHVWLQpV j rWUH H[SRVpV

dans un musĂŠe/place ouvert aux rencontres entres les acteurs de la crĂŠativitĂŠ. InvitĂŠs par un ComitĂŠ 6FLHQWLĂ€TXH FRQVWLWXp SDU 'DQLOR Premoli, les reprĂŠsentants du contexte de l'architecture, du design et de la mode sont sollicitĂŠs j ODLVVHU JUkFH j OHXUV HPSUHLQWHV leur propre trace indĂŠlĂŠbile. La première personnalitĂŠ qui s'est SUrWpH j FHWWH LQLWLDWLYH D pWp 'DQWH Benini.

DANILO PREMOLI ha dato avvio al progetto “Milano Design Plaza “ che prevede la costituzione di un originale e FXULRVR VLWR GL FXOWR QHOOD FLWWj GL 0LODQR GHGLFDWR DOOH SHUVRQDOLWj SL VLJQLĂ€FDWLYH GHOO¡DUFKLWHWWXUD H GHOOD SURJHWWD]LRQH $ TXHVWL protagonisti vengono prelevate le impronte delle mani, quali star di riferimento, per ricavarne i calchi destinati a essere esposti in un museo/piazza aperto a soste e incontri tra i protagonisti GHOOD FUHDWLYLWj ,QIDWWL 'DQLOR Premoli ha costituito un &RPLWDWR 6FLHQWLĂ€FR FKH LQYLWD H SURJUHVVLYDPHQWH FRQWLQXHUj a invitare gli esponenti del contesto dell’architettura, del design e della moda a lasciare, con le rispettive impronte, la propria traccia indelebile. Prima SHUVRQDOLWj GLVWLQWDVL QHO SUHVWDUVL all’iniziativa è stato Dante Benini. MILANO DESIGN PLAZA for the foundation of an original, intriguing cult site in the city of Milan, devoted to the most LPSRUWDQW Ă€JXUHV LQ DUFKLWHFWXUH and design. The handprints of the participants will be molded into tiles to be displayed in an open-air museum which will constitute a meeting place for the creative celebrities. Indeed, Danilo Premoli has founded D 6FLHQWLĂ€F &RPPLWWHH ZKLFK invites and will continue to invite leading exponents in the spheres of architecture, design, and fashion, all of whom will leave their own permanent mark ZLWK WKHLU KDQGSULQWV 7KH Ă€UVW participant in the initiative was Dante Benini. milanodesignplaza.com

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KAW-BATIMAT-AP-ARCA-240x300_HD.pdf

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LA SEPTIĂˆME ĂŠdition du concours L’Aluminium Pour l’Eco-Design 2013, a vu l’attribution d’un premier prix et de deux mentions spĂŠciales. AdaptĂŠs aux espaces VRXYHQW FRQĂ€QpV GH OD YLOOH HW UpSRQGDQWV j GHV FRQWUDLQWHV environnementales de haut niveau, ces projets amĂŠliorent le bien-ĂŞtre humain en favorisant la rĂŠduction des nuisances sonores au travail, la mobilitĂŠ des personnes diabĂŠtiques ou l’optimisation de l’espace dans les logements. 1er prix j 5RELQ $SSULRXDO SRXU 1RLV\ 2SHQ 6SDFH XQ SDQQHDX d’isolation phonique pour les plateaux professionnels ouverts PHQWLRQ VSpFLDOH ´VDQWpÂľ j $OYLQ $UWKXU DYHF 'LDGD\ Care, une unitĂŠ de soin mobile pour personnes diabĂŠtiques ; PHQWLRQ VSpFLDOH ´LQGXVWULHÂľ j 3LHUUH )pOL[ SRXU ([WUXVLRQ Furnitures, une pièce extrudĂŠe pour assembler des meubles en kit, principalement destinĂŠe aux ĂŠtudiants.

pour mieux consommer l’avenir� di Violaine Bourgeois e Manon Rouaze, Haute Ecole d’Art et de Design (HEAD) di Ginevra (Svizzera) ; Secondo premio, “Migrations� di Pierre-Emmanuel Vandeputte, ENSAV, La Cambre, Bruxelles (Belgio) ; Terzo premio, “Lille bike park� di Siliang Fu, Harvard, Boston (USA).

Robin Apprioual (ENSAAMA, Paris), Noisy Open-Space

LA SETTIMA edizione del concorso l’Alluminio per EcoDesign 2013 ha visto l’assegnazione di un primo premio e due PHQ]LRQL VSHFLDOL $GDWWDWL D VSD]L VSHVVR FRQĂ€QDQWL GHOOD FLWWj H ULVSRQGHQWL D GHOOH FDUDWWHULVWLFKH GL VRVWHQLELOLWj L SURJHWWL migliorano il benessere dell’uomo e favoriscono la riduzione dei UXPRUL QHL OXRJKL GL ODYRUR OD PRELOLWj GHOOH SHUVRQH GLDEHWLFKH o l’ottimizzazione dello spazio abitativo. 1° premio a Robin $SSULRXDO SHU 1RLV\ 2SHQ 6SDFH XQ SDQQHOOR G¡LVRODPHQWR acustico per gli open space; menzione speciale “saluteâ€? ad $OYLQ $UWKXU FRQ 'LDGD\ &DUH XQLWj GL FXUD PRELOH SHU SHUVRQH diabetiche; menzione speciale industriaâ€? a Pierre FĂŠlix per Extrusion Furnitures, un modulo estruso per comporre mobili in kit, principalmente destinati agli studenti. THE SEVENTH edition of the “Aluminium for Eco-Design Âľ FRPSHWLWLRQ UHVXOWHG LQ WKH DZDUGLQJ RI D Ă€UVW SUL]H DQG two special mentions. Ideal for spaces often bordering on the FLW\ DQG FRUUHVSRQGLQJ WR WKH GLVWLQFWLYH WUDLWV RI VXVWDLQDELOLW\ the projects raise the standard of human well-being and help UHGXFH QRLVH LQ SODFHV RI ZRUN PRELOLW\ LQ WKH FDVH RI GLDEHWLFV or the optimisation of living space. First prize went to Robin $SSULRXDO IRU 1RLV\ 2SHQ 6SDFH DQ DFRXVWLF LQVXODWLRQ SDQHO for open spaces; the special mention for “healthâ€? went to Alvin $UWKXU IRU 'LDGD\ &DUH D PRELOH FOLQLF IRU GLDEHWLF SHRSOH WKH VSHFLDO PHQWLRQ IRU ´LQGXVWU\Âľ ZDV DZDUGHG WR 3LHUUH )pOL[ for Extrusion Furnitures, an extruded module for assembling IXUQLWXUH FRPLQJ LQ NLWV PDLQO\ GHVLJQHG IRU VWXGHQWV concours-alu.com COMPÉTITION internationale ouverte aux ĂŠcoles du design et d’architecture du monde entier, le Concours Lille/Design IRU &KDQJH SURSRVDLW DX[ pWXGLDQWV XQH UpĂ H[LRQ VXU le futur de 6 quartiers en mutation de la mĂŠtropole lilloise. Trois les projets laurĂŠats : 1er prix, “Les Bains, reconstruire le passĂŠ pour mieux consommer l’avenirâ€? de Violaine Bourgeois et Manon Rouaze, Haute Ecole d’Art et de Design (HEAD) de Genève (Suisse) ; 2ème prix, “Migrationsâ€? de Pierre-Emmanuel Vandeputte, ENSAV, La Cambre, Bruxelles (Belgique) ; 3ème prix, “Lille bike parkâ€? de Siliang Fu, Harvard, Boston (USA). CONCORSO internazionale aperta alle scuole di architettura e design di tutto il mondo, Lille/Design for Change 2013 ha SURSRVWR DJOL VWXGHQWL XQD ULĂ HVVLRQH VXO IXWXUR GL TXDUWLHUL in trasformazione dell’agglomerazione di Lille. Tre i progetti vincitori: Primo premio, “Les Bains, reconstruire le passĂŠ

Migrations, Pierre-Emmanuel Vandeputte

AN INTERNATIONAL competition open to schools of architecture and design from all over the world, the Lille/Design for Change 2013 asked students to think about the future of six neighbourhoods undergoing change in the agglomeration of Lille. there were three winning projects: First prize, “Les Bains, reconstruire le passĂŠ pour mieux consommer O¡DYHQLUÂľ E\ 9LRODLQH %RXUJHRLV and Manon Rouaze, Haute Ecole d’Art et de Design (HEAD) in Geneva (Switzerland) ; Second prize, ´0LJUDWLRQVÂľ E\ 3LHUUH (PPDQXHO Vandeputte, ENSAV, La Cambre, Brussels (Belgium); Third prize, “Lille ELNH SDUNÂľ E\ 6LOLDQJ )X +DUYDUG Boston (USA). design-for-change.org, lille-design.com LA PROPOSITION d’idĂŠes durables et d’Êtudes fonctionnelles sur les gĂŠomĂŠtries, les comportements et OHV Ă X[ HQYLURQQHPHQWDX[ pWDLW DX cĹ“ur de l'ĂŠdition 2013 du concours G 1DWXUDO 6\VWHPV (Q H[DPLQDQW et appliquant l'ordre structurel j OD IRUPH HW j OD IRQFWLRQ ² GHV solutions rĂŠalisables de bas en haut et basĂŠes sur les prestations de chaque W\SH GH EkWLPHQW VXU VRQ SURJUDPPH fonctionnel et sur la condition du matĂŠriel. Bien que les propositions doivent ĂŞtre techniquement rĂŠalisables, elles peuvent suggĂŠrer des visions architectoniques fantastiques pour un futur global durable. LaurĂŠats :Young Bum Kim, Hung

Kit Yuen (Corea del Sud-Hong Kong) ; 2. Erin 6DYHQ :\ PHQ /RK 86$ 0DOD\VLD ,QMX Lee, Haemee Han, Yunsun Shim (USA). D3 a ĂŠgalement annoncĂŠ les laurĂŠats du concours Housing Tomorrow 2013 axĂŠ sur la proposition de nouvelles approches dans la conception des rĂŠsidences urbaines, d’architecture d'intĂŠrieur et des objets de design. LaurĂŠalts: 1. Die Hu, Boji +X <DQJ =KDR &LQD ´/LIH RQ WKH 5RSHZD\Âľ Liu Qicai, Yue Kang, Zuo Long (Cina) “Biking/ /LYLQJÂľ ;LMLH 0D &LQD ´&LW\ 1RPDGLVPÂľ L’EDIZIONE 2013 del concorso d3 Natural 6\VWHPV ULFKLHGHYD SURSRVWH LQQRYDWLYH LGHH sostenibili e studi funzionali di geometrie, FRPSRUWDPHQWL H Ă XVVL DPELHQWDOL ,GHQWLĂ€FDQGR esaminando e applicandone l’ordine strutturale DOOD IRUPD H DOOD IXQ]LRQH ² VROX]LRQL IDWWLELOL dal basso in alto, basate sulla prestazione per ogni tipologia edilizia, programma funzionale e materiale. Le proposte dovevano essere tecnicamente fattibili, ma potevano suggerire architetture fantastiche e sostenibile. Vincitori: 1. Young Bum Kim, Hung Kit Yuen (Corea del 6XG +RQJ .RQJ (ULQ 6DYHQ :\ PHQ /RK 86$ 0DOD\VLD ,QMX /HH +DHPHH +DQ Yunsun Shim (USA). D3 ha anche annunciato i vincitori del concorso Housing Tomorrow 2013. Il concorso annuale invita a propore nuovi approcci alla progettazione di residenze urbane, di architettura di interni e di oggetti di design. Vincitori: 1. Die Hu, Boji Hu, Yang Zhao (Cina) ´/LIH RQ WKH 5RSHZD\Âľ /LX 4LFDL <XH .DQJ Zuo Long (Cina) “Biking/Livingâ€?; 3. Xijie Ma &LQD ´&LW\ 1RPDGLVPÂľ

d3 Natural System 2012: Infrastructural Flows (1st prize)

THE D3 NATURAL SYSTEMS competition 2013 called for innovative proposals, VXVWDLQDEOH WKRXJKW DQG SHUIRUPDQFH VWXG\ RI HQYLURQPHQWDO JHRPHWULHV EHKDYLRUV DQG Ă RZV %\ LGHQWLI\LQJ H[DPLQLQJ DQG DSSO\LQJ WKHLU structural order on form and function-bottomup, performance-based solutions for limitless EXLOGLQJ W\SRORJLHV IXQFWLRQDO SURJUDPV DQG PDWHULDO FRQGLWLRQV PD\ EH UHDOL]HG Winners: 1. Young Bum Kim, Hung Kit Yuen (South Korea-Hong Kong); 2. Erin Saven, :\ PHQ /RK 86$ 0DOD\VLD ,QMX /HH Haemee Han, Yunsun Shim (USA). d3 also announced the winners of the Housing Tomorrow competition for 2013. This annual competition LQYLWHV WR FROOHFWLYHO\ H[SORUH GRFXPHQW DQDO\]H WUDQVIRUP DQG GHSOR\ VRFLDOO\ ² DQG HQYLURQPHQWDOO\ ² HQJDJHG DSSURDFKHV WR residential urbanism, architecture, interiors, and designed objects. Winners: 1. Die Hu, Boji Hu, <DQJ =KDR &KLQD ´/LIH RQ WKH 5RSHZD\Âľ Liu Qicai, Yue Kang, Zuo Long (China) “Biking/ /LYLQJÂľ ;LMLH 0D &KLQD ´&LW\ 1RPDGLVPÂľ d3space.org

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JK TECHNIC

Caillebotis

Création www.2502sa.com - Crédit photos JK - Fotolia

Acier I Inox I Aluminium I Polyester

www.jktEchnic.com ww JK TECHNIC I Parc Industriel Sud I Z.I. Edison Rue Abbé Lo uis Verdet I F-57200 Sarreguemines Tél : +33 (0) 33 87 98 88 76 - Fax : +33 (0) 33 87 98 82 87 - e-mail : jktechnic@jktechnic.fr

Brice Pelleschi

LA PANACEE est le nouveau centre de culture contemporaine de Montpellier installĂŠe dans l’ancien collège royal de mĂŠdecine rĂŠnovĂŠ par la Ville. A la fois lieu de production, d’expĂŠrimentation et d’exposition, la PanacĂŠe organise des ĂŠvènements dans les trois domaines de l’art contemporain, de la crĂŠation numĂŠrique et des nouvelles formes d’Êcritures, favorisant la transdisciplinaritĂŠ entre diffĂŠrents domaines. DĂŠveloppĂŠe sur 4 500 m2, elle accueille une rĂŠsidence universitaire, un auditorium, des salles d’expositions, un centre de ressources et un restaurant. “Vous avez un messageâ€? est le titre de sa première saison conçue autour les relations entre les arts et les techniques de transmission Ă distance. “Conversations ĂŠlectriquesâ€? (jusqu’au 15 dĂŠcembre 2013) est la première des quatre expositions prĂŠvues au cours de la programmation 2013-2014.

Auditorium, La PanacĂŠe, Montpellier.

LA PANACEE è il nuovo centro di cultura contemporanea di Montpellier ricavato dalla ristrutturazione dell’ex collegio reale di medicina. Luogo di produzione, sperimentazione ed esposizioni, la PanacĂŠe organizza eventi nelle tre discipline dell’arte contemporanea, della creazione digitale e delle nuove forme di scrittura al Ă€QH GL IDYRULUH OD WUDQVGLVFLSOLQDULHWj Sviluppato su 4.500 m2 il centro ospita una residenza universaria, un auditorium, sale espositive, un centro documentazione e un ristorante. “Vous avez un messageâ€? è il titolo della prima stagione che ruota attorno alle relazioni tra le arti e le tecniche di trasmissione a distanza. “Conversations ĂŠlectriquesâ€? Ă€QR DO GLFHPEUH q OD SULPD delle quattro mostre previste per il 2013-2014. LA PANACEE is Montpellier’s new contemporary cultural centre constructed out of the building that used to host the old Royal College of Medicine. A place for production, experimentation and exhibitions, PanacĂŠe organises events in three different disciplines of contemporary art, ranging from digital creation to

the very latest forms of writing, in order to encourage cross-disciplinarity. Built over an area of 4500 m², the centre accommodates a university residence, auditorium, exhibition rooms, documentation centre and restaurant. “Vous avez un messageâ€? is the name of the Ă€UVW HYHQW UHYROYLQJ DURXQG UHODWLRQV EHWZHHQ the arts and remote transmission methods. “Conversations ĂŠlectriquesâ€? (running through -XQH WK 'HFHPEHU LV WKH Ă€UVW RI IRXU exhibitions scheduled for the 2013-2014 season. lapanacee.org

URWDWH DQG UHà HFW VXQOLJKW RQWR D GDUN VFUHHQ SURGXFLQJ light shows and the spectacular effect of a natural light VWDU DERYH WKH PXVHXP ,WV IDoDGH LV PDGH XS RI SURÀOHG stone ribs, which reveal an image of Einstein’s face from different viewpoints. Light is used as a unifying theme throughout the interior, as each exhibition space draws on GLIIHUHQW OLJKWLQJ WHFKQLTXHV WR H[SORUH KLV VFLHQWLÀF WKHRULHV fosterandpartners.com

Wesley Grubbs and Mladen Balog - Invisible City? “What a Hundred Million Calls to 311 Reveal About NYCâ€?, 2010. Š Wesley Grubbs and Mladen Balog of Pitch Interactive

LE MUSÉE EINSTEIN au Mount Scopus Campus de la Hebrew University de JĂŠrusalem, conçu par Foster + Partners (ouverture prĂŠvue en 2017), est une cĂŠlĂŠbration de la lumière. Au centre d'une construction sphĂŠrique se dĂŠveloppe un amphithÊâtre sur un lit de miroirs gyroscopiques. Les miroirs tournent et UHĂ qWHQW OD OXPLqUH GX VROHLO VXU XQ pFUDQ noir, produisant ainsi un vĂŠritable spectacle de lumière et l'effet spectaculaire de la lumière d'une ĂŠtoile naturelle. /D IDoDGH HVW FRQVWLWXpH GH SURĂ€OV HQ SLHUUH modelĂŠs, et rĂŠvèle ainsi une image d'Einstein de diffĂŠrents points de vue. La lumière est XWLOLVpH FRPPH XQ WKqPH XQLĂ€FDWHXU GH tout l’intĂŠrieur. D'ailleurs chaque espace d'exposition se base sur de diffĂŠrentes WHFKQLTXHV G LOOXPLQDWLRQ DĂ€Q G H[SORUHU OHV WKpRULHV VFLHQWLĂ€TXHV G (LQVWHLQ IL MUSEO EINSTEIN al Mount Scopus Campus della Hebrew University di Gerusalemme progettato da Foster + Partners (apertura prevista nel 2017) è una celebrazione della luce. Al centro della FRVWUX]LRQH VIHULFD VL VYLOXSSD XQ DQĂ€WHDWUR su un letto di specchi giroscopici. Gli specchi UXRWDQR H ULĂ HWWRQR OD OXFH GHO VROH VX XQR VFKHUPR VFXUR SURGXFHQGR FRUHRJUDĂ€H GL luce e l’effetto spettacolare della luce di una stella naturale. La facciata è costituita GD SURĂ€OL GL SLHWUD VDJRPDWL FKH ULYHODQR un’immagine di Einstein da diversi punti di vista. La luce viene usata come tema XQLĂ€FDQWH LQ WXWWR O¡LQWHUQR LQIDWWL RJQL spazio espositivo si basa su diverse tecniche di illuminazione per esplorare le teorie VFLHQWLĂ€FKH GL (LQVWHLQ THE EINSTEIN MUSEUM at the Mount Scopus Campus of the Hebrew University in Jerusalem designed by Foster + Partners and scheduled to be ready by 2017, is a celebration of light. At the heart of the spherical building is an amphitheatre, focused on a bed of gyroscopic mirrors. The mirrors

LE MUSÉE PLESSI a ĂŠtĂŠ inaugurĂŠ Ă proximitĂŠ du lieu oĂš se trouvait la douane de l’autoroute entre l’Italie et l’Autriche. Conçu par Carlo Costa, il est le premier exemple italien d’espace-musĂŠe sur une autoroute. Il accueille des vidĂŠos, des dessins et des installations de Fabrizio Plessi ainsi que la grande Ĺ“uvre rĂŠalisĂŠe pour l’Expo de Hannover en 2000. Le nouveau complexe propose ĂŠgalement un centre de confĂŠrences, un restaurant et reprĂŠsente une expĂŠrimentation formelle et fonctionnelle, loin des aires de repos traditionnelles.

IN PROSSIMITĂ€ del luogo in cui sorgeva la dogana autostradale tra Italia e Austria, è stato inaugurato il Museo Plessi. Progettato da Carlo Costa, è primo esempio in Italia di spazio museale in autostrada. Ospita video, disegni e installazioni di Fabrizio Plessi insieme alla grande opera realizzata per l’Expo di Hannover del 2000. Il nuovo complesso propone inoltre un centro convegni, un punto di ristoro e rappresenta una sperimentazione formale e funzionale, lontana dalle tradizionali aree di sosta. PLESSI MUSEUM has been open near the former customs area between Italy and Austria. The new building designed by Carlo Costa and sponsored by Autostrada del Brennero LV WKH Ă€UVW PXVHXP DORQJ D PRWRUZD\ LQ ,WDO\ ,W KRVWV videos, drawings and installations by Fabrizio Plessi as well DV KLV JUHDW ZRUN RI DUW FUHDWHG IRU WKH +DQRYHU ([SR LQ 2000. The new complex contains a conference centre and a restaurant area too. It represents an aesthetic and functional experimental approach that is far from traditional rest areas. plessi.net

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Excellent comme Scrigno

Si plus de 3.500.000 portes coulissantes ont choisi Scrigno, il doit bien y avoir une raison!

Ce n’est pas un hasard si plus de 3.500.000 portes coulissantes ont choisi des contre-châssis Scrigno. Choisir Scrigno signifie choisir de faire confiance à la qualité de la plus grande et de la plus célèbre industrie italienne de contre-châssis pour portes coulissantes. Systèmes Scrigno: des mécanismes parfaits, adaptables à tous types de portes coulissantes.

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LOUSS est spĂŠcialisĂŠe dans l’Êtude, la conception et la fabrication en France de solutions d’Êclairage intĂŠgrant la technologie Led. Parmi les premiers Ă crĂŠer un dĂŠpartement R&D dans le domaine de l’Êclairage Led, LOuss est reconnue pour sa technologie Ă l’avant-garde et son expertise. Dernière-nĂŠe de la gamme, la collection Scapini, conçue par Benoit Lalloz. Une collection architecturale d’intĂŠrieur (shop lighting, vitrines, musĂŠographie, scĂŠnographie‌) caractĂŠrisĂŠe par son design unique et sobre, travaillĂŠ en harmonie avec la dernière technologie de Led, permettant une intĂŠgration visuelle discrète dans de multiples environnements. LOUSS è specializzata nello studio, la progettazione e la produzione in Francia di soluzioni di illuminazione che integrano la tecnologia LED. Tra i primi a creare un dipartimento R&D nel settore dell’illumazione LED, LOuss è rinomata per la sua competenza. Ultima nata della gamma, la collezione Scapini disegnata da Benoit Lalloz, una linea per l’architettura d’interni (shop lighting, YHWULQH PXVHRJUDĂ€D VFHQRJUDĂ€DÂŤ caratterizzata da un design lineare e rigoroso, in armonia con le ultime tecnologie. LED è facilmente integrabile in ambienti diversi.

LOUSS specialises in developing, designing and manufacturing lighting appliances in France incorporating LED technology. $PRQJ WKH ÀUVW FRPSDQLHV WR FUHDWH a R&D department in the LED lighting industry, LOuss is famous for its cutting-edge technology and expertise. Its latest range of products, the Scapini collection, is designed by Benoit Lalloz. A collection for interior architecture (shop lighting, shop windows, museum locations, set designs...) featuring a linear and highly precise design in tune with the latest LED technology that can easily be incorporated in various different settings. louss.fr

L’INSTALLATION rĂŠcente des barrières Gunnebo dans le siège d’un important groupe G¡DVVXUDQFH FRQĂ€UPH O¡LPSRUWDQFH G¡XQ FRQWU{OH soignĂŠ des accès. De telles prĂŠrogatives, qui associent l’esthĂŠtique, la sĂŠcuritĂŠ, le silence et OD VLPSOLFLWp G¡XWLOLVDWLRQ VRQW FHUWLĂ€pHV SDU les nouveaux couloirs rapides SpeedStile FL. Essentiels, discrets, et particulièrement compacts, ils sont versatiles et parfaitement intĂŠgrables Ă tous les environnements.

LA RECENTE installazione delle barriere Gunnebo nella sede di un importante gruppo assicurativo, riconferma l’importanza di un’accurata rilevazione degli accessi a garanzia della sicurezza e della discrezione necessaria alle informazioni custodite, senza compromettere gli equilibri e l’armonia ambientale. Tali prerogative, che conciliano estetica, sicurezza, VLOHQ]LRVLWj H VHPSOLFLWj G¡XVR VRQR FHUWLĂ€FDWH dai nuovi varchi SpeedStile FL. Essenziali, discreti e particolarmente compatti, convincono i progettisti a considerarli anche in termini di design poichĂŠ versatili e ottimamente integrabili in ogni ambiente. THE RECENT installation of Gunnebo barriers at the headquarters of an importance insurance group reasserts the importance of carefully controlled entry detection for the security and necessary safeguarding of information without compromising environmental balances and harmony. These prerogatives, which bring together aesthetics, security, noise-control DQG HDVH RI XVDJH DUH FHUWLĂ€HG E\ WKH ODWHVW SpeedStileFL gates. Simple, unobtrusive and particularly compact, they have been designed with versatility and optimum incorporation in every imaginable setting in mind. gunnebo.it TECNASFALTI-ISOLMANT, spĂŠcialiste de solutions avancĂŠes destinĂŠes Ă l’isolement acoustique, a introduit deux nouveautĂŠs dans la Ligne Cartongesso et Gomma: Isolmant Setto Acustico et Quadrotto. Isolmant Setto Acustico, est conçuĂŠ pour le remplissage du plĂŠnum des faux-plafonds et des sols surĂŠlevĂŠs, indispensable pour ne pas compromettre les prestations acoustiques des cloisons. Isolmant Quadrotto est un produit anti vibration rĂŠalisĂŠ en caoutchouc EPDM et revĂŞtu sur les deux cotĂŠs d’un textile non-tissĂŠ Ă poser sous les pieds de soutien des sols surĂŠlevĂŠs. TECNASFALTI-ISOLMANT, attenta a ottimizzare i dettagli e a proporre soluzioni standard avanzate mirate all’isolamento acustico, ha introdotto due nuove offerte nella gamma degli accessori della Linea Cartongesso e nella Linea Gomma: Isolmant Setto Acustico e Quadrotto. Isolmant Setto Acustico è studiato

SHU LO ULHPSLPHQWR GHO SOHQXP GHL FRQWURVRIĂ€WWL H GHL SDYLPHQWL sopraelevati, indispensabile per non compromettere le prestazioni acustiche del divisorio. Isolmant Quadrotto è un prodotto antivibrante in gomma EPDM rivestito sui due lati con tessuto non tessuto da posare sotto i piedini di sostegno dei pavimenti sopraelevati. TECNASFALTI-ISOLMANT, constantly focused on optimising details and proposing cutting-edge standard solutions for sound insulation purposes, has introduced two new products to its range of accessories available for the Cartongesso and Gomma lines: Isolmant Setto Acustico and Quadrotto. Attention to detail has enabled only seemingly marginal work RQ VWUXFWXUHV WR EH LQVXODWHG UHVXOWLQJ LQ QRWDEOH EHQHĂ€WV LQ terms of insulation. Isolmant Setto Acustico has an extra feature IRU OLJKWZHLJKW ZDOOV GHVLJQHG IRU Ă€OOLQJ WKH SOHQXP RI GRXEOH FHLOLQJV DQG UDLVHG Ă RRUV YLWDO IRU PDLQWDLQLQJ VRXQG LQVXODWLRQ HIĂ€FLHQF\ RI SDUWLWLRQV ,VROPDQW 4XDGURWWR LV DQ DQWL YLEUDWLRQ product made of EPDM rubber and coated on both sides with a non-fabric material to be placed beneath the support feet of UDLVHG Ă RRUV isolmant.it

LE SYSTĂˆME OUTDOOR de Album conçu par Pepe Tanzi permet d’Êclairer des espaces externes tels que des jardins, des terrasses et des galeries selon des exigences sophistiquĂŠes et très personnalisĂŠes. La technologie LED Ă 30 Volt assure une basse consommation ĂŠnergĂŠtique. Le système est constituĂŠ d’une alimentation Ă l’intĂŠrieur de poteaux et de rosaces qui fournissent de la lumière et de la puissance aux diffĂŠrents corps lumière avec un indice de protection IP67. En complĂŠment de ce programme sont prĂŠsentes des structures en arc pour l’Êclairage de parcours, de zones vertes et de pergolas.

IL SISTEMA OUTDOOR di Album, ideato da Pepe Tanzi, permette di illuminare spazi esterni quali giardini, terrazzi e ORJJLDWL VHFRQGR HVLJHQ]H VRÀVWLFDWH H SHUVRQDOL]]DWH 9L q applicata la tecnologia LED a 30 Volt, per un basso consumo energetico. Gli alimentatori si trovano all’interno di pali e rosoni, che danno luce e potenza a diversi corpi illuminanti con indice di protezione IP67. Completano il programma strutture ad arco per l’illuminazione di percorsi, zone a verde e a pergole dedicate per un’illuminazione integrata alla struttura. OUTDOOR BY ALBUM is a system designed by Pepe Tanzi for illuminating outdoor spaces, such as gardens, terraces and loggias geared to highly personalised and sophisticated requirements. The system incorporates 30Volt LED technology for low energy consumption. It is also HTXLSSHG ZLWK VXSSO\ XQLWV ÀWWHG LQVLGH SRVWV DQG URVHWWHV which supply power and light to various differences lighting appliances with a protective index of IP67. Arc structures for lighting up paths, expanses of greenery and pergolas complete the offer. album.it

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Niko Mysterious Il se fond dans le décor… …tel un caméléon, Niko Mysterious est un interrupteur unique qui se peint, se recouvre de la peinture, s’encastre dans les matériaux, une véritable invitation à la créativité ! Aujourd’hui, Niko combine le meilleur de deux mondes : la prise chargeur USB est aussi disponible dans la gamme Mysterious et devient presque invisible. Mysterious, un design sobre et minimaliste qui disparaît dans tous les murs et tous les meubles. Niko Mysterious, une exclusivité Niko !

PA-117-04

www.niko.fr

OMNIDECOR a insĂŠrĂŠ, parmi les nouvelles rĂŠalisations Falegnameria 1946, la dĂŠcoration Fabric, dessinĂŠe par la hollandaise Kiki van Eijk. AppliquĂŠe dans le produit historique d'OmniDecor, DecorFlou Mirror, Fabric crĂŠe GHV VXSHUĂ€FLHV OXPLQHXVHV HW GHV JpRPpWULHV UDIĂ€QpHV /H dessin se combine avec de nombreuses sections de tissus lĂŠgers, dont les trames et les chaĂŽnes sont traversĂŠs et UHQGXHV H[WUDRUGLQDLUHV SDU OHV UHĂ HWV LQVWDEOHV GX PLURLU Falegnameria 1946 a utilisĂŠ cette dĂŠcoration pour rĂŠaliser une sĂŠrie d'ameublements pour la zone nuit.

OMNIDECOR ha inserito, fra le recenti realizzazioni di Falegnameria 1946, il decoro Fabric che, disegnato dall’olandese Kiki van Eijk, trova applicazione nello storico prodotto di OmniDecor, DecorFlou Mirror, generando VXSHUĂ€FL OXPLQRVH H JHRPHWULH UDIĂ€QDWH ,O GLVHJQR VL combina con l’accostamento di numerose sezioni di tessuti leggeri, le cui trame e orditi vengono attraversati e UHVL VWUDRUGLQDUL GDOOH ULĂ HVVLRQL LQVWDELOL GHOOR VSHFFKLR Falegnameria 1946 ha utilizzato questo decoro per realizzare una serie di arredi dedicati alla zona notte. Always capable of astounding the interior design industry with products bursting with creativity in terms of their striking customised features for the furnishing world, Omnidecor’s latest Falegnameria 1946 range includes Fabric designed by Kiki van Eijk from the Netherlands that has been used for OmniDecor’s famous DecorFlou Mirror collection, generating luminous surfaces and elegant geometric patterns. The design features a combination of lightweight fabrics with varying sections, whose weaves and patterns are cut across and enhanced by unstable mirrorVW\OH UHĂ HFWLRQV )DOHJQDPHULD KDV XVHG WKLV GHFRUDWLYH pattern to create a range of furniture for sleeping quarters that really stands out for its beauty and stylistic quality. omnidecor.net DANS L’INTENTION de mettre Ă disposition des outils de consultation intuitifs pour la navigation de l'utilisateur, le portail Costruzioni Acciaio in Italia a ĂŠtĂŠ rĂŠnovĂŠ. Le site www.promozioneacciaio.it, grâce Ă une optimisation de ses contenus, assure une utilisation plus rapide Ă travers une interface graphique innovatrice et dynamique. La nouvelle version est compatible avec tous les appareils mobiles, en allant des smartphones aux tablettes.

CON IL PROPOSITO di consentire intuitivi strumenti di consultazione per la navigazione dell’utente, è stato aggiornato il portale delle Costruzioni in Acciaio in Italia. Infatti il sito www.promozioneacciaio. it, grazie all’ottimizzazione e alla maggiore fruibilitĂ dei contenuti, assicura un utilizzo piĂš veloce e immediato, attraverso un’interfaccia JUDĂ€FD LQQRYDWLYD H GLQDPLFD SHU promuovere maggiore interazione tra l’attivitĂ della Fondazione e il suo pubblico. La nuova versione è compatibile con tutti i device mobili, dagli smartphone ai tablet. WITH A VIEW to providing intuitive FRQVXOWDWLRQ WRROV IRU ,QWHUQHW VXUĂ€QJ purposes, Costruzioni in Acciaio in Italia’s (Steel Constructions in Italy) website has been updated. Thanks to the optimising of its contents to make them easier to access, www.promozioneacciaio.it is much faster and simpler to surf around, thanks to an innovative and dynamic interface fostering greater interaction between the Foundation’s operations and the people they are aimed at. The new version is compatible with all mobile devices ranging from smartphones to tablets. promozioneacciaio.it

C’EST AU cĹ“ur des prĂŠoccupations environnementales et sociĂŠtales que la SociĂŠtĂŠ Objet Lumière a puisĂŠ son inspiration. CrĂŠatrice de solutions d’Êclairage innovantes, elle a dĂŠveloppĂŠ la collection SILI qui allie trois fonctions : la lumière ĂŠlectronique modulable et pilotĂŠe, l’acoustique intĂŠgrĂŠe au design et l’acoustique dynamique. Avec ses collections modulables, Objet Lumière marque sa volontĂŠ d’instaurer un sentiment de bien-ĂŞtre et de confort au sein des lieux de vie, de travail, de vente, d’accueil et de dĂŠtente. DiffĂŠrentes enseignes lui IRQW GpMj FRQĂ€DQFH SRXU OD UpDOLVDWLRQ de la correction acoustique et l’installation lumineuse : Bouygues Immobilier, Strada Marketing.

ISPIRANDOSI alle tematiche ambientali e sociali, Objet Lumière ha creato SILI, una collezione che coniuga tre funzioni: luce elettronica modulabile e guidata, acustica integrata nel design e acustica dinamica. Le collezioni modulabili di Objet Lumière traducono la volontĂ di instaurare un sentimento di benessere e di confort nei luoghi di vita, di lavoro, di vendita, di ricevimento e di relax. Bouygues Immobilier, Strada Marketing e altre societĂ hanno scelto Objet Lumière per le loro istallazioni luminose. DRAWING inspiration from environmental and social issues, Objets Lumière has created SILI, a collection combining three functions: modular adjustable electronic lighting, acoustics incorporated in design and dynamic acoustics. Objets Lumière’s modular collections embody the desire to instill a sense of well-being and comfort in living, work, sales, reception and relaxation places. Bouygues Immobilier, Strada Marketing and other companies have chosen Objet Lumière for their lighting installations. objet-lumiere.com LE CONCEPT de “green buildingâ€? a ĂŠtĂŠ l'une des prioritĂŠs de la rencontre sur les thèmes des bâtiments Ă zĂŠro ĂŠnergie, de la durabilitĂŠ, de l'innovation dans l’amĂŠnagement GX WHUULWRLUH HW GHV V\VWqPHV GH FHUWLĂ€FDWLRQV des constructions en brique. A cette occasion Winerberger, leader de la brique terre cuite, a prĂŠsentĂŠ ses solutions les plus avancĂŠes. Des cas d’Êtudes sur les principales thĂŠmatiques liĂŠes Ă l'ĂŠconomie d'ĂŠnergie, Ă la rĂŠsistance structurelle, Ă la construction de Bâtiments à Énergie presque nulle et au système de FHUWLĂ€FDWLRQ LQGpSHQGDQW /(('ÂŽ ont ĂŠtĂŠ au cĹ“ur de l’Êvènement. IL PRESS TOUR organizzato da Wienerberger Italia è stato l’occasione di un confronto GLUHWWR FRQ OD VWDPSD GL VHWWRUH VX (GLĂ€FL D Energia quasi zero, sostenibilitĂ , innovazione nella progettazione del territorio, sistemi di FHUWLĂ€FD]LRQH FROOHJDWL DOO¡XVR GHO ODWHUL]LR Riferimento prioritario dell’evento è stato il concetto di “green buildingâ€?, presentato attraverso le soluzioni Winerberger e le testimonianze di alto prestigio e competenza dei professionisti presenti all’evento. Dopo la visita allo stabilimento produttivo di Mordano, si è svolta una tavola rotonda in cui sono stati presentati casi studio sulle principali tematiche legate al risparmio energetico, alla resistenza VWUXWWXUDOH DOOD FRVWUX]LRQH GL (GLĂ€FL D (QHUJLD TXDVL =HUR H DO VLVWHPD GL FHUWLĂ€FD]LRQH indipendente LEEDÂŽ. PRESS TOUR organised by Wienerberger Italia last May provided the chance to directly confront specialist press about the issue of almost zero-energy buildings, sustainability, innovation LQ WHUULWRULDO GHVLJQ DQG FHUWLĂ€FDWLRQ V\VWHPV connected with the use of brick. The event mainly focused on “green buildingâ€? introduced through Winerberger solutions and prestigious testimonials and experts attending the event. After visiting the manufacturing plant in Mordano, there was a roundtable presenting case studies on the main issues connected with energy-saving, structural durability, almost zeroenergy buildings and the LEEDÂŽ independent FHUWLĂ€FDWLRQ V\VWHP wienerberger.com

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Quartier Saint-Antoine Cap d’Ail

S’ÉTENDANT SUR un terrain de deux hectares sur la commune de Cap d’Ail Ă la frontière francomonĂŠgasque, la nouvelle ZAC Saint-Antoine a ĂŠtĂŠ rĂŠcemment inaugurĂŠe après six annĂŠes de travaux. Cette opĂŠration est le rĂŠsultat d’un FKDQWLHU F\FORSpHQ FRQĂ€p j *)& &RQVWUXFWLRQ Ă€OLDOH GH %RX\JXHV HW VD VXFFXUVDOH &LUPDG *UDQG 6XG TXL D SHUPLV GH UpKDELOLWHU XQH IULFKH industrielle anciennement occupĂŠe d’une voie ferrĂŠe et d’un terrain dĂŠsaffectĂŠ d’une usine Ă gaz DĂ€Q GH FUpHU XQ TXDUWLHU DWWUDFWLI DX[ IRQFWLRQ XUEDLQHV GLYHUVLĂ€pHV 8Q SURMHW G¡HQYHUJXUH Ă€QDQFp SUHVTXH HQWLqUHPHQW SDU OD 3ULQFLSDXWp GH 0RQDFR TXL FRPELQH DX[ SDUDPqWUHV d’Êcoconception, solutions esthĂŠtiques et aspects techniques avec une attention particulière Ă l’insertion architecturale et paysagère dans un WLVVX XUEDLQ GHQVH 5pSRQGDQW DX[ EHVRLQV de la population en termes d’Êquipements SXEOLFV GH UHTXDOLĂ€FDWLRQ XUEDLQH G¡KDELWDW et de dĂŠsenclavement des quartiers Marquet et

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Marquet, il quartiere offre un nuovo quadro di vita composto da abitazioni (appartamenti sociali e per lavoratori attivi), commerci, una scuola, una palestra, servizi, parcheggi sotterranei e nuove infrastrutture, come il collegamento Marquet che serve questo e i TXDUWLHUL OLPLWURĂ€ 6FULWWXUD DUFKLWHWWRQLFD contemporanea e presenza di verde sono OH SDUROH G¡RUGLQH GHOO¡LQVLHPH 3URJHWWDWR dallo studio di architettura Alain Derbesse e l’urbanista Antoine Garcia-Diaz, il quartiere offre una grande leggibilitĂ dei volumi e dell’organizzazione degli spazi funzionali e dei percorsi alternando scorci sul Mediterraneo, SLD]]HWWH H YLH DOEHUDWH ,Q DUPRQLD FRQ LO SDHVDJJLR H JOL HGLĂ€FL HVLVWHQWL OD FRPSRVL]LRQH delle facciate alterna la linearitĂ dei blocchi residenziali all’articolazione della volumetria in pietra degli spazi dei servizi e dei parcheggi che segue il dislivello del terreno con uno sviluppo D JUDGLQDWH

DEVELOPED OVER a two-hectare plot of land in the borough of Cap d’Ail on the border between France and Monte Carlo, the new ZAC 6DLQW $QWRLQH GHFHQWO\ RSHQHG DIWHU VL[ \HDUV¡ EXLOGLQJ ZRUN 7KLV HQWHUSULVH LV WKH UHVXOW RI D massive building operation (placed in the hands RI WKH %RX\JXHV EUDQFK RI *)& &RQVWUXFWLRQ DQG LWV &LUPDG *UDQG 6XG RIĂ€FH WKDW HQDEOHG DQ ROG LQGXVWULDO HVWDWH SUHYLRXVO\ WDNHQ XS E\ DQ DEDQGRQHG JDVZRUNV DQG UDLOZD\ OLQH WR EH WUDQVIRUPHG LQWR DQ HQWLFLQJ PL[HG SXUSRVH QHLJKERXUKRRG $Q LQWULFDWH SURMHFW Ă€QDQFHG DOPRVW H[FOXVLYHO\ E\ WKH SULQFLSDOLW\ RI 0RQDFR based around eco-design, aesthetic and technical SDUDPHWHUV PDLQO\ IRFXVLQJ RQ LWV DUFKLWHFWXUDO DQG ODQGVFDSH LQVHUWLRQ LQWR D GHQVHO\ QLFH SLHFH RI XUEDQ IDEULF 0HHWLQJ WKH ORFDO SRSXODWLRQ¡V needs in terms of habitat, public facilities, urban redevelopment and links with the neighbourhoods of Fontvieille and Marquet, the quarter provides a brand-new framework for life composed of

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LA RESTAURATION de la statue en bronze de Napoléon d’Antonio Canova, est en cours. Cette œuvre est une représentation de Napoléon HQ 0DUV SDFLÀFDWHXU TXL IXW UpDOLVpH HQ Elle se trouve au centre de la cours d’honneur GX 3DODLV GH %UHUD GHSXLV /D UHVWDXUDWLRQ D pWp FRQÀpH j 'DQLHOH 3HVFDUPRQD GH OD 6XULQWHQGDQFH SRXU OHV %LHQV KLVWRULTXHV HW DUWLVWLTXHV HW HWKQR DQWKURSRORJLTXHV GH 0LODQ HW IDLW SDUWLH GHV LQLWLDWLYHV SUpYXHV SRXU O·pYpQHPHQW (;32

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MARMONIER SOLUTIONS ACOUSTIQUES. Fort d’une expérience de 40 ans dans la réduction du bruit appliquée aux secteurs des transports et de l’industrie, Marmonier a créé un département de Recherches et Innovations pour proposer des solutions acoustiques pour les espaces de vie. Explorant et exploitant l’univers des connaissances, Marmonier développe de nouveaux et très prometteurs travaux de recherche et de fabrication de solutions acoustiques. Son approche scienti¿que et pragmatique est guidée par l’atteinte d’un objectif précis, davantage de bienrtre et moins de pénibilité. $¿n de sauvegarder la dimension humaine des espaces de vie, Marmonier a mis au point une méthodologie d’identi¿cation et de compréhension de la perception du bruit créant une nouvelle génération de solutions acoustiques. Continuum offre un large choix de claustras, solutions murales ou cloisonnettes qui excellent dans tous les espaces clos où il est nécessaire d’effectuer une correction d’ambiance acoustique, non seulement sur les niveaux, mais aussi sur l’équilibre spectral et la perception sonore. Continuum améliore l’intelligibilité et la clarté de la parole et apporte équilibre et confort aux espaces de vie. Design: Aurélie Mathieu et Jérôme Pouey.

SOLUZIONI ACUSTICHE. Forte di un’esperienza di 40 anni nella riduzione del rumore applicata al settore dei trasporti e dell’industria, Marmonier ha creato un dipartimento di Ricerche e Innovazioni per proporre soluzioni acustiche per gli spazi di vita. Grazie alla sperimentazione sviluppata sfruttando l’universo delle conoscenze, Marmonier ha messo a punto degli innovativi progetti di ricerca e produzione di soluzioni acustiche. Il suo approccio pragmatico e scienti¿co è guidato dal raggiungimento di un obiettivo preciso, più benessere e meno fastidio. Al ¿ne di salvaguardare la dimensione umana degli spazi di vita, Marmonier ha perfezionato una metodologia di identi¿cazione e di comprensione della percezione del rumore creando una nuova generazione di soluzioni acustiche. Continuum offre un’ampia scelta di pannelli, elementi separatori e soluzioni murali ideali in tutti gli spazi chiusi che necessitano di una correzione acustica, non solo sui livelli, ma anche sull’equilibrio dello spettro e della percezione sonora. Continuum migliora l’intelligibilità e la chiarezza della parola e genera equilibrio e confort negli spazi di vita. Design: Aurélie Mathieu e Jérôme Pouey. SOUND SOLUTIONS. Drawing on 40 years’ experience in dampening noise in the transport and industry sectors, Marmonier has set up a Research & Innovation Department to come up with sound solutions for living spaces. Thanks to experimentation carried out based on all its knowhow and knowledge, Marmonier has developed innovative research and manufacturing projects for acoustic solutions. Its pragmatic and scienti¿c approach is geared to achieving a very speci¿c target, more well-being and less inconvenience. In order to safeguard the human aspect of living spaces, Marmonier has perfected a method of identifying and understanding how sound is perceived, creating a new generation of sound solutions. Continuum offers a wide selection of panels, partitions and wall designs ideal for all closed spaces requiring acoustic correcting, not just in terms of sound levels but also as regards the balance of the acoustic spectrum and sound perception. Continuum makes speech clearer and more intelligible and generates a sense of comfort and equilibrium in living spaces. Design: Aurélie Mathieu and Jérôme Pouey.

35, Rue du Dauphiné Le Fort 69960 Corbas, France Tel +33(0)4 72 68 75 20 Fax +33(0)4 72 68 75 22 contact@marmonier.com www.marmonier.com http://www.youtube.com/watch?v=oLWJf76wrcE O·AI 114

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BOOKS a cura di/par/by

Alda Mercante

Batman: Death by Design Written by: Chip Kidd Penciled, Inked and Cover Color by: Dave Taylor Lettered by: John J. Hill DC Comics, Burbank (California) 2012, color, 112 pp www.dccomics.com Gotham City connait un boom du marchĂŠ de la construction. Des architectes prestigieux du monde entier sont en train de rĂŠaliser des bâtiments dans toute la ville. Au sommet de ce boom, Bruce Wayne qui marque une pĂŠriode d’or de l’intelligence architectonique pour la ville. Puis commence une sĂŠrie de catastrophes. Des dysfonctionnements de tous types liĂŠs aux projets et aux chantiers – calculs et grues dĂŠfectueuses, matĂŠriaux robustes qui s’effondrent subitement, anomalies dans les software, ecc. – font des victimes dans toute la ville. Cette ĂŠtrange sĂŠrie de catastrophes qui sont apparemment dues au hasard menace de faire tomber le secteur des constructions tout entier. Batman doit rĂŠsoudre ce problème et trouver qui est derrière toute cette affaire. Gotham City sta attraversando un boom edilizio. Gli architetti piĂš prestigiosi di tutto il mondo stanno realizzando HGLĂ€FL LQ WXWWD OD FLWWj %UXFH :D\QH q una parte fondamentale di questo boom, che segna un periodo d’oro di ingegno DUFKLWHWWRQLFR SHU OD FLWWj 3RL LQL]LD XQD VHULH GL FDWDVWURĂ€ 0DOIXQ]LRQDPHQWL GL tutti i tipi legati ai progetti e ai cantieri calcoli e gru difettosi, materiali robusti che collassano improvvisamente, anomalie nei software, ecc. - causano YLWWLPH LQ WXWWD OD FLWWj 4XHVWD VHULH EL]]DUUD GL FDWDVWURĂ€ DSSDUHQWHPHQWH casuali minaccia di far cadere l’intero settore delle costruzioni. Batman deve in qualche modo risolvere il problema e trovare chi è dietro a tutta la vicenda. Gotham City is undergoing one of the most expansive construction booms

in its history. The most prestigious architects from across the globe have buildings in various phases of completion all over town. Bruce Wayne has been a key part of this boom, which signals a golden age of architectural ingenuity for the city. And then, the explosions begin. All manner of design-related malfunctions – faulty crane calculations, sturdy materials suddenly collapsing, software glitches, etc. – cause casualties across the city. This bizarre string of seemingly random catastrophes threatens to bring down the whole construction industry. Fingers are pointed as Batman must somehow VROYH WKH SUREOHP DQG ÀQG ZKRHYHU LV behind it all.

Ila Bêka and Louise Lemoine Koolhaas Houselife BêkaPartners, Bordeaux 2013, Book 140 pp and DVD: All-Region 58’ www.koolhaashouselife.com

La couverture de ce DVD-livre UpYqOH GpMj DX VSHFWDWHXU OHFWHXU TX¡LO s’agit d’une prĂŠsentation atypique GH OD 0DLVRQ j %RUGHDX[ UpDOLVpH par OMA / Rem Koolhaas. A la place de plans qui mettent en ĂŠvidence les qualitĂŠs architectoniques de la maison, le encadrement de la gouvernante Guadalupe Acedo et de ses instruments nous dĂŠmontre que ce documentaire raconte l’utilisation quotidienne de la maison. Le livre est divisĂŠ en deux parties – un “journalâ€? visuel qui reporte le texte GX Ă€OP HW XQH FRQYHUVDWLRQ DYHF OHV rĂŠalisateurs et designer Marie Bruneau et Bertrand Genier. Une interview de 11’ avec Koolhaas est ĂŠgalement inclue, ainsi qu’une prĂŠsentation d’environ une demi-heure de la sĂŠrie en 5 parties de “Living Architectureâ€?. Fin dalla sua copertina, questo DVDlibro rivela allo spettatore-lettore che si tratta di una presentazione atipica della Villa a Bordeaux realizzata da OMA / Rem Koolhaas. Invece GL VFDWWL FKH HYLGHQ]LDQR OH TXDOLWj architettoniche della casa, l’inquadratura

della governante Guadalupe Acedo e dei suoi strumenti rende chiaro che il documentario racconta l’uso quotidiano della casa. Il libro è diviso in due parti – un “diarioâ€? visivo e testuale che riporta il WHVWR GHO Ă€OP H XQD FRQYHUVD]LRQH FRQ i registi e designer Marie Bruneau e Bertrand Genier. E’ compresa anche un’intervista di 11’ con Koolhaas e una presentazione di circa mezz’ora della serie in 5 parti di “Living Architectureâ€? (di cui questa è la prima parte). From its cover, DVD-book reveals that the viewer-reader will be treated to an atypical presentation of OMA/ 5HP .RROKDDV¡V 0DLVRQ j %RUGHDX[ Instead of shots highlighting the house’s architectural qualities, the framing of housekeeper Guadalupe Acedo and her tools makes it clear the documentary is about the everyday use of the building. The book is split into two parts – a visual and textual “diary/journalâ€? WKDW HQFDSVXODWHV WKH Ă€OP DQG D FRQYHUVDWLRQ ZLWK WKH Ă€OPPDNHUV DQG designers Marie Bruneau and Bertrand Genier. With it is an 11’ interview with Koolhaas and a half-hour piece on the whole 5-part “Living Architectureâ€? VHULHV RI ZKLFK WKLV LV WKH Ă€UVW SDUW Art Carpets. Cleto Munari and Friends A cura di Marco Fazzini Skira, Ginevra-Milano 2013, pp248 ill. col. English edition (with Italian insert) Le volume met en lumière la crĂŠativitĂŠ de Cleto Munari, dans le contexte des arts appliquĂŠs, notamment la collection de tapis qu’il a rĂŠalisĂŠe avec Moret, conjointement avec d’autres designers et artistes : Lawrence Ferlinghetti, Dario Fo, Alessandro Mendini, Ettore Mocchetti, Mario Botta, Sandro Chia, Mimmo Paladino, Javier Mariscal, Deisa Centazzo.

,O YROXPH HYLGHQ]LD OD FUHDWLYLWj FKH Cleto Munari, in tempi recenti, ha manifestato nel contesto delle arti applicate, con particolare riferimento alla realizzazione della collezione di

tappeti d’arte con Moret, mediante il coinvolgimento di dieci designer e artisti nonchÊ di se stesso. Spettacolari e di forte impatto, i tappeti portano OD ÀUPD GL /DZUHQFH )HUOLQJKHWWL Dario Fo, Alessandro Mendini, Cleto Munari, Ettore Mocchetti, Mario Botta, Sandro Chia, Mimmo Paladino, Javier Mariscal, Deisa Centazzo. The volume highlights the creativity that Cleto Munari, in recent times, has manifested in the context of the applied arts, with particular reference to the collection of carpets realized with Moret, through the involvement of ten designers and artists: Lawrence Ferlinghetti, Dario Fo, Alessandro Mendini, Cleto Munari, Ettore Mocchetti, Mario Botta, Sandro Chia, Mimmo Paladino, Javier Mariscal, Deisa Centazzo.

Ronan & Erwan Bouroullec Drawing Edited by Cornel Windlin JRP|Ringier, Zurich 2013, 651 color, 215 b/w, 868 pp Les deux designers français produisent une quantitĂŠ colossale de travail. Ils ont soigneusement archivĂŠ des tonnes de dessins rĂŠalisĂŠs durant leur carrière et j SUpVHQW LOV RQW FRPSLOp FH OLYUH DYHF 850 croquis extraits de leurs carnets entre 2004 et 2012. Certaines images semblent ĂŞtre des espaces abstraits et oniriques, d’autres sont immĂŠdiatement reconnaissables, comme les premiers images de synthèse de leurs produits iconiques, et d’autres encore plus intrigantes semblent rappeler ces deux aspects. I due designer francesi producono una TXDQWLWj FRORVVDOH GL ODYRUR +DQQR accuratamente archiviato tonnellate di disegni realizzati nella loro carriera e ora hanno compilato questo libro con 850 schizzi tratti dai loro taccuini tra il 2004 e il 2012. Alcune delle immagini sembrano spazi astratti e onirici, altre sono immediatamente riconoscibili come i primi rendering dei loro iconici prodotti, altre ancora sembrano incredibilmente richiamare entrambe le cose e sono per questo piĂš intriganti. The French brothers and design duo, produce a colossal amount of work. They’ve carefully archived tons of casually scrawled drawings throughout their shared career, and now have compiled those in this book. Sourced from sketchbooks, the collected 850 works date from between 2004 and 2012. Some of the images look like dreamy abstract spaces; others are LQVWDQWO\ UHFRJQL]DEOH DV WKH Ă€UVW renderings of iconic Bouroullec products. Some, remarkably, do both, and are all the more intriguing for it.

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70 rue Jean Bleuzen 92170 Vanves Tel : +33 1 41 08 76 76

www.chenel.com

LA DIVISION BUILDING Products du Groupe Umicore, dont VMZinc est la marque, s’est associĂŠe Ă GBC Italie. Green Building Council Italie fait partie du rĂŠseau international des GBC , prĂŠsent dans de nombreux pays, au soutien du système de FHUWLĂ€FDWLRQ /(('ÂŽ /HDGHUVKLS LQ (QHUJ\ DQG (QYLURQPHQWDO 'HVLJQ SRXU OHV EkWLPHQWV VDOXEUHV pQHUJpWLTXHPHQW HIĂ€FLHQWV DYHF XQ LPSDFW HQYLURQQHPHQWDO FRQWHQX (Q 2013 Umicore s’est distinguĂŠe comme l’entreprise la plus durable du monde selon la classement Global 100. LA DIVISIONE BUILDING Products del Gruppo Umicore, di cui VMZLQF q LO PDUFKLR q GLYHQWDWD VRFLD GBC Italia. Green Building Council Italia, fa parte della rete internazionale dei GBC presente in molti Paesi, a VRVWHJQR VLVWHPD GL FHUWLĂ€FD]LRQH /(('ÂŽ /HDGHUVKLS LQ (QHUJ\ DQG (QYLURQPHQWDO 'HVLJQ SHU HGLĂ€FL VDOXEUL HQHUJHWLFDPHQWH HIĂ€FLHQWL e a impatto ambientale contenuto. Nel 2013 Umicore si è distinta come l’azienda piĂš sostenibile del mondo VHFRQGR OD FODVVLĂ€FD *OREDO THE BUILDING PRODUCTS GLYLVLRQ RI 8PLFRUH *URXS ZKRVH WUDGHPDUN LV 90=LQF KDV QRZ become a member of GBC Italia. $ QRQ SURĂ€W RUJDQL]DWLRQ *UHHQ %XLOGLQJ &RXQFLO ,WDOLD ZKLFK LV SDUW RI DQ LQWHUQDWLRQDO QHWZRUN RI *%&V DURXQG WKH ZRUOG SURPRWHV WKH /(('ÂŽ /HDGHUVKLS LQ (QHUJ\ DQG (QYLURQPHQWDO 'HVLJQ FHUWLĂ€FDWLRQ V\VWHP ZKRVH JXLGHOLQHV HVWDEOLVK SUHFLVH FULWHULD IRU WKH GHVLJQ DQG UHDOL]DWLRQ RI KHDOWK\ HQHUJ\ HIĂ€FLHQW EXLOGLQJV ZLWK D ORZ HQYLURQPHQWDO LPSDFW ,Q DFFRUGLQJ WR WKH *OREDO FODVVLĂ€FDWLRQ 8PLFRUH GLVWLQJXLVKHG LWVHOI DV WKH PRVW VXVWDLQDEOH FRPSDQ\ ZRUOGZLGH vmzinc.it DU 25 AU 28 SEPTEMBRE, Ă 9HURQDĂ€HUH VH WLHQGUD 0DUPRPDFF 2013, le salon international dĂŠdiĂŠ Ă la promotion du marbre made in Italy. 3UpVHQWV j OD PDQLIHVWDWLRQ HQYLURQ H[SRVDQWV SURYHQDQW GH SOXV GH QDWLRQV $X QLYHDX GHV exportations, l’apprĂŠciation du PDUEUH GDQV OH PRQGH HVW FRQĂ€UPpH en 2012 une croissance de 10 % Ă ĂŠtĂŠ enregistrĂŠe, dĂŠpassant ainsi 1,7 PLOOLDUGV G¡HXURV /D PDQLIHVWDWLRQ HQ cours est une rĂŠfĂŠrence absolue pour les opĂŠrateurs du secteur de la pierre HQ FRQVHQWDQW XQ GpYHORSSHPHQW GHV rencontres et des opportunitĂŠs de business. SI SVOLGE A 9HURQDĂ€HUH GDO al 28 settembre, Marmomacc 2013, salone internazionale dedicato alla promozione del marmo made in Italy in funzione dei comparti del settore lapideo costituiti dalle pietre grezze VLQR DL ODYRUDWL H GDL PDFFKLQDUL

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NOVOTEL LYON CONFLUENCE

au coeur du nouveau quartier tendance... 150 chambres modernes, bar lounge, restaurant,terrasse panoramique, salles de réunion innovantes... Tél. : 04 37 23 64 00 www.novotel.com/7325 ARCA.indd 1

24/07/13 19:09

8° ENERGY FORUM sugli

Involucri Avanzati © Martifer

© ertex solar- Geraint Davis

5-6 Novembre 2013, Bressanone, Alto Adige

Piattaforma internazionale per architetti, ingegneri, scienziati e l‘edilizia Le sessioni dell’ENERGY FORUM: Involucri Edilizi Interattivi, Adattivi e Dinamici Fotovoltaico Integrato in un Involucro Edilizio (BIPV 1) Concetti Solari per gli Edifici Storici Simulazione delle prestazioni edilizie per la progettazione e la ristrutturazione Valutare gli Investimenti nelle Ristrutturazioni Edilizie Integrazione Edilizia degli Impianti Solari Termici Certificazione di sostenibilità in pratica Modelli e Strumenti per l’Integrazione del Sistema Fotovoltaico nell’Involucro Edilizio (BIPV 2) Progettazione della Luce Diurna, Simulazione e Conformità degli Involucri Edilizi Solari Visita guidata all’Enzian Tower a Bolzano (BIPV 3)

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Per tutti gli interventi sarà disponibile la traduzione simultanea verso l’italiano e l’inglese. La quota d’iscrizione di 480,00 € comprende gli atti del convegno, due pranzi e tutte le pause caffè. I partecipanti che si registrano entrano il 30 settembre riceveranno uno sconto pari al 10% (430,00 € per prenotazioni ricevute sul nostro sito www.energy-forum.com).

Economic Forum, Monaco - Bolzano - Tel. +39 0471 340 050 - Fax +39 0471 089 703 - info@energy-forum.com - www.energy-forum.com

INNOVATIONS FOR BUILDING & ARCHITECTURE

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FUTURE 10/06/13 13:31

ART HORTICOLE. L’ÊvĂŠnement MosaĂŻcultures InternationalesÂŽ, jusqu’au 29 septembre au Jardin botanique de MontrĂŠal, est Ă la fois une compĂŠtition internationale de mosaĂŻculture et une exposition sur l’art horticole. Des Ĺ“uvres vĂŠgĂŠtales spectaculaires en deux et trois dimensions, crĂŠĂŠes par les meilleurs artistes-horticulteurs au monde autour de la thĂŠmatique Terre d’EspĂŠrance sont rĂŠalisĂŠes en respectant les principes du dĂŠveloppement durable. ARTE ORTICOLA. L’evento MosaĂŻcultures InternationalesÂŽ Ă€QR DO 29 settembre al Giardino botanico di Montreal, è al contempo un concorso internazionale di mosaico-cultura e un’esposizione sull’arte orticola. Delle opere vegetali spettacolari in due e tre dimensioni, create dai piĂš grandi artisti-orticultori del mondo attorno alla tematica Terra di Speranza sono realizzate rispettando i principi dello sviluppo sostenibile. HORTICULTURAL ART MosaĂŻcultures InternationalesÂŽ, until September 29th at the Montreal Botanical Garden, is at once an international mosaiculture competition and an exhibition of horticultural art. Spectacular plant works in two and three dimensions, created by the best artists in the world, grows around the theme Land of Hope and are made in accordance with the principles of sustainable development. mosaiculturesinternationales.ca Photos Š Guy Boily

Finlande

Repentigny

Terre-Mère

Shangai

A furniture hardware factory in China We manufacture these two slides from 1998 Un fabricant de quincaillerie de meuble chinois Nous fabriquons ces deux sÊries de rails glissants depuis l’annÊe 1998 http: //www.chinatot.com

E-email: tot@chinatot.com

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I dritto carto abbo AI 114.indd 1

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21/03/13 16:11

La revue internationale d’architecture, design et communication visuelle La rivista internazionale di architettura, design e comunicazione visiva The international magazine of architecture, design and visual communication

Septembre-Octobre/Settembre-Ottobre/September-October

Contenuti Sommaire Summary

01

Janus

Recuperiamo il futuro Regagnons notre future Let’s reclaim our future

Cité des Arts et de la Culture

EDITORIALE/EDITORIAL/EDITOR’S TEXT Cesare M. Casati

12

MONITOR Michele Bazan Giordano

06

DOMANI È IERI DEMAIN C’EST HIER TOMORROW IS YESTERDAY

12

CASO STUDIO/CAS D’ETUDE/CASE STUDY Campus Luigi Einaudi, Turin, Italy AA. VV. Joseph di Pasquale

22

PROJECTS

24 MuCEM, Marseille, France Rudy Ricciotti

32 Pont Chaban-Delmas, Bordeaux, France Lavigne Cheron Architectes

38 Health Faculty of San Jorge University Villanueva De Gállego (Zaragoza), Spain Taller Básico de Arquitectura

46 BioMuseo Puente de Vida Panama City, Panama Gehry Partners

52 Cover Image: Odires Mlászho, Book Sculpture, 2012 Brazil Pavilion, Inside/Outside (Fervenza/Mlászho/Clark/Bill/Munari) 55. Venice Art Biennal. Quote: Jason Silva (www.thisisjasonsilva.com) from the trailer of Turning into Gods.

III cartoncino sommario AI 114.indd 3

The Bow, EnCana and Cenovus HQ Calgary, Canada Foster+Partners

60

SHORT Velo Towers Seoul, South Korea - Asymptote Architecture

114 2013

Rapperswil-Jona, Switzerland :mlzd architectss Besançon, France - Kengo Kuma & Associates

Lascaux IV Cave Painting Center Montignac, France Snøhetta + Duncan Lewis, Casson Mann

Peace Pavilion Museum Gardens, Bethnal Green, London, UK Atelier Zündel Cristea

Soumaya Museum Mexico City, Mexico Fernando Romero EnterprisE

66

PROVA D’AUTORE/PREUVE D’AUTEUR/AUTHOR’S ESSAY Speedism

76

CRONACHE DELLA CITTA’ CHRONIQUES DE LA VILLE CITY CHRONICLE

Asian Cairns, Shenzen, China Vincent Callebaut Architectures

84

ARTS

Profondo digitale Profond numérique Digital Deepness Maurizio Vitta

94 ARTS La rivoluzione della 55. Biennale di Venezia La révolution de la 55. Biennale de Venise The Revolution of the 55. Venice Art Biennal Carmelo Strano

96

DESIGN COMPILATION

Carbonio/Carbone/Carbon

100

AGENDA

100

L’APPART’HÔTEL DE DEMAIN

Concours d’idées/Concorso di idee/Ideas competition

31/07/13 14:52

ÊTES-VOUS PRÊT À CHANGER ? NOUS AVONS TOUT RENVERSÉ. NOUS VOUS ÉTONNERONS ABONNEZ-VOUS La revue internationale d’architecture, design et communication visuelle La rivista internazionale di architettura, design e comunicazione visiva The international magazine of architecture, design and visual communication

RECUPERIAMO IL FUTURO

REGAGNONS NOTRE FUTUR

LET’S RECLAIM OUR FUTURE

La crisi economica ormai da diversi anni coinvolge l’intera Europa e, nonostante piccole avvisaglie di miglioramento, sembra che ancora oggi nulla faccia presagire una rapida soluzione. Tale situazione ha steso una cappa di pessimismo e di pianto greco soprattutto nel mondo delle costruzioni e dei relativi progetti e, mancando investimenti e volontĂ nell’affrontare il futuro con entusiasmo, sta progressivamente paralizzando ogni nuova iniziativa. Una malattia pericolosa e perniciosa che, oltre a eliminare dal mercato migliaia di imprese, sta coinvolgendo i giovani progettisti in una spirale di disperazione, per mancanza di committenze, senza apparenti vie di uscita. Come sempre è avvenuto nel passato durante le famose guerre mondiali occorre instaurare un regime parallelo: sopravvivere al presente e programmare il futuro. Avendo la giusta convinzione che comunque la tempesta passerĂ , e mentre cerchiamo di LQGXVWULDUFL QHO SUHVHQWH GREELDPR DSSURĂ€WWDUH SHU ULĂ HWWHUH VXOOD VLWXD]LRQH H FRQ FRUDJJLR H giusto ottimismo recuperare, soprattutto i giovani architetti, l’entusiasmo nel tentare di interpretare il futuro e cercare di non perpetuare gli errori del passato che hanno portato all’attuale congiuntura. Non è un caso se le cittĂ sono circondate da periferie invivibili, se le nostre abitazioni non corrispondono alle necessitĂ contemporanee, se la formazione dei giovani resta elitaria e tutta da riformare, se il sistema e i mezzi di trasporto sono per lo piĂš inadeguati e inquinanti, se continuiamo a costruire con tecniche artigianali e costose, se sprechiamo energia, se... Sono convinto che ora, come avvenne negli anni Venti e poi negli anni Cinquanta, siano proprio gli architetti e i designer a essere chiamati a progettare il “nuovo mondoâ€? del dopo crisi che dovrĂ necessariamente caratterizzarsi nell’individuare risposte e proposte innovative rispetto a tutti i “seâ€? citati prima. Sono proprio i progettisti che devono vincere il pessimismo e impegnarsi a inventare e progettare oggi il futuro mondo costruito, o meglio ricostruito, che dovrĂ ospitare i nostri nipoti. Possiamo pensare a una nuova Europa con XQD VRFLHWj DGHJXDWD Ă€QDOPHQWH DO JUDQGH H LQDUUHVWDELOH SURJUHVVR VFLHQWLĂ€FR FKH migliorando di conseguenza salute e formazione, dovrĂ sicuramente impegnarsi nel ristrutturare radicalmente le cittĂ e le infrastrutture e di conseguenza creare lavoro e benessere. Credo che proprio i giovani progettisti dovranno impegnarsi da subito in questa coraggiosa ricerca di trasformazione proponendo progetti e idee che vedano sempre piĂš coinvolto tutto il sistema LQGXVWULDOH H VFLHQWLĂ€FR SHU ´LQYHQWDUHÂľ QXRYL processi realizzativi che, rispettando i valori qualitativi della cultura, sappiano rimodellare e recuperare l’immenso territorio abitativo delle attuali periferie urbane per trasformarle in luoghi consoni e corrispondenti alle necessitĂ delle future generazioni. Noi, che da tempo siamo impegnati in questa impresa, aspettiamo le vostre proposte da documentare e commentare e continueremo a combattere ogni regressione di pensiero.

Cela fait plusieurs annĂŠes que la crise ĂŠconomique touche toute l’Europe et, malgrĂŠ quelques petits signes d’amĂŠlioration, encore aujourd’hui, rien ne semble laisser prĂŠsager une solution rapide. Cette situation a jetĂŠ un voile de pessimisme, surtout dans le secteur de la construction et du projet et, faute d’investissements et de volontĂŠ pour aborder l’avenir avec enthousiasme, elle paralyse progressivement toute nouvelle initiative. Une maladie grave et pernicieuse qui, non seulement ĂŠlimine des milliers d’entreprises sur le marchĂŠ, mais touche aussi les jeunes crĂŠateurs engluĂŠs dans une spirale de dĂŠsespoir, faute de clients, sans issue apparente. Comme il en a toujours ĂŠtĂŠ dans le passĂŠ avec les guerres mondiales, il faut instaurer une politique parallèle : survivre au prĂŠsent et prĂŠparer l’avenir. En restant quoi qu’il en soit convaincus que la tempĂŞte passera. Et alors que nous tentons de nous LQYHVWLU GDQV OH SUpVHQW HQ SURĂ€WHU SRXU UpĂ pFKLU sur la situation et, avec le courage et l’optimisme nĂŠcessaires, rĂŠcupĂŠrer, notamment pour les jeunes architectes, l’enthousiasme qui permettra d’interprĂŠter le futur et tenter de ne pas perpĂŠtuer les erreurs du passĂŠ, celles qui ont conduit Ă la conjoncture actuelle. Ce n’est pas un hasard si les villes sont entourĂŠes de banlieues invivables, si nos maisons ne correspondent pas aux besoins modernes, si la formation des jeunes reste ĂŠlitiste et doit ĂŞtre entièrement rĂŠformĂŠe, si le système et les moyens GH WUDQVSRUW VRQW OH SOXV VRXYHQW LQVXIĂ€VDQWV HW polluants, si nous continuons Ă construire en utilisant des techniques artisanales et coĂťteuses, si nous gaspillons l’Ênergie, si ... Je suis convaincu qu’aujourd’hui, comme il en a ĂŠtĂŠ dans les annĂŠes vingt puis dans les annĂŠes cinquante, ce sont prĂŠcisĂŠment les architectes et les designers qui sont appelĂŠs Ă concevoir le “monde nouveauâ€? de l’après-crise qui devra nĂŠcessairement se distinguer par des rĂŠpliques et des propositions novatrices Ă tous les “siâ€? du paragraphe prĂŠcĂŠdent. C’est prĂŠcisĂŠment aux designers de vaincre le pessimisme et de s’employer Ă inventer et Ă concevoir maintenant le futur monde construit, voire reconstruit, qui devra accueillir nos petitsenfants. Nous pouvons imaginer une nouvelle Europe avec XQH VRFLpWp Ă€QDOHPHQW FRPSDWLEOH DYHF OH SURJUqV inexorable de la science qui, en amĂŠliorant la santĂŠ et l’Êducation, va sĂťrement devoir se lancer dans la restructuration radicale des villes et des infrastructures et ainsi, crĂŠer des emplois et du bien-ĂŞtre. Je crois que ce sont justement les jeunes designers qui doivent se lancer dès Ă prĂŠsent dans cette recherche de transformation courageuse en proposant des projets et des idĂŠes qui impliquent toujours plus l’ensemble du système industriel et VFLHQWLĂ€TXH SRXU ´LQYHQWHU´ GH QRXYHDX[ SURFpGpV de rĂŠalisation qui, dans le respect des valeurs qualitatives de la culture, sachent remodeler et rĂŠcupĂŠrer l’immense territoire de banlieues existant pour le transformer en lieux adaptĂŠs et conformes aux besoins des gĂŠnĂŠrations futures. Nous, qui nous sommes investis depuis longtemps dans cette entreprise, nous attendons vos propositions, Ă documenter et commenter, et nous continuerons Ă lutter contre toute rĂŠgression de la pensĂŠe.

The economic crisis we have now been experiencing for several years involves the whole of Europe and, despite small signs of improvement, it seems we are still to predict a quick solution. This situation has spread a cloak of pessimism and insistent despair over the construction industry and related projects in particular and, lacking investment and the will to tackle the future with enthusiasm, it is gradually paralysing any new initiatives. A dangerous and pernicious disease that, as well as removing thousands of businesses from the market, is also dragging young designers into a spiral of desperation, due to a lack of customers, from which there is seemingly no way out. As has always happened in the past during the well-known world wars, a parallel system needs to be established: surviving the present and planning for the future. Having the right conviction that the storm will pass, while we try our best in the present, we PXVW WDNH WKLV RSSRUWXQLW\ WR UHĂ HFW RQ WKH situation. With courage and the right amount of optimism, young architects in particular must recover the enthusiasm for trying to interpret the future and to not perpetuate the errors of the past that have led us to the current juncture. It is not by chance that our cities are surrounded by uninhabitable suburbs; that our homes do not correspond to the needs of modern life; that the education of young people remains elitist and in need of reform; that the public transport system is mostly inadequate and polluting; that we are continuing to build using expensive and traditional techniques; that we are wasting energy, that... I am convinced that now, just as in the 1920s and 1950s, architects and designers should be called upon to design the post-crisis “new worldâ€? WKDW ZLOO QHHG WR EH FKDUDFWHULVHG E\ Ă€QGLQJ answers and innovative solutions to all the issues mentioned above. It is architects and designers who need to overcome pessimism and commit today to inventing and planning the future of the built world, or rebuilt world, so that it can house our grandchildren. We can think about a new Europe with a society Ă€QDOO\ LQ NHHSLQJ ZLWK WKH JUHDW XQVWRSSDEOH VFLHQWLĂ€F SURJUHVV WKDW E\ LPSURYLQJ KHDOWK DQG education, will undoubtedly have to commit to radically restructuring cities and infrastructures, creating work and prosperity as a consequence. I believe that young designers really will have to be the ones to commit right now to this brave transformation. They must put forward plans and ideas that see the increasing involvement RI WKH LQGXVWULDO DQG VFLHQWLĂ€F V\VWHP LQ RUGHU to “inventâ€? new building processes. While respecting the qualitative values of our culture, they must be capable of reshaping and recovering the vast inhabitable areas of the current suburbs to transform them into places that respond to, and are suitable for, the needs of future generations. We, who have been committed to this undertaking for some time, are waiting to document and analyse your suggestions and will FRQWLQXH WR Ă€JKW DQ\ UHJUHVVLYH WKRXJKW

Cesare Maria Casati

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Michele Bazan Giordano

ARCHITETTURE DA CANI. Dogchitecture, la prima mostra di ÂŤarchitettura caninaÂť si è inaugurata al Polyforum Siqueiros di Mexico City il 20 giugno e sta girando tutto il Paese con gran successo di pubblico. Si sa, quando ci sono di mezzo gli animaletti amici la JHQWH HQWUD LQ Ă€EULOOD]LRQH DVVDL piĂš che per gli umani. ÂŤUna svolta radicale nel concetto di casa per il caneÂť, è il motto della rassegna,

EXPO 2015? NON ESISTE! Un buon numero di colleghi stranieri H Ă€QDQFR LWDOLDQL FL KDQQR FKLHVWR nel mese di luglio, come contattare telefonicamente Expo 2015. Al QXPHUR GHOO¡XIĂ€FLR VWDPSD RIIHUWR GD VLWR XIĂ€FLDOH ULVSRQGHYD infatti, uno di quegli odiosi dischi che ripetono in continuazione: ÂŤMessaggio gratuito, questo numero è inesistenteÂť. Riprovare era inutile. Il disco – volendolo umanizzare – sembrava quasi infastidito. In effetti, era proprio cosĂŹ. Problemi tecnici? Mah! Certo che è decisamente scoraggiante sentirsi dire che la manifestazione internazionale su cui Milano punta tutto‌ non esiste. Fortunatamente, come per incanto, dopo alcuni giorni, ha risposto una voce umana. Problema risolto. La vicenda ci ha ricordato uno splendido racconto GL 7RPPDVR /DQGROĂ€ Milano non esiste. Cose che capitano, certo, ma che non dovrebbero capitare.

EXPO 2015 ? INEXISTANTE ! En juillet, un certain nombre de confrères ĂŠtrangers (et mĂŞme italiens) nous ont demandĂŠ comment contacter Expo 2015 par tĂŠlĂŠphone. En effet, en composant le numĂŠro du bureau de presse indiquĂŠ sur le site RIĂ€FLHO RQ WRPEDLW VXU XQH GH ces odieuses boĂŽtes vocales qui serinait en boucle : ÂŤ Message gratuit : ce numĂŠro est inexistantÂť. Retenter s'avĂŠrait inutile. La boĂŽte vocale, si l’on veut faire de l'anthropomorphisme, paraissait mĂŞme agacĂŠe ! En fait, c’Êtait bien ça. Problèmes techniques ? Bah ! Il est vrai qu'il est plutĂ´t dĂŠcourageant de s'entendre rĂŠpondre que la manifestation internationale sur laquelle Milan a tout misÊ‌ n'existe pas. Heureusement, comme par magie, quelques jours plus tard, une voix humaine a rĂŠpondu. Problème rĂŠsolu. Cette anecdote nous a fait venir Ă l'esprit un très beau rĂŠcit GH 7RPPDVR /DQGROĂ€ Milano non esiste. Certes, ce sont des choses qui arrivent, mais qui ne devraient pas arriver.

ispirata al progetto Architecture IRU 'RJV GHO JUDÀFR JLDSSRQHVH Kenya Hara. L’architetto Esteban Suårez dello studio BNKR, insieme con l’imprenditore Felipe Fadón, fondatore del gruppo Nuugi ¥Amo a los Perros!, hanno convocato la nuova generazione di designer messicani chiedendo loro di proporre una innovativa idea residenziale canina. Si va dalla casetta ideale per i cuccioli, al rifugio che riporta l’animale all’archetipo dell’alveo materno; dalla casa esagonale che celebra l’antico rapporto d’amicizia uomocane, ponendo il primo a contatto con il secondo grazie a un oggetto VWXGLDWR DG KRF ÀQR DO SURJHWWR EDVDWR VXOOD ÀORVRÀD LQ EDVH DOOD quale gli animali non sono mascotte, bensÏ membri della famiglia, e vengono dunque avvolti in un molle spazio rotondo e protettivo. Insomma il pater familias sostituito dal canis familias. I progetti sono piÚ simbolici che concreti, lanciano idee sulle quali lavorare piuttosto che idee lavorate. Meglio comunque gli architetti per cani che gli architetti cani. Bau.

ARCHITECTURES POUR CHIENS. Dogchitecture, première exposition d'ÂŤ architecture canineÂť, a ĂŠtĂŠ inaugurĂŠe le 20 juin au Polyforum Siqueiros de Mexico City, puis a entrepris une tournĂŠe Ă travers le pays, rencontrant un vif succès auprès du public. Comme chacun sait, quand il s'agit d'animaux de compagnie les gens sont beaucoup plus curieux que quand il s'agit de personnes. ÂŤ Un changement radical dans le concept de l'abri pour chien Âť, tel est le slogan de cette manifestation qui s'inspire du projet Architecture for Dogs du graphiste japonais Kenya Hara. L’architecte Esteban SuĂĄrez de l'agence BNKR Arquitectura, avec l’entrepreneur Felipe FadĂłn, fondateur du groupe Nuugi ÂĄAmo a los Perros!, a convoquĂŠ ÂŤ la nouvelle gĂŠnĂŠrationÂť de designers mexicains en leur demandant de proposer une idĂŠe originale de ÂŤrĂŠsidence canine Âť. Nous passons ainsi de la niche idĂŠale pour les chiots au refuge qui renvoie l’animal Ă l’archĂŠtype du giron maternel, de la niche hexagonale cĂŠlĂŠbrant le vieux rapport d’amitiĂŠ entre l'homme et le chien, en mettant le premier en contact avec le second grâce Ă un objet conçu ad hoc, au projet basĂŠ sur la philosophie selon laquelle les animaux ne sont pas des mascottes mais des membres de la famille, qui ainsi sont protĂŠgĂŠs dans un espace rond et doux. Bref, le pater familias est remplacĂŠ par le canis familias. Les projets sont plus symboliques que concrets. Ils proposent des idĂŠes sur lesquelles travailler plutĂ´t que des idĂŠes matĂŠrialisĂŠes. Des architectes qui ont du chien ! Ouah ! PICCOLI ARCHITETTI CRESCONO. In meno di un anno ha giĂ coinvolto oltre 8000 fra designer, architetti e clienti di tutto il mondo. Ăˆ CoContest, piattaforma internazionale in rete dove i professionisti si offrono agli utenti. L’ha inventata, insieme con alcuni soci, Federico Schiano di Pepe, imprenditore laziale che ha studiato legge a Berkeley. Si è detto, l’ideatore: perchĂŠ non possiamo traghettare l’architettura di qualitĂ verso lidi piĂš consoni alla gente comune? Soprattutto

EXPO 2015? DOES NOT EXIST! A number of foreign (and even Italian) colleagues asked us back in July how to get into telephone contact with Expo 2015. When you called the number of WKH SUHVV RIĂ€FH JLYHQ RQ WKH RIĂ€FLDO website, all you got was one of those horrible recorded messages constantly repeating: “This is a free message, this number does not existâ€?. There was no point trying again. The recorded message - if we could give it human connotations - actually seemed to be annoyed. Indeed it was. Technical issues? Uum! In any case, it is certainly disheartening to hear that the international event on which Milan is staking everything...... does not exist. Fortunately, a few days later, as if by magic, there was a human voice on the line. Problem solved. What happened reminded us of a wonderful little story E\ 7RPPDVR /DQGROĂ€ FDOOHG Milano non esiste. These things happen, of course, but they should not. DOG ARCHITECTURE 'RJFKLWHFWXUH WKH Ă€UVW H[KLELWLRQ RQ “canine architectureâ€? that opened at the Polyforum Siqueiros in Mexico City on 20th June, is now travelling around the entire country and proving to be a real hit with the general public. Of course, as we well know, people get much more excited about their pets than they do about ordinary people. “A radical turnaround in the concept of a dog’s houseâ€? is the motto of an event inspired by the project entitled Architecture for Dogs designed by the Japanese graphic artist Kenya Hara. The architect, Esteban SuĂĄrez, from BNKR, together with the businessman Felipe FadĂłn, founder of the Nuugi ÂĄAmo a los Perros! group, summoned together “the latest generationâ€? of Mexican designers asking them to put forward innovative ideas for a dog kennel. They range from the ideal little house for puppies to a shelter that takes the animal back to the archetype of the maternal womb; then there is a hexagonal house celebrating those age-old bonds of friendship between a man and his dog, placing the former in contact with the latter thanks to a FXVWRP GHVLJQHG REMHFW DQG Ă€QDOO\ a project based on the philosophy according to which animals are not mascots but members of the family and so they must be enveloped in a soft and rotund protective space. In a nutshell, the pater familias has been replaced by the canis familias. The projects are actually more symbolic than concrete, launching ideas to be worked on rather than ideas that have been worked out. In any case, we are better off with architects for dogs than architects whose work could be done by dogs. Bow wow.

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SMALL ARCHITECTS GROW BIGGER. In less than one year it has already seen the involvement of over 8000 designers, architects and clients from all over the world. CoContest is an international platform, where professionals offer their services to users. it was invented by Federico Schiano di Pepe, a businessman from the Latium region in Italy who studied at Berkeley, in conjunction with a number of partners. The inventor asked himself the following: why can’t we ferry high-quality architecture towards shores that are better suited to ordinary people? Particularly now that we are going through a recession. No sooner said than done. Breaking with the conventional logic of competitions and updating business traditions while cancelling out bureaucratic machinery, Schiano di Pepe has created an international community that brings together the cultures of nations that are very different from each other. And it also makes them interact. An employee from Salerno is dreaming of having the furniture in his own home created by an interior designer from Oslo? No problem, CoContest puts the two of them in contact by arranging a meeting that would never have taken place without computer-based mediation. It is called crowdsourcing, an ugly trendy info-word like many others, but it does manage to sum up in one single word a rather longwinded concept in Italian: the idea of outsourcing parts of your own operations. For the time being it only operates on a small scale, no skyscrapers or tourist complexes, but who knows... small architects grow bigger. www.cocontest.com URBAN FURNISHING WITH NO FRILLS. Sustainability. An expression with all kinds of different complex meanings that the 1987 Brundtland Report described as a “balance between meeting the needs of the present without compromising the ability of future generations to meet their own needs�. Some people think that cities can be made more sustainable by starting with small things. The Grand Prix of Cannes organised by IBM proves this. Thanks to a number of simple but at the same time brilliant inventions by its designers: for example, a poster is not just a poster, it can also be a bench or even a canopy for taking shelter from the rain or even a ramp for avoiding staircases. “We were looking for ideas that can reach out to every member of the community�, so Susan Westra, Ogilvy & Mather Executive Creative Director, explained. Sic et simpliciter.

in questi tempi di recessione. Detto fatto. Scardinando la logica dei concorsi, svecchiando le tradizioni commerciali, annullando le dinamiche burocratiche, Schiano di Pepe ha creato una community internazionale che pone a confronto culture di Paesi fra loro assai diversi. E le fa dialogare. Un impiegato di Salerno sogna per la propria casa arredi ideati da un interior-designer di Oslo? Nessun problema, CoContest mette in contatto i due promuovendo un incontro che non sarebbe mai avvenuto senza

di Pepe, entrepreneur romain qui a fait des ĂŠtudes de droit Ă Berkeley. Il s'est dit : pourquoi ne pourrions-nous pas faire accoster l’architecture de qualitĂŠ Ă des rives plus accessibles pour le grand public ? Surtout en ces temps de rĂŠcession. AussitĂ´t dit, aussitĂ´t fait. En rompant avec la logique des concours, en actualisant les usages commerciaux, en assouplissant la bureaucratie, Federico Schiano di Pepe a crĂŠĂŠ une community internationale oĂš se confrontent les cultures de pays très diffĂŠrents entre eux. Et elle les fait dialoguer. Un employĂŠ de Salerne rĂŞve pour sa maison d'accessoires de dĂŠcoration spĂŠciaux, conçus par un architecte d'intĂŠrieur d'Oslo ? Qu'Ă cela ne tienne ! CoContest mettra ces deux personnes en contact en organisant un rendez-vous qui n'aurait jamais pu avoir lieu sans la mĂŠdiation informatique. Cela s'appelle crowdsourcing, un autre de ces anglicismes tendance, mais qui rend bien ce concept plutĂ´t complexe en français : externalisation ouverte d'une partie de ses activitĂŠs. Pour l'heure, l'ĂŠchelle d'intervention est encore basse, pas de gratte-ciel ni de complexes touristiques mais qui sait‌ petit architecte deviendra grand. www.cocontest.com

una mediazione informatica. Si chiama crowdsourcing, brutta info-parola di moda, come tante altre, ma che riesce a sintetizzare con un solo termine un concetto in italiano piuttosto complesso: esternalizzazione di una parte delle proprie attivitĂ . Per ora la scala di intervento è piccola, niente grattacieli nĂŠ complessi turistici ma chissà ‌ piccoli architetti crescono. www.cocontest.com

PETIT ARCHITECTE DEVIENDRA GRAND. En moins d'un an, elle a dĂŠjĂ mobilisĂŠ plus de 8 000 dĂŠcorateurs, architectes et clients du monde entier. Il s'agit de CoContest, la plateforme internationale en ligne oĂš les architectes rivalisent entre eux pour rĂŠpondre aux concours lancĂŠs par les internautes-clients. L'un des cofondateurs est Federico Schiano

ARREDO URBANO SENZA FRONZOLI. SostenibilitĂ . Termine dai complessi e multiformi VLJQLĂ€FDWL FKH LO 5DSSRUWR %UXQGWODQG GHO KD GHĂ€QLWR ÂŤequilibrio fra il soddisfacimento delle esigenze presenti senza compromettere la possibilitĂ delle future generazioni di sopperire alle proprieÂť. C’è chi pensa che si possa cominciare dalle piccole cose per rendere le cittĂ , appunto, piĂš sostenibili. Il Grand Prix di Cannes promosso da Ibm ne ha dato prova. Con una serie di semplici, ma allo stesso tempo geniali, invenzioni dei suoi designer: ad esempio, un manifesto non è solo un manifesto, ma può anche essere una panchina, o magari una pensilina per ripararsi dalla pioggia o ancora una rampa

per evitare le scale. "Volevamo idee che raggiungessero trasversalmente ogni tipologia di cittadiniÂť, ha spiegato Susan Westre, direttore creativo esecutivo di Ogilvy & Mather. Sic et simpliciter.

AMÉNAGEMENT URBAIN SANS CHICHIS. DÊveloppement durable. Locution au sens complexe et multiforme que le Rapport %UXQGWODQG UpGLJp HQ D GpÀQL  Êquilibre dans la satisfaction des besoins essentiels des gÊnÊrations du prÊsent sans compromettre la capacitÊ des gÊnÊrations futures à rÊpondre aux leurs . Certains pensent qu'il est possible de commencer par de petites choses pour que le dÊveloppement des villes devienne plus durable justement. Le Grand Prix de la catÊgorie Outdoor Cannes 2013 pour la campagne d'IBM en a ÊtÊ la preuve, avec les inventions de ses designers, à la fois simples et gÊniales. Par exemple,

XQH DIĂ€FKH Q HVW SDV VHXOHPHQW XQH DIĂ€FKH PDLV SHXW DXVVL rWUH XQ banc, voire mĂŞme un auvent pour se protĂŠger de la pluie ou encore une rampe pour ĂŠviter les escaliers. ÂŤ Nous cherchions des idĂŠes qui puissent toucher transversalement tout le monde Âť, nous a expliquĂŠ Susan Westre, directrice de crĂŠation chez Ogilvy & Mather. C'est aussi simple que cela. O¡AI 114 3

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“Le problème avec l’avenir, c’est qu’il continue à tourner en présent” “Il problema con il futuro è che continua a diventare presente” “The problem with the future is that it keeps turning into the present”

Bill Watterson

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Worldwide Aeros

Aeroscraft utilizes two innovations: the patent-pending COSH buoyancy management system (control-of-static-heaviness system, compressing and controlling helium pressure and volume), and the ceiling suspension cargo deployment (CSCD) system that automates, weight-balances, and permits terrestrial or marine cargo deployment. Its rigid shell (made from XOWUD OLJKW DOXPLQXP DQG FDUERQ ÀEHU PDWHULDOV ZRUNV LQ FRQFHUW ZLWK WKH LQWHUQDO EDOODVW FRQWURO V\VWHP ZKLFK SURYLGHV LWV YHUWLFDO WDNHRII DQG ODQGLQJ 972/ DQG KRYHU FDSDELOLW\ DW PD[ FDUJR SD\ORDG ZLWKRXW WKH XVH RI RII ERDUG EDOODVWLQJ nor need for infrastructure or ground personnel.

AEROSCRAFT Worldwide Aeros, Corp. www.aeroscraft.com $HURVFUDIW XWLOLVH GHX[ LQQRYDWLRQV OH V\VWqPH HQ DWWHQWH GH EUHYHW &26+ SRXU OD JHVWLRQ GH OD Ă RWWDLVRQ HW OH V\VWqPH &6&' SRXU OD GLVWULEXWLRQ GH OD FKDUJH GH VXVSHQVLRQ DX SODIRQG TXL DXWRPDWLVH pTXLOLEUH HW SHUPHW OD GLVWULEXWLRQ GH OD FKDUJH GDQV O¡DLU RX VXU WHUUH /D FRTXLOOH ULJLGH HQ DOXPLQLXP XOWUDOpJHU HW HQ Ă€EUH GH FKDUERQ WUDYDLOOH HQ FROODERUDWLRQ DYHF OH V\VWqPH GH FRQWU{OH GH EDOODVW LQWHUQH TXL SHUPHW OH GpFROODJH HW O¡DWWHUULVVDJH YHUWLFDO 972/ OD FDSDFLWp GH UHVWHU HQ O¡DLU DYHF XQH FKDUJH PD[LPDOH pOLPLQDQW OD QpFHVVLWp d’infrastructures et de personnel Ă terre. Aeroscraft utilizza due innovazioni: il sistema in attesa di brevetto COSH per la gestione del galleggiamento (sistema di controllo-di-pesantezza-statica, che comprime e controlla pressione e volume dell’elio), e il sistema CSCD per la GLVWULEX]LRQH GHO FDULFR GL VRVSHQVLRQH D VRIĂ€WWR FKH DXWRPDWL]]D ELODQFLD H FRQVHQWH OD GLVWULEX]LRQH GHO FDULFR LQ DULD R D WHUUD ,O JXVFLR ULJLGR LQ DOOXPLQLR XOWUD OHJJHUR H PDWHULDOL LQ Ă€EUD GL FDUERQLR ODYRUD LQ FRQFHUWR FRQ LO VLVWHPD di controllo della zavorra interna, che permette decollo e atterraggio verticale (VTOL) e la capacitĂ di stare in aria, al massimo carico, eliminando la necessitĂ di infrastrutture e personale di terra. O¡AI 114 5

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Credits for all photos: © EPFL / TRANSP-OR / LIV / ICOM

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3URWRW\SHV LQWHUDFWLYH KLJKZD\V *ORZ LQ WKH 'DUN 5RDG '\QDPLF 3DLQW ,QWHUDFWLYH /LJKW ,QGXFWLRQ 3ULRULW\ /DQH DQG :LQG /LJKW ZLOO EH UHDOL]HG ZLWKLQ WKH IROORZLQJ ÀYH \HDUV LQ 7KH 1HWKHUODQGV 7KH ÀUVW WHVWHG SURWRW\SHV DUH *ORZ LQ WKH GDUN DQG '\QDPLF 3DLQW 7KH ÀUVW LV WUHDWHG ZLWK D VSHFLDO IRWR OXPLQLVLQJ SRZGHU PDNLQJ H[WUD OLJKWLQJ XQQHFHVVDU\ FKDUJHG LQ GD\ OLJKW LW LOOXPLQDWHV WKH FRQWRXUV RI WKH URDG DW QLJKW XS WR KRXUV '\QDPLF 3DLQW EHFRPHV YLVLEOH LQ UHVSRQVH WR WHPSHUDWXUH ÁXFWXDWLRQV HQDEOHV WKH VXUIDFH RI URDGV WR FRPPXQLFDWH UHOHYDQW WUDIÀF LQIRUPDWLRQ WR GULYHUV L H LFH FU\VWDOV EHFRPH YLVLEOH RQ WKH VXUIDFH RI WKH URDG ZKHQ LW·V FROG DQG VOLSSHU\

SMART HIGHWAY 'DDQ 5RRVHJDDUGH DQG +HLMPDQV ,QIUDVWUXFWXUH www.studioroosegaarde.net 3URWRW\SHV G·DXWRURXWHV LQWHUDFWLYHV VHURQW UpDOLVpV DX[ 3D\V %DV DX FRXUV GHV FLQT SURFKDLQHV DQQpHV /HV SUHPLHUV SURWRW\SHV WHVWpV VRQW *ORZ LQ WKH 'DUN HW '\QDPLF 3DLQW /H SUHPLHU HVW WUDLWp DYHF XQH SRXGUH SKRWR OXPLQHVFHQWH VSpFLDOH TXL UHQG O·pFODLUDJH VXSSOpPHQWDLUH LQXWLOH LO VH UHFKDUJH SHQGDQW OH MRXU HW OD QXLW LO pFODLUH OHV DERUGV GH OD URXWH SHQGDQW KHXUHV '\QDPLF 3DLQW GHYLHQW YLVLEOH HQ UpSRQVH DX[ YDULDWLRQV GH WHPSpUDWXUH LO SHUPHW DX[ VXUIDFHV URXWLqUHV GH WUDQVPHWWUH GHV LQIRUPDWLRQV LPSRUWDQWHV DX[ DXWRPRELOLVWHV Prototipi di autostrade interattive saranno realizzati nei prossimi cinque anni nei Paesi Bassi. I primi prototipi testati sono Glow-in-the-dark e Dynamic Paint. Il primo è trattato con una speciale polvere foto-luminescente che UHQGH VXSHUÁXD O·LOOXPLQD]LRQH VXSSOHPHQWDUH VL FDULFD GL JLRUQR H GL QRWWH LOOXPLQD L FRQWRUQL GHOOD VWUDGD SHU RUH '\QDPLF 3DLQW GLYHQWD YLVLELOH LQ ULVSRVWD DOOH YDULD]LRQL GL WHPSHUDWXUD FRQVHQWH DOOD VXSHUÀFLH VWUDGDOH GL FRPXQLFDUH LQIRUPD]LRQL ULOHYDQWL VXO WUDIÀFR DL FRQGXFHQWL O·AI 114 7

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Nirvash has been designed with intention to develop a new eco-friendly electric vehicle with replaceable power supply. The main goal of this project is to come up with a concept vehicle that features replaceable batteries, it will certainly reduce the cost of production and repair. The six batteries can be removed and replaced in a honeycomb-style structure accessible via a removable side panel, meaning that you can recharge the motorbike in 10 minutes.

NIRVASH CONCEPT ELECTRIC MOTORBIKE Olegs Zabelins and Pavels Sevcenko www.behance.net/OlegsZabelins Nirvash a ĂŠtĂŠ conçu dans l’idĂŠe de dĂŠvelopper un nouveau vĂŠhicule ĂŠlectrique eco-friendly avec une alimentation durable. /¡REMHFWLI SULQFLSDO GH FH SURMHW HVW G¡pODERUHU XQ FRQFHSW GH YpKLFXOH TXL GLVSRVH GH EDWWHULHV UHPSODoDEOHV DĂ€Q GH rĂŠduire les coĂťts de production et de rĂŠparation. Les 6 batteries peuvent ĂŞtre enlevĂŠes et remplacĂŠes dans une structure en QLG G¡DEHLOOH DFFHVVLEOH j WUDYHUV XQ SDQQHDX ODWpUDO GpWDFKDEOH FH TXL VLJQLĂ€H TX¡LO HVW SRVVLEOH GH UHFKDUJHU OD PRWR HQ 10 minutes. Nirvash è stata progettata con l’idea di sviluppare un nuovo veicolo elettrico eco-friendly con alimentazione sostituibile. L’obiettivo principale di questo progetto è quello di elaborare un concetto di veicolo che dispone di batterie sostituibili, per ridurre i costi di produzione e riparazione. Le 6 batterie possono essere rimosse e sostituite LQ XQD VWUXWWXUD D QLGR G¡DSH DFFHVVLELOH WUDPLWH XQ SDQQHOOR ODWHUDOH ULPRYLELOH LO FKH VLJQLĂ€FD FKH q SRVVLELOH ricaricare la moto in 10 minuti.

8 O¡AI 114

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O¡AI 114 9

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CASO STUDIO CAS D’ETUDE CASE STUDY

PROJECT Project representative: Tecnimont Civil Construction SpA - Carlo Chierto. Architecture: Tecnimont Civil Construction SpA - Marco Visconti. Foster + Partners – Design team: David Nelson, Gerard Evenden, John Blythe, Martin Castle, Martina Meluzzi, Giulia Galiberti, Marilu Sicoli. Camerana & Partners - Benedetto Camerana. Giugiaro Architettura Srl - Aldo Cingolani. ICIS Srl - Cosimo Turvani. Mara Luciani. Studio Mellano Associati Franco Mellano. Structures engineering: Tecnimont Civil Construction SpA - Giovanni Battezzati. Studio Ossola - Francesco Ossola. Studio Garzino - Giorgio Garzino. Tensile roof structure detailed engineering: SI.ME.TE. Srl - Stefano Dalmasso. LVM Studio Associato - Mario Virano. Electrical services: Tecnimont Civil Construction SpA – Alberto Cavallo. Teksystem – Roberto Pomè Mechanical services: Tecnimont Civil. Construction SpA - Roberto Molino. Studio Renato Lazzerini - Marco Lazzerini Detailed design coordination: ICIS Srl - Luciano Luciani Environment Reclamation: Tecnimont Civil Construction SpA - Carlo Chierto. Vincenzo Scarola Signage design: CP Associates - Donatella Chiaruttini. Safety supervision: Tecnimont Civil Construction SpA - Francesco

Joseph di Pasquale

Popolo WORK SUPERVISION Artistic supervision: Foster + Partners - Team: David Nelson, Gerard Evenden, Giulia Galiberti. Civil works supervision: ICIS Srl - Cosimo Turvani. Camerana & Partners - Benedetto Camerana. Tecnimont Civil Construction SpA - Carlo Chierto. Studio Mellano Associati - Franco Mellano. Studio Buonomo Veglia - Lorenzo Buonomo Structural works supervision: Studio Ossola - Francesco Ossola. Electrical services supervision: Teksystem - Roberto Pomè. Mechanical services supervision: Studio Renato Lazzerini - Marco Lazzerini. Quantity surveying: Tecnimont Civil Construction SpA - Carlo Chierto. Quality control: Tecnimont Civil Construction SpA - Roberta Cocchiaro. CONSTRUCTION Contractors: Codelfa SpA. Edart SpA. Gozzo Impianti SpA Subcontractors: Site-cast concrete: Sile costruzioni Srl. Carpentery: La.ga.fer Snc. Elevators: Schindler SpA. Roof structure: Stalbau Pichler Srl. Membrane construction: Canobbio Spa. Cladding: Focchi SpA. False ceilings: Coiver Srl. Furniture: BC spazi Srl, Ares Line SpA, Miodino Srl, Lighting: Lindab Srl. Landscape construction: Borio Giacomo Srl. CLIENT : Università degli studi di Torino Representatives: Ezio Pelizzetti - chancellor. Salvatore Coluccia - deputy chancellor for building construction. Design responsible: Piero Cornaglia - chief engineer and project manager with: Antonio Presicce, Aldo Celano, Sabrina Gambino. Photos: Nigel Young/Foster &Partners, David Vicario, Michele D’Ottavio

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“L’architettura è l’adattarsi delle forme a forze contrastanti tra di loro”

“L’architecture est l’adéquation des formes à des forces qui s’opposent” “Architecture is the adaption of form to resist force” John Ruskin

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miracolosamente mantenuto il senso profondo del concept vincitore del concorso. L’architetto Visconti, rientrato dopo diversi anni nel team di progetto è riuscito a ricucire i rapporti con lo studio Foster ma soprattutto D ULFRPSRUUH OH Ă€OD GHL UDJLRQDPHQWL GHOOH logiche progettuali e dell’inserimento urbanistico che erano proprie del concetto iniziale. Il centro dell’idea architettonica, che consiste nella grande copertura unitaria che FROOHJD GHJOL HGLĂ€FL GLVWLQWL FDUDWWHUL]]DWL FKH costituiscono un pezzo del “tessutoâ€? della Torino guariniana con le sue stondature e i suoi spazi urbani concavi multi-curvilinei, è perfettamente sopravvissuto al tritacarne burocratico e procedurale della fase di elaborazione esecutiva e di costruzione.

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Merito forse dell’ancoramento al tessuto, dell’operazione di radicamento del concept che è passato dalla tecnologica generalmente D XUEDQD GHJOL LQJOHVL DWWUDYHUVR LO Ă€OWUR GHL SDUWQHU LWDOLDQL Ă€QR D XQ OHJDPH SURIRQGR con l’essenza della nostra cultura che è inevitabilmente rappresentata dalla cittĂ . Una serie di riferimenti dimensionali ad altri spazi circolari del tessuto urbano nelle immediate adiacenze ne sono la riprova. L’eterea assenza di spessore che la grande copertura aveva nel progetto di concorso non ha purtroppo trovato uno strutturista capace di interpretarla. Questa è un’altra “taraâ€? del nostro sistema professionale, la mancanza di sensibilitĂ , e una certa latitanza di capacitĂ , dell’ingegneria attuale nostrana, e pensare che la tradizione italiana non è seconda a nessuno in ambito strutturale: nostri erano i Nervi e i Danusso !!! Oggi sono le normative e gli “euro codiciâ€? gli strumenti con cui l’universitĂ

pensa di formare i futuri ingegneri strutturisti. Ma anche in questo caso è stato compito dell’architettura governare abilmente il “cambio di DNAâ€? della copertura facendolo rimanere un elemento forte e di valorizzazione del concetto anche se di natura diversa. Emblematico il viaggio a Londra che lo stesso Visconti ci ha raccontato con un “plastico provocatorioâ€? per evidenziare la necessitĂ del cambio di natura di questo elemento. L’uso del tessuto come rivestimento smaterializza e nobilita la JUDQGH VXSHUĂ€FLH RUL]]RQWDOH GHOO¡LQWUDGRVVR dandogli forza. Il disegno del grande carter curvo del canale di gronda diventa una OXQJD ´ERUGDWXUDÂľ XQLĂ€FDQWH FKH SHUFRUUH tutti gli spazi e i fronti del complesso. Anche il partito architettonico rappresenta un “elemento di ancoramentoâ€? culturale al contesto. Gli iniziali partiti proposti dagli inglesi che si basavano su elementi verticali vengono sostituiti con un partito orizzontale

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che riprende le linee del corso della Dora e ne ripropone il rapporto tra bastionature e canale nelle proporzioni tra parapetto metallico e nastro vetrato. In conclusione muoversi all’interno di questo complesso è un’esperienza davvero piacevole. L’impressione è di una vera oasi di internazionalità nel panorama dell’architettura italiana più recente. Un risultato davvero notevole... ma che fatica!!! COMMENT voulons-nous décrire ce bâtiment? Avec la rhétorique habituelle de la perfection? Du récit poétique ? De l’idylle de « l’esquisse au détail » ou voulonsnous dire la vérité ? Dirons-nous que si le processus nécessaire pour passer du concept à sa réalisation est de par sa nature déjà extrêmement laborieux en architecture, il GHYLHQW TXDVLPHQW XQ ÀOP G·KRUUHXU HQ ,WDOLH" Ce bâtiment est un vrai petit miracle et les

protagonistes de ce miracle ce sont le talent de l’architecte Marco Visconti et la rigueur de la gestion administrative que l’université a su appliquer. Assis sur un mur de la jolie place circulaire au centre du complexe, c’est justement Marco Visconti qui nous raconte son histoire, une histoire emblématique de la situation de l’architecture en Italie et du provincialisme dans lequel elle a sombré en quelques décennies. La procédure est bien connue : publication d’un concours. Les architectes italiens savent que pour avoir une chance de le remporter il leur faut impliquer une grande agence internationale. Ce qui est déjà une aberration totale. En l’occurrence, l’agence britannique Foster + Partners. Visconti monte son groupe. Aux Londoniens l’honneur du premier pas, avec les architectes italiens naturellement, lesquels ont mission de bien poser les bases GX SURMHW DÀQ GH OH SUpVHUYHU HW G·pYLWHU

qu’il ne soit ensuite complètement broyé par un excès de bureaucratie, de règlements et surtout les typiques « rivalités». « Last but not least » comme diraient les Anglais, il y a aussi la sous-traitance des travaux, avec son scénario habituel : offre du meilleur prix, adjudication des travaux et réserves immédiates devant les nouveaux prix et les variantes. Des loups-garous rôdant partout sur le chemin de la conception exécutive et de la réalisation. Un véritable parcours du combattant. En général, après être passée sous ces fourches caudines, l’architecture sort complètement anéantie, sorte de Frankenstein du bâtiment où l’idée initiale semble avoir été réalisée en rapiéçant des « membres » d’origine différente, ce qui génère un résultat le plus souvent marqué par une certaine grossièreté bureaucratique. Néanmoins, ce bâtiment est un vrai petit miracle ! Bien qu’il ait été abandonné pendant plusieurs années par ses pères, et même par l’agence Foster + Partners, ainsi

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que par ses référents professionnels en ,WDOLH OH UpVXOWDW ÀQDO D PLUDFXOHXVHPHQW FRQVHUYp OH VHQV SURIRQG GH O·LGpH TXL V·pWDLW DGMXJp OH PDUFKp /·DUFKLWHFWH 9LVFRQWL UHQWUp DSUqV SOXVLHXUV DQQpHV GDQV O·pTXLSH GX SURMHW D QRQ VHXOHPHQW UpXVVL j UHFRXGUH OHV UDSSRUWV DYHF O·DJHQFH )RVWHU PDLV LO D DXVVL UHFRPSRVp OHV UDLVRQQHPHQWV OHV ORJLTXHV GX SURMHW HW O·LQWpJUDWLRQ XUEDLQH TXL pWDLHQW OH SURSUH GX FRQFHSW LQLWLDO /H F±XU GH O·LGpH DUFKLWHFWXUDOH UHSUpVHQWp SDU OD JUDQGH FRXYHUWXUH TXL UHOLH GLYHUV EkWLPHQWV FDUDFWpULVWLTXHV FRPSRVDQW XQH SDUWLH GX © WLVVX ª GX 7XULQ GH *XDULQL DYHF VHV URQGHXUV HW VHV HVSDFHV XUEDLQV FRQFDYHV SOXUL FXUYLOLJQHV D SDUIDLWHPHQW VXUYpFX j OD PRXOLQHWWH EXUHDXFUDWLTXH HW SURFpGXUDOH GH OD SKDVH H[pFXWLYH GX SURMHW HW GH OD FRQVWUXFWLRQ 3HXW rWUH HVW FH JUkFH j O·DQFUDJH DX WLVVX j O·RSpUDWLRQ G·HQUDFLQHPHQW GX FRQFHSW GpSDVVDQW OD WHFKQRORJLH JpQpUDOHPHQW D XUEDLQH GHV $QJODLV SDVVpH DX ÀOWUH GHV

partenaires italiens pour SHUPHWWUH GH WLVVHU XQ OLHQ SURIRQG DYHF O·HVVHQFH GH FHWWH FXOWXUH LQpYLWDEOHPHQW UHSUpVHQWpH SDU OD YLOOH 8QH VpULH GH UHQYRLV GLPHQVLRQQHOV j GHV HVSDFHV FLUFXODLUHV GX WLVVX XUEDLQ WRXW SURFKH HQ HVW OD SUHXYH /·LPSDOSDEOH DEVHQFH G·pSDLVVHXU GH OD JUDQGH FRXYHUWXUH GX SURMHW SUpVHQWp DX FRQFRXUV Q·D PDOKHXUHXVHPHQW SDV WURXYp XQ LQJpQLHXU VWUXFWXUHO FDSDEOH GH O·LQWHUSUpWHU (QFRUH XQH © WDUH ª GX V\VWqPH SURIHVVLRQQHO LWDOLHQ PDQTXH GH VHQVLELOLWp HW UpWLFHQFH GH O·LQJpQLHULH ORFDOH FRQWHPSRUDLQH« HW GLUH TXH OD WUDGLWLRQ LWDOLHQQH HVW j QXOOH DXWUH SDUHLOOH GDQV OH GRPDLQH VWUXFWXUHO WRXV OHV 1HUYL HW OHV 'DQXVVR pWDLHQW SRXUWDQW GHV Q{WUHV $XMRXUG·KXL F·HVW j FRXS GH UpJOHPHQWDWLRQV HW G·HXURFRGHV TXH

O·XQLYHUVLWp FURLW SRXYRLU IRUPHU OHV IXWXUV LQJpQLHXUV VWUXFWXUHOV 0DLV PrPH GDQV FH FDV F·HVW O·DUFKLWHFWXUH TXL D JRXYHUQp KDELOHPHQW OH © FKDQJHPHQW G·$'1 ª GH OD FRXYHUWXUH HQ OH SUpVHUYDQW FRPPH pOpPHQW GH IRUFH HW GH PLVH HQ YDOHXU GX FRQFHSW ELHQ TXH G·XQH DXWUH QDWXUH /H YR\DJH j /RQGUHV HVW HPEOpPDWLTXH FRPPH QRXV O·D UDFRQWp 9LVFRQWL OXL PrPH DYHF XQH © PDTXHWWH SURYRFDWULFH ª SRXU VRXOLJQHU OD QpFHVVLWp GH FKDQJHU OD QDWXUH GH FHW pOpPHQW /·HPSORL GX WLVVX FRPPH UHYrWHPHQW GpPDWpULDOLVH HW HQQREOLW OD JUDQGH VXUIDFH O·AI 114 15

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horizontale de l’intrados, en lui conférant de la force. La ligne du grand élément courbe de la gouttière devient une ORQJXH © ERUGXUH ª XQLÀFDWULFH TXL SDUFRXUW WRXV OHV HVSDFHV HW OHV IDoDGHV GX FRPSOH[H 0rPH OD VROXWLRQ DUFKLWHFWXUDOH UHSUpVHQWH un « élément d’ancrage » culturel lié au FRQWH[WH /HV SURSRVLWLRQV LQLWLDOHV GHV $QJODLV VH EDVDQW VXU GHV pOpPHQWV YHUWLFDX[ VRQW UHPSODFpHV SDU XQH KRUL]RQWDOLWp TXL UHSUHQG OHV OLJQHV GX FRXUV GH OD 'RUD HW UHSURSRVH OH UDSSRUW HQWUH UHPSDUWV HW FDQDO HQWUH SDUDSHW PpWDOOLTXH HW EDQGH YLWUpH $X ÀQDO VH GpSODFHU GDQV FH FRPSOH[H HVW XQH H[SpULHQFH YUDLPHQW DJUpDEOH ,O GRQQH O·LPSUHVVLRQ G·XQH YpULWDEOH RDVLV FRVPRSROLWH GDQV OH SDQRUDPD GH O·DUFKLWHFWXUH LWDOLHQQH OD SOXV UpFHQWH 8Q UpVXOWDW YUDLPHQW UHPDUTXDEOH PDLV TXHO HIIRUW

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HOW SHOULD WE set about describing this building? Using the usual rhetoric about perfection? Drawing on poetic language? Idyllically going “from the sketch to the detailâ€? or would we rather tell the truth? Why do not we say that, by its very nature, the process required to move from a concept to an architectural construction is extremely arduous and, in Italy, can even turn into a KRUURU Ă€OP" This building is a little big miracle and the heroes behind this miracle are the talent of the architect, Mr Visconti, and the strong hand of the administrative management the university managed to implement. And it is Marco Visconti himself, sitting on a small wall in the beautiful circular plaza inside the complex, who tells us the story behind it that is emblematic of the state of architecture in our country and the profound provincialism it has slumped into in just

a few decades. The method followed is standard practice: a competition with Italian architects well aware that, if they are to have any chance of winning it, they need WR JHW D PDMRU LQWHUQDWLRQDO Ă€UP LQYROYHG And that is completely wrong to begin with. In this case Foster+Partners. Visconti put the team together. The London people had the honour of starting the creative process, obviously in conjunction with the Italian architects, whose tasks included VXLWDEO\ FRQĂ€JXULQJ WKH SURMHFW ZLWK D YLHZ to preserving it and preventing it from being excessively damaged by the kind of bureaucratic, normative and, above all, “envy-drivenâ€? procedures characteristic of Italy. Last but not least, as the English would say, there was the tendering of the works with all the usual shebang of accepting the lowest offer, assigning the works and making

immediate reservations to cater for new prices and other variations. Weir wolves right through the executive design and construction process. An authentic battleground. Usually, after this kind of battle, the architecture turns out to have been completely distorted, turned into a sort of Frankenstein building in which the initial concept seems to have been implemented out by stitching together “membersâ€? coming from various parts to produce a result generally never lacking in a certain dose of bureaucratic crudity. But this building, on the other hand, really is a little miracle! Despite the fact that it was abandoned by its creators for a number of years, namely Foster+Partners, and also its professional referents in ,WDO\ WKH Ă€QDO RXWFRPH VRPHKRZ miraculously holds onto

O¡AI 114 17

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the underlying meaning of the concept that won the competition. After re-joining the design team after a number of years, the architect Mr Visconti managed to reestablish relations with Foster+Partners and, PRVW VLJQLĂ€FDQWO\ WR VWLWFK EDFN WRJHWKHU WKH various threads of reasoning, design logic and town-planning incorporation associated with the initial concept. The hub of the architectural idea, revolving around the large unitary roof connecting together the various separate buildings to form a piece of Turin’s urban “fabric, with all its ‘wrong notes’ and multi-curving concave urban spaces, has survived perfectly intact the bureaucratic-procedural mincer used during the executive and construction phases. Possibly due to the way the concept has been deeply rooted in the urban fabric, Ă€OWHULQJ WKH JHQHUDOO\ QRQ WHFKQRORJLF approach of the English team through its Italian partners to create a deep bond with the very essence of our culture, which is inevitably represented by cities. A series of reference points, related to the circular spaces of the urban fabric in the immediate vicinity, are proof of this. Unfortunately there was no structural engineer capable of rendering the airy ODFN RI Ă€WQHVV FKDUDFWHULVLQJ WKH ODUJH URRI in the competition entry. this is another “shortcomingâ€? of our profession system, the ODFN RI VHQVLELOLW\ DQG WR D FHUWDLQ GHJUHH expertise in engineering in Italy at the moment. $QG WR WKLQN WKDW LQ WKH SDVW ,WDO\ ZDV second to none in the structural engineering UHDOP ZH FRXOG FRXQW SHRSOH OLNH 1HUYL DQG 'DQXVVR DV EHLQJ RXUV 1RZDGD\V universities believe they can educate the structural engineers of the future based on regulations and “Euro-codesâ€?. %XW KHUH DJDLQ LW ZDV DUFKLWHFWXUH¡V WDVN to cleverly control the roof’s “change in '1$Âľ HQVXULQJ LW UHPDLQV D VWULNLQJ feature enhancing the basic concept, even though it is slightly different than was originally planned. Exemplary in this respect

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was the trip to London that Visconti told us about, when he made it clear that this feature needed to be altered. The use of fabric as a coating dematerializes and enhances the large horizontal surface of the intrados, increasing its force. The design of the large curved sump of the gutter turns into a long unifying “border� running right across all the spaces and fronts of the complex. The architectural design is also a means of “culturally anchoring� the building to its setting. The original vertical features proposed by the British have been replaced by a horizontal form following the path of the River Dora, reproducing the relationship between the ballasting and channel in the proportions holding between the metal parapets and glazed strip. In conclusion, moving around inside this complex is a genuinely pleasant experience. The impression you get is of an authentic haven of internationality on the current Italian architectural landscape. $ WUXO\ UHPDUNDEOH UHVXOW EXW what an effort!!!!

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MARSEILLE BORDEAUX VILLANUEVA DE GALLEGO PANAMA CITY CALGARY www.rudyricciotti.com

www.lavignecheron.com

www.tallerbasico.es

www.foga.com

www.fosterandpartners.com

PROJECTS 20 O路AI 114

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La rĂŠalitĂŠ n’est qu’une illusion, bien que très tenace.

La realtà è solo un’illusione, sebbene molto persistente. Reality is merely an illusion, albeit a very persistent one. Albert Einstein

ALBERT EINSTEIN Le grand physicien et philosophe des sciences amĂŠricain d’origine allemande est nĂŠ le 14 Mars 1879 Ă Ulm, en Allemagne. Sa grandeur est d’avoir changĂŠ pour toujours le modèle d’interprĂŠtation du monde physique. Dans une lettre du 1952 adressĂŠe Ă Carl Seelig (son premier biographe) il a ĂŠcrit “Je n’ai pas de talent spĂŠcial. Je suis seulement passionnĂŠment curieuxâ€? Il est dĂŠcĂŠdĂŠ Ă Princeton, New Jersey (USA), le 18 Avril, 1955

,O JUDQGH Ă€VLFR H Ă€ORVRIR GHOOD VFLHQ]D WHGHVFR QDWXUDOL]]DWR VWDWXQLWHQVH q QDWR LO PDU]R D 8OPD LQ *HUPDQLD /D VXD JUDQGH]]D FRQVLVWH QHOO¡DYHU mutato per sempre il modello di LQWHUSUHWD]LRQH GHO PRQGR Ă€VLFR In una lettera a Carl Seelig (suo SULPR ELRJUDIR GHO VFULVVH “Non ho particolari talenti, sono solo appassionatamente curiosoâ€?. Il 18 aprile 1955 morĂŹ a Princeton, New Jersey (USA).

7KH JUHDW *HUPDQ DQG 86$ QDWXUDOL]HG SK\VLFLVW DQG SKLORVRSKHU RI VFLHQFH ZDV ERUQ RQ 0DUFK WK LQ 8OP *HUPDQ\ +LV JUHDWQHVV UHVLGHV LQ KDYLQJ FKDQJHG IRUHYHU WKH LQWHUSUHWDWLYH PRGHO RI WKH SK\VLFDO ZRUOG ,Q D OHWWHU RI WR &DUO 6HHOLJ (LQVWHLQ¡V Ă€UVW ELRJUDSKHU KH ZURWH “I have no special talents. I am only passionately curious.â€? +H GLHG RQ $SULO WK LQ 3ULQFHWRQ New Jersey (USA). O¡AI 114 21

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2013

MUCEM MARSEILLE, FRANCE Rudy Ricciotti www.rudyricciotti.com

Au cĹ“ur de l’ensemble musĂŠal consacrĂŠ aux civilisations de l’Europe et de la MĂŠditerranĂŠe, le bâtiment rĂŠalisĂŠ par Rudy Ricciotti sur le mĂ´le portuaire du J4, Ă l’entrĂŠe du Vieux-Port de Marseille, est un’architecture Ă la double personnalitĂŠ. Sa gĂŠomĂŠtrie ĂŠpurĂŠe (un carrĂŠ vitrĂŠ de 52 mètres de cĂ´tĂŠ inscrit dans un autre de 72 mètres de cĂ´tĂŠ) habillĂŠe par une dentelle minĂŠrale, Ă l’apparence dĂŠlicate et fragile, cache en fait une âme extrĂŞmement technique issue d’une expĂŠrimentation poussĂŠe dans le domaine des mathĂŠmatiques des matĂŠriaux. “Il n’y a rien de purement dĂŠcoratif dans O¡RXYUDJH ² DIĂ€UPH 5LFFLRWWL ² WRXW \ HVW VWUXFWXUHO Ă la manière du squelette d’un poisson. On avance vers une dĂŠmatĂŠrialisation de la structure bĂŠton TXL GHYLHQW IUDJLOH Ă€OLIRUPH QHUYHXVH FRPPH XQH section de roche corallienneâ€?. /¡XWLOLVDWLRQ H[SpULPHQWDOH GX EpWRQ Ă€EUp j ultra-hautes performances (DuctalÂŽ de Lafarge) a permis de s’affranchir des pesanteurs du matĂŠriau pour exalter la plasticitĂŠ et la sensualitĂŠ de la structure. Les rĂŠsilles qui enveloppent les façades sud et ouest, la passerelle de 130 mètres qui relie le bâtiment au fort Saint-Jean ou les 308 poteaux en forme de N, Y et droits ne sont que l’expression achevĂŠe des propriĂŠtĂŠs mĂŠcaniques de la matière. Grâce aux qualitĂŠs du bfup – rĂŠsistance mĂŠcanique Ă la compression 6 Ă 8 fois supĂŠrieure Ă celle d’un bĂŠton classique, ĂŠtanchĂŠitĂŠ parfaite et facilitĂŠ Ă s’adapter aux moules les plus divers – le Mucem est le premier bâtiment Ă utiliser des structures verticales prĂŠcontraintes. Les poteaux prĂŠcontraints par post-tension, rĂŠalisĂŠs en 20 versions diffĂŠrentes sur la base de leur positionnement aux angles et au centre des planchers, constituent une première mondiale ainsi que la rĂŠsille, composĂŠe de 400 panneaux autoportants qui recouvrent les deux façades et le WRLW WHUUDVVH /D Ă€QHVVH HW OD OLEHUWp GX GHVVLQ GHV perforations assurent la fonction de brise-vent, laissant pĂŠnĂŠtrer la lumière, l’air et les odeurs de la MĂŠditerranĂŠe. Le Mucem se nourrit du paysage, de l’horizon et de la mer. Son volume se fait ĂŠvanescent dans un paysage de pierre et orientaliste par ses ombres sur son volume. Pendant la nuit l’ensemble du bâtiment s’anime de la mise en scène orchestrĂŠ par Yann KersalĂŠ TXL JUkFH j MHX XQ UDIĂ€Qp GH OXPLqUHV IDLW YLEUHU OHV IDoDGHV GH UHĂ HWV EOHXV HW WXUTXRLVHV GRQQDQW l’impression d’un frĂŠmissement aquatique.

/¡HGLĂ€FLR realizzato da Rudy Ricciotti sul

molo J4 all’entrata del Vieux-Port di Marsiglia – elemento principale del complesso museale dedicato alle civiltĂ dell’Europa e del Mediterraneo – è un’architettura dalla doppia personalitĂ . La semplicitĂ dell’impianto volumetrico (un quadrato vetrato di 52 metri di lato inscritto in uno di 72 metri di lato) protetto da una mantiglia minerale, all’apparenza fragile e delicata, nasconde in effetti un’anima estremamente tecnica, frutto di una sperimentazione avanzata nel campo della matematica dei materiali. “Non c’è nulla di puramente decorativo, – afferma Ricciotti – tutto è strutturale, come lo scheletro di un pesce. Ci siamo spinti verso una dematerializzazione della struttura LQ FHPHQWR FKH GLYHQWD IUDJLOH Ă€OLIRUPH QHUYRVD come una sezione di roccia corallinaâ€?. L’uso VSHULPHQWDOH GHO FHPHQWR Ă€EUDWR DG DOWLVVLPH prestazioni (DuctalÂŽ di Lafarge) ha permesso di liberarsi dalla pesantezza del materiale per esaltare la plasticitĂ e la sensualitĂ della sola struttura. Le maglie che avvolgono le facciate sud e ovest, OD SDVVHUHOOD GL PHWUL FKH FROOHJD O¡HGLĂ€FLR con il Forte Saint-Jean, o i 308 pilastri a forma GL 1 < H GULWWL VRQR O¡DIIHUPD]LRQH Ă€QLWD GHOOH proprietĂ meccaniche della materia. Grazie alle TXDOLWj GHO Ă€EURFHPHQWR ² UHVLVWHQ]D PHFFDQLFD alla compressione da 6 a 8 volte superiore a quella di un cemento classico, impermeabilizzazione elevata e facilitĂ nell’adattarsi ai piĂš diversi VWDPSL ² LO 0XFHP q LO SULPR HGLĂ€FLR D XWLOL]]DUH delle strutture verticali precompresse. I pilastri, precompressi per post-tensione – realizzati in 20 diverse versioni in base al loro posizionamento agli angoli o al centro dei solai – rappresentano una prima mondiale, come pure la rete minerale, composta da 400 pannelli autoportanti che ricoprono le due facciate e parte del tetto terrazza. /D UDIĂ€QDWH]]D H OD OLEHUWj GHO GLVHJQR GHOOH forature assicurano la funzione di protezione dal vento, lasciando nel contempo penetrare la luce, l’aria e gli odori del Mediterraneo. Il Mucem si nutre del paesaggio, dell’orizzonte, del mare. Il suo volume si fa evanescente in un paesaggio di pietra e assume tratti orientali per il gioco delle ombre che si genera sul volume. Durante la notte l’insieme si anima della VFHQRJUDĂ€D RUFKHVWUDWD GD <DQQ .HUVDOp FKH JUD]LH D XQ UDIĂ€QDWR JLRFR GL OXFL ID YLEUDUH OH IDFFLDWH GL ULĂ HVVL EOX H WXUFKHVL GDQGR O¡LPSUHVVLRQH GHO fremito acquatico.

As the main feature of the museum facility devoted to European and Mediterranean civilisation, the building designed by Rudy Ricciotti along Pier J4 at the entrance to the Old port of Marseille is a piece of architecture with two personalities. The simplicity of the structural design (a glazed square measuring 52 metres along the side inscribed in another square measuring 72 metres along the side) protected by a mineral-based mantilla that looks fragile and delicate actually conceals an extremely high-tech core resulting IURP FXWWLQJ HGJH H[SHULPHQWDWLRQ LQ WKH Ă€HOG RI materials mathematics. “There is nothing purely decorative – so Ricciotti points out - everything is structural, like the VNHOHWRQ RI D Ă€VK :H DLPHG DW GHPDWHULDOLVLQJ the concrete structure to make it fragile, wiry and nerved like a section of coral rockâ€?. The experimental use of high-performance concrete ZLWK D Ă€EUH PDWUL[ 'XFWDOÂŽ by Lafarge) allowed us to break free from the heaviness of the material, in order to focus on the sculptural nature and sensuality of the structure alone. Everything from the webs enveloping the south and west facades to the 130-metre walkway connecting the building to the 308 N-shaped, Y-shaped and straight columns assert the mechanical properties of matter. Thanks WR WKH TXDOLW\ RI WKH Ă€EUH FRQFUHWH PDWUL[ – mechanical resistance to compression is 6-8 times higher than that of conventional concrete, high GHJUHH RI ZDWHUSURRĂ€QJ DQG HDVH RI DGDSWDELOLW\ WR various different moulds – WKH 0XFHP LV WKH Ă€UVW building to use pre-compressed vertical structures. The columns, pre-compressed by means of posttension – created in 20 different versions according to their positioning at the corners or centre of the Ă RRU VODEV–DUH D ZRUOG Ă€UVW MXVW OLNH WKH PLQHUDO web of 400 self-supporting panels covering the two facades and part of the terraced roof. The elegance and freedom of the design of the perforations provide shelter against the wind while, at the same time, allowing light, air and Mediterranean scents WR Ă RZ LQVLGH 7KH 0XFHP IHHGV RII WKH ODQGVFDSH horizon and sea. Its structure becomes effervescent in the Eastern-style stone landscape due to the interplay of shadows forming on the main structure. At night-time the entire complex is livened up by striking effects orchestrated by Yann KersalĂŠ, who, thanks to an elegant interplay of lights, makes the IDFDGHV YLEUDWH ZLWK EOXH DQG WXUTXRLVH UHĂ HFWLRQV creating the impression of shimmering water. O¡AI 114 23

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rampe pente 3.9 %

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rampe pente 3.65 %

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30

P1

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Columns detail: elements catalogue

Columns detail west facade

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Project: Rudy Ricciotti Associates: C+T architecture Structural engineering (BFUP): Lamoureux & Ricciotti Ingénierie Fluids: Garcia Ingénierie Structures: Sica Economist: Cec Salinesi Acoustics: Thermibel HQE: Adret Lighting: Observatoire 1 Client: Ministère de la Culture et de la Communication, Oppic Photo: Lisa Ricciotti

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2013

PONT JACQUES CHABAN-DELMAS BORDEAUX, FRANCE Lavigne Cheron Architectes www.lavignecheron.com

SituĂŠ Ă

l’extrĂŠmitĂŠ nord des quais de la Garonne, le pont Jacques Chaban-Delmas s’inscrit dans le contexte de renouveau urbain de Bordeaux. Long de plus de 430 mètres sans les rampes, le nouveau SRQW UHOLH OHV GHX[ ULYHV GX Ă HXYH offrant un espace oĂš l’on puisse se reposer et contempler la ville. Il s’agit du plus grand pont levant d’Europe qui comporte une travĂŠe levante de 120 mètres de portĂŠe, pesant 2500 tonnes, qui se soulève Ă plus de 53 mètres au-dessus du Ă HXYH HQFDGUpH SDU TXDWUH S\O{QHV

Situato

all’estremità nord della Garonna, il ponte ChabanDelmas si inscrive in un contesto di rinnovamento urbano di Bordeaux. Con una lunghezza di oltre 430 metri, escluse le rampe, il nuovo SRQWH FROOHJD OH GXH ULYH GHO ÀXPH offrendo uno spazio dove ci si possa riposare e contemplare la città . Si tratta del piÚ grande ponte levatoio d’Europa caratterizzato da una portata di 120 metri, con un peso di 2.500 tonnellate, che si solleva a oltre 53 metri al di sopra della Garonna, inquadrato da quattro piloni di 77 metri di altezza. Delle passerelle riservate alla circolazione pedonale e ciclabile poggiano su mensole PHWDOOLFKH ÀVVDWH DO SLDQR YLDELOH proiettandosi all’esterno delle torri. Simili a monumentali frecce tecnologiche, le torri di sollevamento traducono un’idea semplice, accompagnare il movimento verticale del piano viabile rafforzando la simbologia del ponte levatoio. Per le navi che stanno entrando in porto,

de 77 mètres de hauteur. Des passerelles rĂŠservĂŠes aux piĂŠtons et F\FOLVWHV UHSRVHQW VXU GHV FRQVROHV PpWDOOLTXHV Ă€[pHV DX WDEOLHU FHQWUDO et s’Êcartant Ă l’extĂŠrieur des tours. &RPPH GH YpULWDEOHV Ă qFKHV modernes de la ville, les tours de levage traduisent une idĂŠe simple, accompagner le mouvement vertical GX WDEOLHU UHQIRUFHU OD V\PEROLTXH du pont levant. Depuis la Garonne, pour les navires qui s’apprĂŞtent Ă amarrer place des Quinconces, le pont levant est la porte d’entrĂŠe de la

il ponte si innalza come una vera porta d’ingresso alla cittĂ . La forma delle torri inclinate sull’esterno, come braccia aperte verso il cielo, concretizza nella materia questo gesto di benvenuto. Le torri sono costituite da pareti curve in cemento e vetro, che si assottigliano progressivamente verso il cielo. La loro dimensione e la sezione sono state ottimizzate per alleggerirne al massimo la percezione nel paesaggio. Un lama di vetro anima ogni torre e illumina le circolazioni verticali. Il vetro è l’elemento da cui dipende la leggerezza, la trasparenza e la dinamica del ponte. Attraverso i giochi di luce durante l’arco della giornata, diventa trasparente lasciando apparire l’articolazione della scala elicoidale, o specchiante, ULĂ HWWHQGR OH YDULD]LRQL GHO FLHOR lungo le torri. /D VFHQRJUDĂ€D OXPLQRVD Ă€UPDWD da Yann KersalĂŠ esalta la scrittura architettonica e la dimensione del SRQWH GDO OXQJR Ă€XPH

ville. La forme des tours inclinĂŠes vers l’extĂŠrieur, comme des bras ouverts vers le ciel concrĂŠtise dans la matière ce geste de bienvenue. Les tours se composent de voiles courbes de bĂŠton et de verre, qui V¡DIĂ€QHQW SURJUHVVLYHPHQW YHUV OH ciel. Les dimensions et la section ont ĂŠtĂŠ optimisĂŠes pour allĂŠger au maximum leurs perceptions dans le JUDQG SD\VDJH Une lame de verre anime chaque tour et ĂŠclaire les circulations YHUWLFDOHV GX S\O{QH Le verre joue en permanence avec

la lumière, du lever du soleil Ă son FRXFKHU 7DQW{W WUDQVSDUHQW OH YHUUH ODLVVH DSSDUDvWUH OD G\QDPLTXH GH O¡HVFDOLHU KpOLFRwGDOH WDQW{W PLURLU c’est le ciel et ses nuages qui se UHĂ qWHQW GDQV OHV WRXUV DX GHVVXV GH la Garonne. Dans tous les cas, le verre apporte lĂŠgèretĂŠ, transparence et vie Ă cet ouvrage. La mise en lumière de ces quatre lames de verre conçue par Yann KersalĂŠ, renforce l’Êcriture architecturale et la dimension spectaculaire du pont depuis les berges.

Located to WKH YHU\ QRUWK

JR WKURXJK OLNH D UHDO JDWHZD\ WR WKH FLW\ 7KH VKDSH RI WKH VORSLQJ towers on the outside, which look like arms opening up to the heavens, gives concrete form to this welcoming gesture. The towers are composed of walls made of FRQFUHWH DQG JODVV WKDW JUDGXDOO\ narrow towards the top. Their size and section has been optimised to cause as little visual impact on the landscape as possible. Each tower has its own glass blade that lights up the vertical circulation. Glass is what determines the bridge's OLJKWQHVV WUDQVSDUHQF\ DQG G\QDPLVP 'XH WR WKH HIIHFWV RI WKH OLJKW DW GLIIHUHQW WLPHV RI GD\ it turns either transparent to reveal WKH OD\RXW RI WKH VSLUDO VWDLUFDVH RU UHĂ HFWLYH WR PLUURU FKDQJHV LQ the skies along the towers. This luminous set design, bearing the KDOOPDUN RI <DQQ .HUVDOp UHDOO\ brings out the architectural design and sheer scale of the bridge as seen from the riverside.

of Garonne, Chaban-Delmas Bridge LV VHW LQ WKH UHJHQHUDWHG FLW\VFDSH of Bordeaux. Measuring over 430 metres in length, excluding the ramps, the new bridge connects together the two river banks providing a space for relaxing and DGPLULQJ WKH FLW\ ,W LV DFWXDOO\ the biggest drawbridge in Europe, spanning over 120 metres and weighing 2500 tonnes. It rises to a height of over 53 metres above the 5LYHU *DURQQH DQG LV IUDPHG E\ four piers measuring 77 metres in KHLJKW 3HGHVWULDQ DQG F\FOH SDWKV UHVW RQ PHWDO FRQVROHV À[HG WR WKH URDG VXUIDFH DQG SURMHFWLQJ EH\RQG the towers. Rather like monumental hightech arrows, the towers used for raising the bridge are based on the YHU\ VLPSOH LGHD RI DFFRPSDQ\LQJ the vertical motion of the road surface to project a real sense of a drawbridge. The bridge lifts up to allow ships entering the port to

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EGIS JMI

EGIS JMI

Project: Charles Lavigne & Thomas Lavigne (Lavigne Cheron Architectes) Engineering: Egis JMI, Michel Virlogeux, Hardesty Hannover Construction: GTM/ Vinci Grands Projets / CIMOLAI Client: La CommunautĂŠ Urbaine de Bordeaux

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2012

HEALTH FACULTY OF SAN JORGE UNIVERSITY VILLANUEVA DE GĂ LLEGO (ZARAGOZA), SPAIN Taller BĂĄsico de Arquitectura www.tallerbasico.es

La nouvelle FacultĂŠ des Sciences de la SantĂŠ a ĂŠtĂŠ rĂŠalisĂŠe sur le campus universitaire San Jorge dans la banlieue de Saragosse. Bien qu’il s’agisse d’un milieu rural, il y a peu de vĂŠgĂŠtation et les arbres qui bordent le campus ont ĂŠtĂŠ plantĂŠs DUWLĂ€FLHOOHPHQW /D )DFXOWp Q¡HVW pas seulement un autre bâtiment du campus : elle en fait partie intĂŠgrante et, grâce Ă l’abstraction organique de son architecture, elle se transforme en nouvel ĂŠlĂŠment naturel. /H EkWLPHQW UHVVHPEOH j XQH FRTXLOOH imaginaire qui se dĂŠveloppe de l’intĂŠrieur vers l’extĂŠrieur, formĂŠe de trois lames concaves sur l’extĂŠrieur. /H SpULPqWUH H[WHUQH VH SUpVHQWH comme une sĂŠquence de mursĂŠcailles blancs en quinconce qui ODLVVH SpQpWUHU OD OXPLqUH j O¡LQWpULHXU Ă travers les intervalles entre les â€œĂŠcaillesâ€?. Ă€ l’intĂŠrieur du complexe, l’espace entre les trois lignes, convexes ici, crĂŠe une place publique fĂŠdĂŠratrice vers laquelle convergent les lignes visuelles de l’ensemble et tous les DFFqV DX[ VDOOHV GH FRXUV HW DX[ laboratoires. C’est ainsi que se crĂŠe une inversion de l’organisation traditionnelle concave/intĂŠrieurFRQYH[H H[WpULHXU /HV VDOOHV de cours et les laboratoires sont rĂŠpartis sur deux ĂŠtages. Chaque espace est conçu pour ĂŞtre le plus polyvalent possible en termes de forme, de dimensions et de gestion de l’Êclairage naturel, ce qui permet une grande libertĂŠ d’usage et ĂŠgalement de futures rĂŠorganisations DFDGpPLTXHV /HV HVSDFHV FRPPXQV (cafĂŠtĂŠria, salle de confĂŠrences et salles polyvalentes) se trouvent aux points de courbure des trois lames. /D QXLW OH EkWLPHQW DVVXPH XQH nouvelle physionomie et ressemble Ă une gigantesque boĂŽte magique qui inonde tout le campus de faisceaux lumineux.

La nuova FacoltĂ di

0HGLFLQD q VWDWD UHDOL]]DWD QHO campus universitario San Jorge DOOD SHULIHULD GL =DUDJR]D 6HEEHQH OD FROORFD]LRQH VLD LQ DPELHQWH UXUDOH OD YHJHWD]LRQH q VFDUVD /D IRUHVWD FKH FRQWRUQD LO FDPSXV q VWDWD LPSLDQWDWD DUWLĂ€FLDOPHQWH /D )DFROWj QRQ q VROR XQ DOWUR HGLĂ€FLR del campus: ne diviene parte LQWHJUDQWH H JUD]LH DOO¡DVWUD]LRQH organica della sua architettura, si trasforma in un nuovo elemento naturale. Simile a una conchiglia immaginaria che si sviluppa dall’interno verso l’esterno, O¡HGLĂ€FLR q FRVWLWXLWR GD WUH VWHFFKH concave verso l’esterno. Il perimetro esterno si presenta come una VHTXHQ]D GL PXUL VFDJOLH ELDQFKL sfalsati che lasciano penetrare la luce verso l’interno attraverso gli sfaldamenti tra l’uno e l’altro. $OO¡LQWHUQR GHO FRPSOHVVR OR VSD]LR tra le tre linee, qui convesse, dĂ vita D XQD SLD]]D SXEEOLFD H XQLĂ€FDQWH verso la quale convergono tutti gli accessi alle aule e ai laboratori e le linee visuali del complesso. Si va cosĂŹ a determinare un’inversione GHOOD WUDGL]LRQDOH RUJDQL]]D]LRQH concavo/interno-convesso/esterno. /¡RUJDQL]]D]LRQH GHOOH DXOH H GHL laboratori si sviluppa su due piani. 2JQL DPELHQWH q VWDWR SHQVDWR SHU HVVHUH LO SL Ă HVVLELOH SRVVLELOH LQ termini formali, dimensionali e di JHVWLRQH GHOO¡LOOXPLQD]LRQH QDWXUDOH Questo, oltre a lasciare maggiore OLEHUWj DOO¡XWLOL]]R DWWXDOH SHUPHWWHUj GL UHDOL]]DUH SL IDFLOPHQWH HYHQWXDOL ULRUJDQL]]D]LRQL DFFDGHPLFKH *OL VSD]L FRPXQL FDIIHWWHULD VDOD FRQIHUHQ]H H VDOH SROLIXQ]LRQDOL sono collocati nei punti di curvatura delle tre stecche. 'L QRWWH O¡HGLĂ€FLR DVVXPH QXRYD vitalitĂ e appare come una gigantesca scatola magica che inonda con fasci di luce tutto il campus.

A new Health Faculty has been built on San Jorge University campus in the suburbs RI =DUDJR]D (YHQ WKRXJK WKLV LV actually a rural setting, there is only scant vegetation. The forest surrounding the campus has EHHQ DUWLÀFLDOO\ ODQGVFDSHG 7KH faculty is not just another campus building: it becomes an integral part of the university and, thanks to the organic abstraction of its architecture, turns into a brand-new natural feature. Just like an imaginary seashell that develops from the inside outwards, the building is constructed out of three blocks that are concave towards the outside. The external perimeter looks like a sequence of staggered white scale-walls that DOORZ OLJKW WR à RZ LQZDUGV WKURXJK the exfoliations between them. Inside the complex, the convex space between the three lines creates a unifying public square to which all the entrances to the teaching rooms and laboratories converge, as do the complex’s visual lines. This upturns the traditional concave/interior-convex/ exterior layout. The layout of the classrooms and laboratories extends over WZR à RRUV (DFK RI WKH URRPV LV GHVLJQHG WR EH DV à H[LEOH DV possible on a formal, dimensional and natural light-management level. As well as allowing greater freedom of usage at the present, it will also allow any academic reorganisation to be easier. The communal spaces (cafeteria, conference hall and multipurpose rooms) are located at the points of curvature of the three blocks. At nighttime the building comes to life in a different way and looks OLNH D JLDQW PDJLF ER[ à RRGLQJ WKH entire campus with beams of light.

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Project: Taller Básico de Arquitectura, Javier Pérez-Herreras, Fco. Quintana de Uña Colaborating Architects: Edurne Pérez Díaz de Arcaya, David Santamaria Ozcoidi, Leire Zaldua Amundarain, Daniel Ruiz de Gordejuela Telleche Building company: San Jorge Ute Developer: Universidad San Jorge Foundatoin Photos: José Manuel Cutillas Total budget: 8,636,750.50 euros Area: 8.853 m2 O·AI 114 43

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2013

BIOMUSEO PUENTE DE VIDA PANAMA CITY, PANAMA Gehry Partners www.foga.com

Ce musĂŠe de la biodiversitĂŠ est le premier bâtiment rĂŠalisĂŠ par Frank O. Gehry en AmĂŠrique Latine (Frank Gehry ayant un attachement particulier pour ce pays car sa femme est panamĂŠenne). SituĂŠ sur la ChaussĂŠe d'Amador, site d'une ancienne base amĂŠricaine, le projet intĂŠresse l'extrĂŠmitĂŠ de la pĂŠninsule et donne sur la ville de Panama et sa baie au nord, et sur l'entrĂŠe du Canal, F{Wp 3DFLĂ€TXH DX VXG Au cĹ“ur de ce projet, un atrium public en plein DLU FRXYHUW G DXYHQWV DX[ FRXOHXUV Ă DVKLHV HQ aluminium et en acier, conçus pour protĂŠger les visiteurs contre les frĂŠquentes pluies tropicales portĂŠes par les vents. L'atrium central est bordĂŠ d'espaces publics, comprenant une boutique, un cafĂŠ et un espace pour les expositions temporaires, ainsi que de deux ailes principales du bâtiment rĂŠservĂŠes aux expositions payantes. Le niveau de l’atrium, surĂŠlevĂŠ d'un ĂŠtage par rapport au niveau du sol, SHUPHW GH SURĂ€WHU G XQH WUqV EHOOH YXH VXU OH FDQDO et sur la ville. En-dessous un espace d'exposition en plein air et protĂŠgĂŠ relie les deux ailes du musĂŠe. Avec ses huit salles d’exposition, l'ĂŠcomusĂŠe dĂŠvoile l’importance de la biodiversitĂŠ de Panama et DIĂ€UPH VRQ HQJDJHPHQW HQ PDWLqUH GH FRQVHUYDWLRQ Des rĂŠcits familiarisent les visiteurs avec la notion de biodiversitĂŠ, les plongeant dans tous les aspects de la nature panamĂŠenne, en dĂŠcrivant son histoire naturelle et gĂŠologique et leur expliquant O LQĂ XHQFH GH FHV IRUFHV QDWXUHOOHV VXU OHV KRPPHV L'exposition principale, "Panama : pont de vie", prĂŠsente des textes sommaires en grosses lettres, avec des exemples scĂŠnographiques, graphiques ou interactifs, qui informent les visiteurs occasionnels VXU OHV JUDQGHV OLJQHV GH FH WKqPH 'HV WH[WHV pFULWV en plus petit, des postes ĂŠquipĂŠs de dispositifs interactifs, des cartes, des vidĂŠos et des tableaux offrent en revanche un exposĂŠ complet et dĂŠtaillĂŠ aux visiteurs plus intĂŠressĂŠs. Le parc du musĂŠe prolonge et dĂŠveloppe ce rĂŠcit Ă l’extĂŠrieur, dans le paysage environnant. Ça et lĂ dans le parc, des postes d'informations enrichissent l’expĂŠrience offerte par l'ĂŠcomusĂŠe en illustrant les LQWHUDFWLRQV HQWUH OHV HVSqFHV YpJpWDOHV HW DQLPDOHV locales dans la vie rĂŠelle.

Questo Museo

GHOOD %LRGLYHUVLWj q LO SULPR HGLĂ€FLR SURJHWWDWR GD )UDQN 2ZHQ *HKU\ OD FXL PRJOLH q SDQDPHQVH LQ $PHULFD /DWLQD ,O SURJHWWR q VWDWR UHDOL]]DWR DG $PDGRU XQ¡DUHD FKH RVSLWDYD XQD EDVH GHOOH )RU]H $UPDWH 86$ all’estremitĂ di una penisola che si affaccia su Panama City e la sua baia verso nord e sul 3DFLĂ€FR H LO &DQDOH YHUVR VXG $O FHQWUR GHO SURJHWWR F¡q XQ DWULR SXEEOLFR aperto protetto da tettoie metalliche colorate che riparano i visitatori dalle frequenti piogge tropicali. Intorno a questo atrio centrale ci sono DUH SXEEOLFKH JUDWXLWH FRQ XQ QHJR]LR EDU H XQR VSD]LR HVSRVLWLYR D FLHOR DSHUWR QRQFKp GXH delle ali principali a pagament) del museo. Il OLYHOOR GHOO¡DWULR ULDO]DWR GL XQ SLDQR ULVSHWWR DO terreno, consente di godere di ampie viste del FDQDOH H GHOOD FLWWj ROWUH D FUHDUH OR VSD]LR SHU un’area espositiva sottostante che collega le due ali del museo. Le otto gallerie espositive sono concepite per informare i visitatori sugli ambienti unici di Panama e sull’impegno per la loro FRQVHUYD]LRQH 6L LQWURGXFH LO FRQFHWWR GL biodiversitĂ , avvolgendo i visitatori in tutti gli ambienti panamensi, descrivendone la storia JHRORJLFD H QDWXUDOH H VSLHJDQGR FRPH OH IRU]H QDWXUDOL DEELDQR LQĂ XLWR VXJOL XRPLQL /D PRVWUD principale, “Panama: Ponte della Vitaâ€?, presenta JUDQGL VFULWWH VLQWHWLFKH HG HVHPSL VFHQRJUDĂ€FL JUDĂ€FKH HG HOHPHQWL LQWHUDWWLYL SHU GDUH DL visitatori generici gli spunti piĂš rilevanti sul WHPD 7HVWL SL SLFFROL SRVWD]LRQL LQWHUDWWLYH mappe, video, tavole di studio offrono invece ai visitatori piĂš interessati un maggior approfondimento dei dettagli. Il parco del museo estende questa narrativa all’esterno, nel paesaggio circostante. Il parco q SXQWHJJLDWR GD SRVWD]LRQL LQIRUPDWLYH FKH DUULFFKLVFRQR O¡HVSHULHQ]D GHO PXVHR LOOXVWUDQGR OH LQWHUD]LRQL QHOOD YLWD UHDOH WUD OH SLDQWH H OH specie animali locali.

This Museum

of Biodiversity is the Ă€UVW EXLOGLQJ GHVLJQHG E\ )UDQN 2ZHQ *HKU\ (who’s spouse is Panamanian) in Latin America. /RFDWHG LQ $PDGRU D IRUPHU EDVH IRU WKH 86 Armed Forces, the project is situated at the tip of a peninsula that overlooks Panama City and WKH %D\ RI 3DQDPD WR WKH QRUWK DQG WKH 3DFLĂ€F entrance to the Panama Canal to the south. At the heart of the project is a public outdoor atrium covered by colorful metal canopies designed to protect visitors from frequent wind driven rains. Around the central atrium there are free public areas, including the retail store, cafĂŠ, and temporary exhibit space, as well as the two main ticketed exhibition wings of the building. 7KH DWULXP OHYHO HOHYDWHG RQH Ă RRU DERYH WKH surrounding grade, allows for extended views to the canal and city in addition to creating a protected outdoor exhibition space below which connects the two exhibition wings. The eight exhibition galleries are intended to educate visitors about the unique environments of Panama and its conservation efforts. There are stories that introduce visitors to the concept of biodiversity, immerse them in all of the environments of Panama, describe its geological and natural history, and how these natural forces have affected man. The main exhibition “Panama: Bridge of Lifeâ€? presents large succinct lettering and dramatic samples, graphics, or interactive devices, give the casual visitor the main highlights of the theme. Smaller texts, interactive devices, maps, videos and study tables give the interested visitor the full narrative in considerable detail. The museum park expands the narrative described from the interior exhibits into the surrounding landscape. Located intermittently around the park are education stations that augment the experience of the museum through illustrating real life interaction between local plant and animal species.

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Roof plan

First floor

Project: Gehry Partners Structural Engineer: Magnusson Klemencic Associates Mechanical, Electrical and Plumbing Consultant: Don C. Gilmore and Associates Exhibit Designer: Bruce Mau design Landscape Design Architect: Edwina Von Gal Aquarium Consultant: T. A. Maranda Consultants Acoustical Engineer: Cerami Lighting Consultant: Lightswitch Executive Architect: Ensitu Structural Engineer, Panama: O.M. Ramirez Y Asociados Mechanical Engineer, Panama: J.E. Kiamco Y Asociados Fa莽ade and metal roof systems: Permasteelisa Group General Contractor: Ingeneria R.M. Consultants: University of Panama, Smithsonian Tropical research Institute Client: Fundacion Amador www.biomuseopanama.org Photos: Aaron Sosa/Istmophoto.com (courtesy of Biomuseo)

Atrium level

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2013

THE BOW, ENCANA AND CENOVUS HEADQUARTERS CALGARY, CANADA Foster+Partners www.fosterandpartners.com

InaugurĂŠ en juin dernier, avec ses 237 mètres de hauteur, “The Bowâ€?, situĂŠ Ă l'ouest de Toronto, est le plus haut gratte-ciel du Canada. 94 bĂŠtonnières ont travaillĂŠ pendant plus de 39 heures pour couler les 14 000 m3 de bĂŠton des fondations qui mesurent 3 m d'ĂŠpaisseur (la plus grande coulĂŠe continue de ciment dans l'histoire de la construction canadienne). Les travaux ont procĂŠdĂŠ au rythme d'environ un ĂŠtage par semaine. The Bow se dresse dans la partie est de Calgary, sur l'un des axes principaux du centre-ville. La forme du bâtiment a ĂŠtĂŠ conçue sur la base d'analyses du climat et des fonctions auxquelles il ĂŠtait destinĂŠ. La tour, orientĂŠe sud, est incurvĂŠe au centre, en forme de croissant, pour recevoir un maximum de soleil et tirer parti de la chaleur et de la lumière du jour ; cette courbe permet aussi de dĂŠgager davantage de surface utile pour les bureaux avec vue sur les Montagnes Rocheuses. Orienter la façade convexe cĂ´tĂŠ vent dominant a permis de rĂŠduire le tonnage d'acier structurel de la charpente, en diminuant ainsi la quantitĂŠ d'acier nĂŠcessaire pour une structure Ă trame diagonale (appelĂŠe GLDJULG LQWULQVqTXHPHQW HIĂ€FDFH &KDTXH VHFWLRQ triangulaire de la structure couvre six ĂŠtages et contribue Ă briser visuellement la ligne du bâtiment. L'intersection des structures triangulaires dans le mur de l'atrium sud forme la plus grande structure apparente en diagrid du monde. LĂ oĂš le bâtiment est incurvĂŠ vers l’intĂŠrieur, la façade vitrĂŠe est portĂŠe en avant pour crĂŠer une sĂŠrie d'atriums s'ĂŠlevant sur toute la hauteur de la tour. Ces espaces servent de zones-tampons climatiques en isolant le bâtiment et permettent de rĂŠduire considĂŠrablement la consommation d'ĂŠnergie. L’accès vertical aux ĂŠtages des bureaux est desservi par trois jardins suspendus Ă niveaux multiples sur 6 ĂŠtages, aux niveaux 24, 42 et 54, plantĂŠs d'arbres, qui offrent toutes les installations d'usage courant : bancs, salles de rĂŠunions, services de restauration et ascenseurs. Dans ces atriums, les services rĂŠservĂŠs au personnel comprennent ĂŠgalement un auditorium installĂŠ au sommet de la tour. La tour compte 40 ascenseurs dont un ascenseur express qui va du rez-de-chaussĂŠe au jardin sur le toit. “The Bowâ€? instaure aussi des liens latĂŠraux avec les bâtiments environnants. La tour est reliĂŠe en deux points Ă un système de passerelles couvertes qui servent d'abri contre les hivers rigoureux de Calgary. Le deuxième ĂŠtage est ouvert au public et abrite des boutiques et des cafĂŠs et, grâce Ă sa liaison avec la rue du centre, il offre un parcours piĂŠton important dans le centre-ville. Ă€ l’extĂŠrieur, la courbure interne de la tour dessine une grande place publique amĂŠnagĂŠe au centre de laquelle se dresse une sculpture monumentale de l’artiste espagnol Jaume Plensa.

Inaugurato

lo scorso giugno, The Bow, con i suoi 237 metri di altezza è il grattacielo piĂš alto del Canada al di fuori di Toronto. Per la zattera di fondazione (la piĂš grande colata unica di cemento nella storia della costruzione canadese) si sono utilizzati 94 betoniere per 39,5 ore. Le fondazioni (per cui sono stati scavati 400.000 m3 di terra) sono spesse 3 m e contengono 14.000 m3 di calcestruzzo. Si è costruito circa un piano ogni settimana. The Bow si trova sul lato est di Centre Street, uno degli assi principali che attraversano il centro di Calgary. /D IRUPD GHOO¡HGLĂ€FLR q VWDWD SODVPDWD LQ relazione ad analisi del clima e delle funzioni. La torre è rivolta a sud, incurvandosi verso il sole per trarre vantaggio dalla luce del giorno e dal calore e per massimizzare il perimetro per JOL XIĂ€FL FRQ OD YLVWD VXOOH 0RQWDJQH 5RFFLRVH Ruotando la facciata convessa verso il vento prevalente, il carico strutturale è minimizzato, riducendo cosĂŹ la quantitĂ di acciaio necessario per il sistema a griglia diagonale LQWULQVHFDPHQWH HIĂ€FLHQWH 2JQL VH]LRQH triangolare della struttura copre sei piani, contribuendo a spezzare visivamente la scala GHOO¡HGLĂ€FLR /H VH]LRQL WULDQJRODUL LQWHUVHFDWH della parete dell’atrio sud formano la piĂš grande griglia diagonale di acciaio a vista nel mondo. 'RYH O¡HGLĂ€FLR FXUYD YHUVR O¡LQWHUQR OD facciata vetrata è portata in avanti per creare una serie di atri che corrono per tutta l’altezza della torre. Questi spazi agiscono da zone FOLPDWLFKH FXVFLQHWWR LVRODQR O¡HGLĂ€FLR H FRQWULEXLVFRQR D ULGXUUH VLJQLĂ€FDWLYDPHQWH il consumo energetico. L’accesso verticale DL SLDQL GHJOL XIĂ€FL q GLUHWWR DWWUDYHUVR WUH giardini pensili alti ciascuno 6 piani, ai livelli 24, 42 e 54 con alberi, panchine, sale riunioni, servizi di ristorazione e ascensori. I servizi per il personale in questi atri sono completati GD XQ DXGLWRULXP LQ FLPD DOO¡HGLĂ€FLR &L VRQR 40 ascensori, tra cui un ascensore espresso dal piano terra allo Skygarden. The Bow stabilisce anche connessioni laterali FRQ JOL HGLĂ€FL FLUFRVWDQWL /D WRUUH q XQLWD LQ GXH punti al sistema di percorsi coperti, che offrono riparo dal rigido inverno di Calgary. Il secondo piano, con negozi e bar, è aperto al pubblico, e, grazie al collegamento sopra Centre Street, completa la rete pedonale del centro cittĂ . All’esterno, la forma concava del palazzo GHĂ€QLVFH XQD JUDQGH SLD]]D SXEEOLFD DWWUH]]DWD al centro della quale è stata collocata un’iconica scultura dell’artista spagnolo Jaume Plensa.

Opened

last June, The Bow, a 237-metre-high tower – is Canada’s tallest tower outside Toronto. The raft slab for the foundation was the largest single concrete pour in Canadian construction history, using 94 concrete trucks and taking 39.5 hours. The foundations are 3m thick and contain 14,000 m3 of concrete. 400,000 m3 of land was excavated. Approximately 1 floor was built each week. The Bow is located on the east side of Centre Street, a major axis through downtown Calgary. The building’s form was shaped by analysis of the climate and organisations. The tower faces south, curving towards the sun to take advantage of daylight and heat, while maximising the perimeter for cellular offices with views of the Rocky Mountains. By turning the convex facade into the prevailing wind, the structural loading is minimised, thus reducing the amount of steel required for the inherently efficient diagrid system. Each triangulated section of the structure spans six storeys, helping to visually break down the scale of the building. The intersecting triangular sections of the south atrium wall form the largest diagrid of Architecturally Exposed Structural Steel (AESS) in the world. Where the building curves inwards, the glazed facade is pulled forward to create a series of atria that run the full height of the tower. These spaces act as climatic buffer zones, insulating the building and helping to significantly reduce energy consumption. Vertical access to the office floors is directed through three spectacular 6-storey sky gardens, which project into the atria at levels 24, 42 and 54 and incorporate mature trees, seating, meeting rooms, catering facilities and local lift cores. Staff facilities in these atria are complemented by an auditorium at the very top of the building. There are 40 elevators, including an express elevator serving Ground to Skygarden. The Bow also establishes lateral connections with surrounding buildings. The tower is fused at two points to Calgary’s system of enclosed walkways, which offers a retreat from the city’s harsh winters. The second floor is open to the public and integrates shops and cafes, and with the only public connection over Centre Street, the scheme completes a vital pedestrian link in the downtown network. Externally, the building’s arc defines a large landscaped public plaza, at the heart of which is a landmark sculpture by Spanish artist, Jaume Plensa.

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Floor plan level 5

Floor plan level 54

7

5

5

4 4 2

3

2

6

6 3

6

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2

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Floor plan level 1

Floor plan level 24

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Ground floor plan

5

5 6

4

4

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7

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N

oor plan 5

10m

10

Project: Foster+Partners Project Team: Norman Foster, David Nelson, Spencer de Grey, Nigel Dancey, James Barnes, Julia Vidal Alvarez, Laura Alvey, Tim Bauerfeind, Jakob Beer, Karin Bergmann, Mattias Bertelmann, Stephen Best, Federico Bixio, Marie Christoffersen , Vasco Correia, Kirsten Davis, Ulrich Hamman, Michelle Johnson, Arjun Kaicker, Sabine Kellerhoff, Chiu-Ming Benny Lee, Mathieu Le Sueur, Shirley Shee, Ying Leung, Alissa MacInnes, Carsten Mundle, Florian Oelschlager, Cristina Perez, Susanne Reiher, Diana Schaffrannek, Anja 6FKXSSDQ &DUROLQ 6HQà HEHQ 5REHUW 6PLWK (YD 7]LYDQNL Collaborating Architect: Zeidler Partnership Structural Engineer: Yolles Civil Engineer: Kellam Berg Mechanical Engineers: Cosentini Main contractor: Ledcor Construction Fire Consultant: Leber Rubes Vertical Transport Consultant: KJA Acoustic Consultant: Cerami Cost Consultant: Altus Helier Lighting Consultant: &ODXGH (QJOH /LJKWLQJ 'HVLJQ Landscape Consultant: Carson McCulloch Planning Consultant: Sturgess Architecture Environmental Consultant: Transolar Wind Engineer: RWDI Transportation Engineer: DA Watt Signage Consultant: Cygnus Code Consultants: Leber-Rubes Art Consultant: Via Partnership Artist: Jaume Plensa Cladding: Brook Van Dalen Client: + 5 5HDO (VWDWH ,QYHVWPHQW 7UXVW Tenant: (QFDQD DQG &HQRYXV Developer: Matthews Southwest Developments Photos: Nigel Young/Foster+Partners Site Area: 17,500m² Area (gross external): 199,781m² Typical Floor Area (net): 3,584m² Height: 236m Number of Floors: 58 Capacity: 4,000 Parking facilities: 1,360 car spaces Materials: 39,000 tonnes of steel, 90,000 m² of glass

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VELO TOWERS

SHORT

Seoul, South Korea Asymptote Architecture www.asymptote.net Dans le cadre du projet de dÊveloppement 'UHDPKXE GDQV OH TXDUWLHU G¡DIIDLUHV GH Yongsan (SÊoul), les Velo Towers sont un agencement dynamique de blocs arrondis empilÊs et dÊcalÊs. En dÊcomposant O¡pFKHOOH HW OD YROXPpWULH GHV GHX[ WRXUV en volumes circulaires et oblongs reliÊs HQWUH HX[ OH SURMHW SURSRVH XQH UpSRQVH architecturale et urbaine en alternative à O¡DXVWpULWp UpSpWLWLYH HW PRQROLWKLTXH GH la conception conventionnelle des tours. Avec les jardins suspendus, les services communs, la circulation intÊrieure autour G¡DWULXPV RXYHUWV HW OXPLQHX[ OHV YROXPHV des ÊlÊments distribuÊs verticalement crÊent des communautÊs rÊsidentielles indÊpendantes de 6 à 8 Êtages. Une SDVVHUHOOH SDQRUDPLTXH UHOLDQW OHV GHX[ tours, est suspendue à trente Êtages audessus du sol et abrite des salles de sport, GHV HVSDFHV UpFUpDWLIV GHV VDORQV GHV SLVFLQHV GHV VSDV HW GHV FDIpV DXWRXU G¡XQ jardin sur le toit.

/H 9HOR 7RZHUV QHOO¡DPELWR GHOOR SURJHWWR di sviluppo Dreamhub nel Distretto Yongsan, sono composte da volumi impilati e ruotati, disposti dinamicamente. Diminuendo le dimensioni e le volumetrie delle due torri circolari grazie a volumi oblunghi interconnessi, il progetto propone una risposta architettonica e urbanistica DOWHUQDWLYD DOO¡DXVWHULWj ULSHWLWLYD H PRQROLWLFD dei tradizionali progetti di torri. /¡LQVLHPH GL JLDUGLQL SHQVLOL VHUYL]L FRPXQL percorsi di circolazione interna, atrii luminosi e aperti, distribuiti verticalmente, crea volumi indipendenti con unitĂ residenziali di 6-8 piani. A 30 piani dal terreno, un Ponte Sospeso panoramico unisce le due torri H FRQWLHQH FHQWUR Ă€WQHVV VSD]L ULFUHDWLYL saloni, piscine, terme, bar e un giardino. The Velo Towers, within the Dreamhub development in the Yongsan District, are FRPSRVHG DV D G\QDPLF DUUDQJHPHQW RI stacked and rotated volumes. By breaking GRZQ WKH VFDOH DQG PDVVLQJ RI WKH WZR towers into interconnected circular and oblong volumes, the project proposes an alternative architectural and urbanistic response to the repetitive and monolithic DXVWHULW\ RI FRQYHQWLRQDO WRZHU GHVLJQ :LWK D FROOHFWLRQ RI URRI JDUGHQV VKDUHG amenities and internal circulation around OLJKW Ă€OOHG RSHQ DWULXP VSDFHV WKH YHUWLFDOO\ distributed massing elements create unique 6 to 8 storey residential communities. A panoramic Skybridge, joining the two towers, Ă RDWV VWRUH\V DERYH KRXVLQJ Ă€WQHVV DQG recreations centers, lounges, pools, spas and FDIHV DORQJ ZLWK D VN\ JDUGHQ Project: Asymptote Architecture (www.asymptote.net) Hani Rashid and Lise Anne Couture 60 O¡AI 114

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JANUS Rapperswil-Jona, Switzerland :mlzd architects www.mlzd.ch -DQXV HVW O·H[WHQVLRQ GX PXVpH PXQLFLSDO GH 5DSSHUVZLO -RQD XQ FRPSOH[H GH EkWLPHQWV TXL GDWH GH SOXV GH VHSW FHQWV DQV /H QRXYHDX EkWLPHQW V·LQWqJUH GH IDoRQ VHQVLEOH HW GLVFUqWH DX FHQWUH KLVWRULTXH GH OD YLOOH /D YXH GX QRUG LPSRUWDQWH SRXU O·LPSDFW YLVXHO GH OD YLOOH GDQV VRQ HQVHPEOH Q·D SDV FKDQJp *UkFH j VD QRXYHOOH FRQÀJXUDWLRQ VXU OH VLWH HW j VRQ pOpJDQWH IDoDGH HQ EURQ]H OH EkWLPHQW FRQIqUH XQH QRXYHOOH DPSOHXU DX[ DOHQWRXUV LPPpGLDWV HW SHXW DLVpPHQW rWUH LQWHUSUpWp FRPPH HQWUpH SULQFLSDOH G·XQ FRPSOH[H PXVpDO PRGHUQH &·HVW DYHF FHWWH PrPH DSSURFKH UHVSHFWXHXVH TXH OD IRUPH GX QRXYHO pGLÀFH D pWp FRQoXH HQWUH OHV IDoDGHV ODWpUDOHV GHV DQFLHQV EkWLPHQWV (Q HIIHW OD IDoDGH HW OH WRLW RQW pWp FRQoXV GH IDoRQ j FH TXH OHV IHQrWUHV HW OHV SRUWHV GHV DQFLHQV EkWLPHQWV QH VH UHFRXSHQW SDV Q·LPSRUWH R /HV QRXYHOOHV VDOOHV G·H[SRVLWLRQ pODUJLVVHQW OH FKDPS G·DFWLYLWp GX PXVpH HQ WHUPHV G·HVSDFH GH IRQFWLRQV HW GH SRVVLELOLWpV PLVHV j OD GLVSRVLWLRQ GX FRQVHUYDWHXU GX PXVpH

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Project: :mlzd architects (www.mlzd.ch) Client: Ortsgemeinde Rapperswil-Jona Photo: Dominique Marc Wehrli O·AI 114 61

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CITE DES ARTS ET DE LA CULTURE

SHORT

Besançon, France Kengo Kuma & Associates http://kkaa.co.jp InaugurĂŠe en avril dernier après trois ans de chantier, la CitĂŠ des Arts et de la Culture de Besançon regroupe sur 11 000 m2, le Conservatoire Ă rayonnement rĂŠgional (CRR) HW OH )UDF GH )UDQFKH &RPWp /¡HQVHPEOH TXL MRXH VXU O¡DOWHUQDQFH GH OD WUDQVSDUHQFH HW GX PDW VH GUHVVH DX ERUG GX 'RXEV HW DX SLHG GH OD FLWDGHOOH GH 9DXEDQ HW GHV FROOLQHV /H SURMHW de Kengo Kuma est nĂŠ de la rencontre entre KLVWRLUH HW EkWL HDX HW OXPLqUH YLOOH HW QDWXUH eOpPHQW HPEOpPDWLTXH OD JUDQGH WRLWXUH TXL relie les deux pĂ´les culturels mĂŞlant pixels de vĂŠgĂŠtation, aluminium teintĂŠ, verre et panneaux SKRWRYROWDwTXHV (OOH FRQVWLWXH XQH YpULWDEOH FLQTXLqPH IDoDGH YLVLEOH GHV FROOLQHV GH %HVDQoRQ 6HXO WpPRLJQDJH GX SDVVp OH EkWLPHQW GH EULTXHV GH O¡DQFLHQ SRUW Ă XYLDO WUDQVIRUPp HQ JDOHULH G¡H[SRVLWLRQ GX )UDF HVW GRXEOp GH JUDQGHV SDURLV YLWUpHV (QWUH OHV GHX[ pGLĂ€FHV OH 3DVVDJH GHV $UWV HVW j OD IRLV XQ OLHX GH UHQFRQWUH HW XQ HVSDFH VWUXFWXUDQW GH O¡RUJDQLVDWLRQ GH la CitĂŠ des Arts et de la Culture. Un complexe exemplaire du point de vue environnemental et pQHUJpWLTXH JUkFH j O¡LQVWDOODWLRQ GH P2 de SDQQHDX[ SKRWRYROWDwTXHV HQ WRLWXUH HW j XQH SRPSH j FKDOHXU TXL IRQFWLRQQH VXU OD QDSSH SKUpDWLTXH GX 'RXEV

,QDXJXUDWD QHOO¡DSULOH VFRUVR GRSR WUH DQQL GL cantiere, la CitĂŠ des Arts et de la Culture di Besançon raggruppa su uno stesso sito di circa 11.000 m2, il Conservatorio regionale e LO )UDF )UDQFKH &RPSWp /¡LQVLHPH JLRFDWR VXOO¡DOWHUQDQ]D WUD WUDVSDUHQ]D H RSDFLWj VL LQVFULYH OXQJR LO 'RXEV H DL SLHGL GHOOD &LWWDGHOOD GL 9DXEDQ H GHOOH FROOLQH VHJQDQGR LO QXRYR ingresso della cittĂ . Il progetto di Kengo Kuma QDVFH GDOO¡LQFRQWUR WUD VWRULD H FRQWHVWR FRVWUXLWR WUD DFTXD H OXFH WUD FLWWj H QDWXUD (OHPHQWR HPEOHPDWLFR H IHGHUDWRUH OD JUDQGH FRSHUWXUD SL[HODWD FKH XQLĂ€FD OH GXH HQWLWj FXOWXUDOL q IRUPDWD GDOO¡DVVRFLD]LRQH DOHDWRULD GL YHWUR VHULJUDĂ€H H SLHWUD GLYHQHQGR XQD YHUD D SURSULD TXLQWD IDFFLDWD 6ROD HPHUJHQ]D O¡DQWLFR HGLĂ€FLR di stoccaggio in mattoni del vecchio porto Ă XYLDOH WUDVIRUPDWR LQ JDOOHULD HVSRVLWLYD GHO Frac e circondato da una scatola vetrata. Tra i GXH HGLĂ€FL LO 3DVVDJH GHV $UWV VL DSUH FRPH XQD Ă€QHVWUD XUEDQD VXOOD FLWWj H OD QDWXUD RIIUHQGR XQ OXRJR GL UHOD]LRQH H VWUXWWXUDQGR O¡LPSLDQWR RUJDQL]]DWLYR GHOOD FLWWDGHOOD FXOWXUDOH (VHPSLR GL HGLĂ€FLR D EDVVR FRQVXPR %%& (IĂ€QHUJLH il complesso è dotato di 1.200 m2 di pannelli IRWRYROWDLFL LQ FRSHUWXUD H GL XQD SRPSD GL FDORUH FKH VIUXWWD OD IDOGD IUHDWLFD GHO 'RXEV

The CitĂŠ des Arts et de la Culture di Besançon, ZKLFK RSHQHG ODVW $SULO DIWHU WKUHH \HDUV RI EXLOGLQJ ZRUN JURXSV WRJHWKHU WKH 5HJLRQDO Conservatory and Frac Franche-ComptĂŠ on one single site covering approximately 11,000 m². The overall construction, playing on a FRPELQDWLRQ RI WUDQVSDUHQF\ DQG RSDFLW\ LV VHW DORQJ WKH 5LYHU 'RXEV DW WKH IRRW RI WKH &LWDGHO RI 9DXEDQ DQG VXUURXQGLQJ KLOOV PDUNLQJ D QHZ HQWUDQFH ZD\ WR WKH FLW\ 7KH JLDQW SL[HOOHG URRI WKH PRVW GLVWLQFWLYH IHDWXUH EULQJLQJ WRJHWKHU WKH WZR GLIIHUHQW FXOWXUDO HQWLWLHV LV IRUPHG RXW RI D VRIW DQG DLU\ FRPELQDWLRQ RI JODVV VHULJUDSKLF prints and stone, turning into an authentic curtain IDFDGH 7KH RQO\ RXWVWDQGLQJ IHDWXUH LV WKH ROG EULFN VWRUDJH EXLOGLQJ WKDW XVHG WR EHORQJ WR WKH ROG ULYHU SRUW WKDW KDV EHHQ WUDQVIRUPHG LQWR D H[KLELWLRQ JDOOHU\ IRU )UDF DQG VXUURXQGHG E\ D JODVV ER[ 7KH 3DVVDJH GHV $UWV ORFDWHG EHWZHHQ WKH WZR EXLOGLQJV RSHQV XS RQWR WKH FLW\ DQG VXUURXQGLQJ QDWXUH OLNH DQ XUEDQ ZLQGRZ providing an interactive place that structures WKH RYHUDOO OD\RXW RI WKLV FXOWXUDO FLWDGHO $ Ă€QH H[DPSOH RI D ORZ FRQVXPSWLRQ EXLOGLQJ %%& (IĂ€QHUJLH WKH FRPSOH[ LV Ă€WWHG ZLWK Pò RI SKRWRYROWDLF SDQHOV RQ WKH URRI DQG D KHDW SXPS GUDZLQJ RQ JURXQGZDWHU IURP WKH 5LYHU 'RXEV

Project: Kengo Kuma & Associates (http://kkaa.co.jp); Associates: Archidev; Engineering: Iosis Grand Est; Landscaping: Agence de paysage L’Anton; Scenography: Changement Ă vue; Acoustics: Jean-Paul Lamoureux; Economiste: Cabinet Guy Cholley; HQE: Alto ingĂŠnierie; Client: CommunautĂŠ d’AgglomĂŠration du Grand Besançon, RĂŠgion Franche ComtĂŠ, Ville de Besançon Photo: Nicolas Waltefaugle 62 O¡AI 114

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LASCAUX IV CAVE PAINTING CENTER Montignac, France Snøhetta + Duncan Lewis, Casson Mann www.snoarc.no, www.cassonmann.co.uk DĂŠcouvertes en 1940, les 2 000 peintures de la grotte ont fait sensation et ont attirĂŠ des visiteurs du monde entier. En 1963, elles ĂŠtaient tellement PHQDFpHV SDU O¡H[SRVLWLRQ DX SXEOLF TXH O¡DFFqV GH OD JURWWH D pWp GpĂ€QLWLYHPHQW LQWHUGLW /DVFDX[ ,9 UpWDEOLUD FHW HQVHPEOHH[WUDRUGLQDLUH LQVFULW DX SDWULPRLQH PRQGLDO GH O¡8QHVFR HW SHUPHWWUD DLQVL DX[ YLVLWHXUV G¡DSSUpFLHU OHV SOXV LPSRUWDQWHV UHSUpVHQWDWLRQV GX SDOpROLWKLTXH /H SURMHW ODXUpDW GX FRQFRXUV GHYUDLW DFFXHLOOLU 400 000 visiteurs par an; il se prĂŠsente comme XQH LQFLVLRQ DX SLHG GH OD FROOLQH TXL WLUH SDUWL GH OD WRSRJUDSKLH FDOFDLUH GHV OLHX[ WDQGLV TXH O¡LQWpULHXU SUpVHQWH XQH VFpQRJUDSKLH FRQoXH SRXU accompagner le visitateur Ă travers les galeries, les espaces et les salles des cavernes ĂŠclairĂŠes SDU GHV SXLWV GH OXPLqUH

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6FRSHUWL QHO L TXDVL GLSLQWL DOO¡LQWHUQR GHO FRPSOHVVR GL FDYHUQH KDQQR GHVWDWR XQ¡DWWHQ]LRQH che ha attirato visitatori da ogni parte del mondo. Nel 1963 i dipinti erano cosĂŹ compromessi a causa GHOO¡HVSRVL]LRQH DPELHQWDOH FKH OH JURWWH VRQR VWDWH GHĂ€QLWLYDPHQWH FKLXVH DO SXEEOLFR /DVFDX[ ,9 ULVWDELOLUj TXHVWR VWUDRUGLQDULR SDWULPRQLR PRQGLDOH GHOO¡XPDQLWj H SHUPHWWHUj DL YLVLWDWRUL GL DSSUH]]DUH L GLSLQWL SDULHWDOL SDOHROLWLFL SL VLJQLĂ€FDWLYL ,O SURJHWWR YLQFLWRUH GHO FRQFRUVR q GHVWLQDWR DG DFFRJOLHUH YLVLWDWRUL O¡DQQR H FRPSUHQGH XQ HVWHUQR GDO SURĂ€OR EDVVR FKH ULSUHQGH L FRQWRUQL GHOOD WRSRJUDĂ€D FDOFDUHD GHO SDHVDJJLR H XQ LQWHUQR VFHQRJUDĂ€FR SURJHWWDWR SHU DFFRPSDJQDUH il visitatore attraverso il complesso delle grotte con JDOOHULH VSD]L FDYHUQRVL H VDOH LOOXPLQDWH GD IDVFL GL luce solare proveniente da aperture nella copertura. Discovered in 1940, the almost 2000 paintings ZLWKLQ WKH FDYH FRPSOH[ FDXVHG D VHQVDWLRQ WKDW attracted visitors from every part of the world. ,Q WKH SDLQWLQJV ZHUH VR FRPSURPLVHG E\ HQYLURQPHQWDO H[SRVXUH WKDW WKH FDYHV ZHUH SHUPDQHQWO\ FORVHG WR WKH SXEOLF /DVFDX[ ,9 ZLOO UH HVWDEOLVK WKLV H[WUDRUGLQDU\ ZRUOG heritage site and ensure that visitors can appreciate WKH PRVW VLJQLĂ€FDQW 3DOHROLWKLF SDLQWLQJV 7KH ZLQQLQJ FRQFHSW LV H[SHFWHG WR ZHOFRPH YLVLWRUV SHU \HDU DQG LQFOXGHV D ORZ SURĂ€OH H[WHULRU WKDW UHĂ HFWV WKH FRQWRXUV RI WKH OLPHVWRQH topography and a dramatic interior designed to WUDQVSRUW WKH YLVLWRU LQWR D FDYH FRPSOH[ FRPSOHWH ZLWK WXQQHOV FDYHUQRXV VSDFHV DQG FKDPEHUV OLW E\ VKDIWV RI EURNHQ VXQOLJKW

Architecture: Snøhetta (www.snoarc.no) + Duncan Lewis; Scenography: Casson Mann (www.cassonmann. co.uk); Casson Mann team: Roger Mann, Craig Riley – Design Associate; Multi-media: Jangled Nerves; Cost Consultant: VPEAS; Structural Engineering: Kephren; Environmental Engineering: Alto IngĂŠnierie; Lighting: 8’18’’ Conception lumière; Sound: Daniel Commins; Client: Conseil GĂŠnĂŠral de la Dordogne; Previsional Cost: 50 000 000 â‚Ź; Calendar: 2015 Delivery; 7RWDO Ă RRU DUHD 8,605 m²; Facsimile: 1,600 m2; Site: 65,770 m2 O¡AI 114 63

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PEACE PAVILION London - Museum Gardens, Bethnal Green, UK Atelier ZĂźndel Cristea www.zundelcristea.com Le projet architectural pour le Pavillon de la Paix D pWp FKRLVL SDUPL GHV FHQWDLQHV G¡LGpHV HQYR\pHV GHV TXDWUH FRLQV GX PRQGH j O¡RFFDVLRQ G¡XQ concours international annuel (www.archtriumph. FRP 6XU OH WKqPH GH OD ´3DL[Âľ O¡REMHFWLI YLVDLW une structure qui puisse reprĂŠsenter une VRXUFH G¡LQVSLUDWLRQ HW XQ HVSDFH LQWHUDFWLI VXU O¡LPSRUWDQFH HW OHV DYDQWDJHV GH OD GLYHUVLWp HW GH OD FRKDELWDWLRQ SDFLĂ€TXH /D VWUXFWXUH TXL PHVXUH approximativement 4 mètres de haut pour une VXUIDFH GH Pò HVW HQWLqUHPHQW UpDOLVpH DYHF GHV PDWpULDX[ OpJHUV HW pFRORJLTXHV HOOH HVW JRQĂ pH DYHF HQYLURQ P3 G¡DLU HW HVW UpDOLVpH HQ &OHDU P\ +Y+W 39& 3UHFRQWUDLQW 6 PDULQ IDEULF DOXPLQLXP SROL HW ERLV $SUqV DYRLU pWp H[SRVp WRXW O¡pWp OH SDYLOORQ GHYUDLW rWUH YHQGX en espĂŠrant que ses nouveaux propriĂŠtaires O¡H[SRVHURQW GDQV OH PRQGH HQWLHU

,O SURJHWWR YLQFLWRUH SHU LO 3DGLJOLRQH GHOOD Pace è stato scelto tra centinaia di idee presentate da tutto il mondo per un concorso internazionale annuale (www.archtriumph. FRP FRQ OR VFRSR GL SURJHWWDUH XQD VWUXWWXUD GHGLFDWD DOOD ´3DFHÂľ FKH IRVVH IRQWH GL ispirazione e spazio interattivo incentrato VXOO¡LPSRUWDQ]D H L YDQWDJJL GHOOD GLYHUVLWj H GHOOD FRQYLYHQ]D SDFLĂ€FD /D VWUXWWXUD FKH PLVXUD FLUFD PHWUL GL DOWH]]D H Pò GL VXSHUĂ€FLH SURJHWWDWD LQWHUDPHQWH FRQ PDWHULDOL GXUHYROL H OHJJHUL H JRQĂ€DWD FRQ FLUFD P3 GL DULD q IDWWD GL &OHDU P\ +Y+W 39& 3UHFRQWUDLQW 6 WHVVXWR PDULQ DOOXPLQLR OXFLGDWR H OHJQR 'RSR O¡HVWDWH VL SUHYHGH GL YHQGHUH LO SDGLJOLRQH FRQ OD VSHUDQ]D FKH VDUj HVSRVWR in tutto il mondo dai nuovi proprietari.

7KH ZLQQLQJ GHVLJQ IRU 3HDFH 3DYLOLRQ ZDV FKRVHQ IURP KXQGUHGV RI LGHDV VXEPLWWHG IURP all over the world to an annual international competition (www.archtriumph.com) with D EULHI WR GHVLJQ D VWUXFWXUH ZLWK WKH WKHPH RI ´3HDFHÂľ WR SURYLGH DQ LQVSLUDWLRQDO DQG interactive space dedicated to the importance DQG EHQHĂ€WV RI GLYHUVLW\ DQG SHDFHIXO FR existence. The structure which measures DSSUR[LPDWHO\ P LQ KHLJKW DQG Pò LQ DUHD GHVLJQHG HQWLUHO\ ZLWK GXUDEOH OLJKWZHLJKW PDWHULDOV DQG LQĂ DWHG ZLWK DSSUR[LPDWHO\ m3 RI DLU LV PDGH RI &OHDU P\ +Y+W 39& 3UHFRQWUDLQW 6 PDULQ IDEULF SROLVKHG $OXPLQLXP DQG ZRRG 7KH 3DYLOLRQ LV H[SHFWHG WR EH VROG DIWHU LWV VXPPHU H[KLELWLRQ ZLWK WKH KRSH WKDW LW ZLOO EH H[KLELWHG E\ WKH QHZ RZQHUV around the world.

64 O¡AI 114

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SOUMAYA MUSEUM Mexico City, Mexico Fernando Romero EnterprisE http://fr-ee.org Le MusĂŠe Soumaya a ĂŠtĂŠ conçu Ă la fois pour offrir le maximum de fonctions et reprĂŠsenter une LF{QH XUEDLQH /¡pGLĂ€FH VH SUpVHQWH ŠFRPPH XQH construction sculpturale et contemporaine qui se GLVWLQJXH SDU XQH VLOKRXHWWH DPRUSKH TXL UHĂ qWH OD GLYHUVLWp GH OD FROOHFWLRQÂŞ /¡H[WpULHXU HVW recouvert de modules hexagonaux en aluminium qui augmentent sa prĂŠservation et sa durabilitĂŠ. /¡HQYHORSSH HVW UpDOLVpH DYHF GHV FRORQQHV HQ DFLHU GH GLDPqWUH GLIIpUHQW FKDFXQH DYHF VD SURSUH JpRPpWULH HW VD SURSUH IRUPH FUpDQW DLQVL des parcours non linĂŠaires pour les visiteurs. /¡HVSDFH G¡H[SRVLWLRQ HVW UpSDUWL VXU FLQT pWDJHV TXL DEULWHQW XQ DXGLWRULXP XQH FDIpWpULD GHV EXUHDX[ XQH ERXWLTXH GH VRXYHQLUV HW XQ KDOO polyvalent. Le dernier ĂŠtage est le plus grand HVSDFH GX PXVpH DYHF XQ WRLW VXVSHQGX HQ SRUWH j IDX[ TXL ODLVVH SpQpWUHU OD OXPLqUH QDWXUHOOH j O¡LQWpULHXU

,O 0XVHR 6RXPD\D q VWDWR SURJHWWDWR VLD SHU offrire la massima funzionalitĂ sia come icona XUEDQD /¡HVWHUQR q XQD IRUPD DPRUID SHUFHSLWD LQ PRGR GLYHUVR GD RJQL DQJROD]LRQH FKH ULĂ HWWH OD GLYHUVLWj GHOOD FROOH]LRQH DOO¡LQWHUQR /D IDFFLDWD q UHDOL]]DWD FRQ PRGXOL HVDJRQDOL in alluminio che ne facilitano la manutenzione H OD GXUDWD ,O JXVFLR q FRVWUXLWR FRQ FRORQQH LQ DFFLDLR GL GLDPHWUR GLIIHUHQWH FLDVFXQD FRQ XQD SURSULD JHRPHWULD H IRUPD FUHDQGR cosĂŹ percorsi di circolazione non lineari per il YLVLWDWRUH /R VSD]LR HVSRVLWLYR q VXGGLYLVR WUD FLQTXH SLDQL FRQ XQ DXGLWRULXP FDIIHWWHULD XIĂ€FL QHJR]LR GL VRXYHQLU H DWULR SROLIXQ]LRQDOH ,O SLDQR VXSHULRUH q LO SL DPSLR QHO PXVHR FRQ un tetto sospeso a sbalzo che consente alla OXFH QDWXUDOH GL SHQHWUDUH DOO¡LQWHUQR The Museo Soumaya was designed both for maximum functionality and as an urban icon. The exterior is an amorphous shape perceived GLIIHUHQWO\ IURP HYHU\ DQJOH UHĂ HFWLQJ WKH diversity of the collection inside. The façade is made of hexagonal aluminum modules facilitating its preservation and durability. The shell is constructed with steel columns of different GLDPHWHUV HDFK ZLWK LWV RZQ JHRPHWU\ DQG VKDSH FUHDWLQJ QRQ OLQHDU FLUFXODWLRQ SDWKV IRU the visitor. The exhibition space is divided among Ă€YH Ă RRUV WRJHWKHU ZLWK DQ DXGLWRULXP FDIp RIĂ€FHV JLIW VKRS DQG PXOWLSXUSRVH OREE\ 7KH WRS Ă RRU LV WKH ODUJHVW VSDFH LQ WKH PXVHXP ZLWK its roof suspended from a cantilever that allows in natural daylight.

Project: Fernando Romero EnterprisE (http://fr-ee.org); Structure: Colinas De Buen; Steel Producer: Swecomex; Mep: Dypro; Hydraulic, Sanitary Installation And Fire Protection:Garza Maldonado y Asociados; Electric Installation: Hubard Bourlon; Security / It & A/V: Sitcom; Museographer: Museo Soumaya / Alfonso Miranda; Interior & Landscape: Mier y Teran / Petra Blaisse; Lighting: Lighteam & Arquitectura De La Luz; Vertical Transport: Kone & Arsenio Rodríguez ; Consulting Kitchen: Sanborns; Auditorium: Teletec; Environmental Graphics: Museistica / Adriana Miranda; Acoustic: Saad Acústica; Client: Fundación Carlos Slim; Area: 16,000 m² O¡AI 114 65

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02/08/13 09:58

SURFACE CULTURE

CULTURE SU-ERF&C&ELLE

CULTURA !& SU-ERF&C&E

Our culture glides on the surface of things; light, fast, unnatural, suLerĹ‚cial, conĹƒictual Our liRes are hyper-real; they are themed, spectacular, illusionary Concepts turn into ali>is, idĂ€e-Ĺ‚Tes mirror trends Life Sithout o>Fections 4e moRe in networks where relations between the nodes seemingly haRe become unconditional, condition-less, it is a one-dimensional network, a cloud, in which all centres collide in a nucleus of indiRiduality, the capsule†s capsule, and inside eReryone continuously pimps, remiTes, recollects and represents his own identity

Notre culture glisse Ă la surface des choses, lĂ€gÂżre, rapide, artiĹ‚cielle, superĹ‚cielle, conĹƒictuelle Nos Ries sont hyper-rĂŠelles, thĂŠmatiques, spectaculaires, illusoires Les concepts se transforment en alibis, les idĂŠes reĹƒÂżtent les tendances Une Rie sans objections Nous ĂŠRoluons dans des rĂŠseauT oĂ? les relations entre les noeuds sont deRenues apparemment inconditionnelles, sans rĂŠserRe, un rĂŠseau unidimensionnel, un nuage, oĂ? tous les centres Ront se heurter Ă un noyau d†indiRidualisme, la capsule de la capsule et oĂ? chacun, Ă l†intĂŠrieur, mĂŠdiatise, mĂŠlange, rappelle et reprĂŠsente sa propre identitĂŠ

La nostra cultura sciRola sulla superĹ‚cie delle cose; leggera, Reloce, innaturale, superĹ‚ciale, conĹƒittuale Le nostre Rite sono iper-reali; tematiche, spettacolari, illusorie & concetti si trasformano in alibi, le idee Ĺ‚ssate rispecchiano le tendenVe 3ita senVa obieVioni Ci muoRiamo in reti in cui le relaVioni tra i nodi sono apparentemente diRentate incondiVionate, senVa condiVioni, una rete unidimensionale, una nuRola, in cui tutti i centri collidono in un nucleo di indiRidualitĂ , la capsula della capsula, e ciascuno, dentro, media, mescola, ricorda e rappresenta la propria identitĂ

OÂł EST LE -RO LÂĽ*E

.UAL E† &L -RO LE*A

&l y a une diffĂŠrence entre notre comportement au traRail et celui de notre Rie priRĂŠe Notre culture contemporaine est plus artiĹ‚cielle et thĂŠmatique que notre conteTte de formation professionnelle et la pratique de l†architecture ne le permettent *ais, d†autre part, les mĂŠdias adaptent de plus en plus le dĂŠbat et les processus architecturauT, de mĂŞme que le milieu dans lequel nous RiRons L†un des rĂŠsultats de cet ĂŠtat de fait est le pouRoir dominant de la culture des blogs comme points de repère pour les projets, les idĂŠes, les eTemples Ă suiRre, qui a pour effet de faire ĂŠRoluer l†architecture Rers une ÄŤ architecture &T h conžue pour prospĂŠrer dans la blogosphère

C†è differenVa tra il nostro comportamento personale e quello professionale La nostra cultura contemporanea è piĂ? artiĹ‚ciale e tematica di quanto consenta la nostra sfera professionale di formaVione e pratica architettonica *a, d†altra parte, i media conformano sempre di piĂ? i processi e il dibattito architettonici come anche l†ambiente in cui RiRiamo Un risultato di questo è il potere dominante della cultura dei blog come punto di riferimento per i progetti, le idee, gli esempi da seguire, e come effetto l†architettura eRolRe in una Äźarchitettura &T‡ progettata per prosperare nella blogsfera +

+

Globalmente, e in modo pi� eRidente in Estremo Oriente, la prełguraVione e la realiVVaVione di nuoRi progetti, città e territori aRRiene con un ritmo gigantesco La relaVione tra il mondo iper-reale – il rendering come traduVione RisiRa dell†immaginato nella realtà – e quello Reramente łsico Riene distorta nel tempo e nello spaVio e queste due sfere della realtà collidono in un micro-futuro costantemente Risibile

4%AT†S T%E *ATTER There eTists a gap between our personal behaRiour and our professional behaRiour Our contemporary culture is more artiłcial and themed than the professional sphere of architectural education and practice will allow ut on the other hand, media shape more and more the processes and the discourse in architecture as well as the enRironment in which we work A result is the dominant power of blog culture on referencing projects, input, benchmarks, and as an effect architecture eRolRes into an ĺ&T architecture† designed to thriRe in the blogosphere + $lobally, eTempliłed most RiRidly in Eastern Asia, the prełguration and the realisation of new projects, cities and areas takes place at a gigantic tempo The relation between the hyper-real „ the render as a Risual translation of the imagined into the real – and the actual physical world becomes twisted in time and space, and these two spheres of reality collide into a constantly Risible micro-future

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Globalement, et plus particulièrement en ETtrĂŞme-Orient, la prĂŠĹ‚guration et la rĂŠalisation de nouReauT projets, de Rilles et de territoires se fait Ă un rythme phĂŠnomĂŠnal La relation entre le monde hyper-rĂŠel – rendu comme traduction Risuelle de l†imaginĂŠ dans la rĂŠalitĂŠ – et le monde Rraiment physique, est dĂŠformĂŠe dans l†espace et dans le temps et ces deuT sphères de la rĂŠalitĂŠ s†entrechoquent dans un micro-futur Risible en permanence

30/07/13 16:55

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30/07/13 16:56

SPEED

VITESSE

4e dełne speed as a fundamental design tool for our time 4ith speed, we can glide the surface Speed – when going too fast – also creates rupture 4hen we work too fast, we create ĺmistakes† that will serRe as stepping stones towards future actions

Nous dÊłnissons la Ritesse comme un instrument fondamental de notre Êpoque pour le projet Grºce à la Ritesse, nous pouRons surRoler la surface La Ritesse – quand elle deRient trop grande – peut entraÅner une rupture .uand nous traRaillons trop Rite, nous crÊons des č erreurs h qui serRiront de tremplins auT actions futures

PARADIGM WEEKLY The fast, incomplete, superĹ‚cial way of producing content for and in a mediatiVed world guarantees claims that are paradoTal, conĹƒictuous, or eRen merely Rague Statements, paradigms and theories are not Äşconstructed†, but their speedy alternatiRes are brought together in compilations Speeding up decreases the timeframe, and ideas loop past different players and platforms Not the single lines of thought matter, but the compiled panorama of objects and stories, from which new scenarios might surface

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UN PARADIGME PAR SEMAINE La fažon rapide, incomplète, superĹ‚cielle de produire du contenu dans le monde et pour le monde mĂŠdiatisĂŠ gĂŠnère des dĂŠclarations paradoTales, conĹƒictuelles ou tout simplement Ragues Les afĹ‚rmations, les paradigmes et les thĂŠories ne sont pas ÄŤ construites h mais leurs alternatiRes rapides sont assemblĂŠes comme des compilations L†accĂŠlĂŠration rĂŠduit l†interRalle de temps et les idĂŠes s†enroulent autour de diffĂŠrents acteurs et de diffĂŠrentes plateformes Ce ne sont pas les courants de pensĂŠe qui comptent mais le panorama d†histoires et d†objets collectĂŠs, d†oĂ? peuRent ĂŠmerger de nouReauT scĂŠnarios

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VELOCITA’ DeĹ‚niamo la RelocitĂ come uno strumento fondamentale per il progetto dei nostri tempi GraVie alla RelocitĂ , possiamo sorRolare la superĹ‚cie La Relocità – quando diRenta troppo eleRata – puĂˆ determinare rottura .uando laRoriamo troppo Relocemente, creiamo Äźerrori‡ che serRiranno da trampolini Rerso aVioni future UN PARADIGMA A SETTIMANA Il modo Reloce, incompleto, superĹ‚ciale di produrre contenuto per e nel mondo medialiVVato garantisce affermaVioni paradossali, conĹƒittuali o anche meramente Raghe AsserVioni, paradigmi e teorie non sono Äźcostruite‡, ma le loro alternatiRe Reloci sono messe insieme come compilaVioni La RelociVVaVione riduce l’arco temporale e le idee si aRRolgono attraRerso diRersi protagonisti e piattaforme Non sono importanti le singole linee di pensiero, bensĂƒ il panorama compilato di oggetti e storie, da cui possono emergere nuoRi scenari

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PERFORMING THE SURFACE We don’t go to the core of things but peel away some parts, we roam referential networks as legitimation to undercut the slow maturation of architectural thought. As these visual worlds grow, the inŃuences and layers start to manifest their sense, combinations generate narrative, objects unfold meaning. The images are experiential, architectural sandbox and mental łtness centre. We zoom, pan, deform, duplicate, and direct. Narratives are generated on the spot. These interfaces must be obtrusive, noisy, endless, lo-tech. We should not just glide the surface – like smartphones – but crashland onto them, break them up. Anti-interface. Face to face. Both creation and presentation of an image are performative acts. So when we travel through the images, we get thrown back on the work and the ideas that were so hastily incorporated in this new world. The drawn objects become objections. We bury ourselves into a cycle of production, reproduction. Do in order to think. We think in doing, and rethink in redoing.

PINGUINI

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REPRÉSENTER LA SURFACE

RAPPRESENTARE LA SUPERFICIE

Nous n’allons pas au cœur des choses mais nous en pelons des parties, nous errons dans les réseaux sociaux de référence, légitimation du sabotage de la lente maturation de la pensée architecturale. Pendant que ces mondes visuels se développent, les inŃuences et les couches commencent à exprimer leur sens, les combinaisons génèrent des récits, les objets révèlent des signiłcations. Les images sont expérientielles, des bacs à sable architecturaux, des salles de gym pour l’esprit.

Non andiamo al cuore delle cose, ma ne peliamo via delle parti, vagabondiamo tra network referenziali come legittimazione per minare la lenta maturazione del pensiero architettonico. Mentre questi mondi visuali crescono, le inŃuenze e gli strati cominciano a manifestare il loro senso, le combinazioni generano narrative, gli oggetti svelano signiłcati. Le immagini sono esperienziali, sabbiere architettoniche e palestre per la mente.

Nous rapprochons, élargissons, déformons, dupliquons et pointons. Les récits naissent sur le moment. Ces interfaces doivent être envahissantes, bruyantes, inłnies, low-tech. Nous ne devrions pas seulement glisser sur la surface, comme un smartphone – mais nous écraser contre elle et la faire éclater en mille morceaux. Anti-interface. Face à face. La création d’une image comme sa présentation sont des actes représentatifs. Ainsi, lorsque nous voyageons à travers les images, nous sommes rejetés sur le travail et les idées qui avaient été élaborées de façon si hâtive s’intègrent à ce nouveau monde. Les objets dessinés deviennent des objections. Nous nous enterrons nous-mêmes dans un cycle de production, reproduction. Nous faisons pour penser. Nous pensons pendant que nous faisons et nous repensons quand nous refaisons.

VIDI

Avviciniamo, allarghiamo, deformiamo, duplichiamo e puntiamo. Le narrative vengono generate sul momento. Queste interfaccia devono essere invadenti, rumorose, inłnite, lo-tech. Non dovremmo solo scivolare sulla superłcie, come smartphone – ma schiantarci dentro di essa e mandarla in pezzi. Anti-interfaccia. Faccia a faccia. Sia la creazione sia la presentazione di un’immagine sono atti rappresentativi. Così, quando viaggiamo attraverso le immagini, veniamo respinti sul lavoro e le idee che erano state così frettolosamente incorporate in questo nuovo mondo. Gli oggetti disegnati diventano obiezioni. Seppelliamo noi stessi in un ciclo di produzione, riproduzione. Fai per pensare. Noi pensiamo mentre facciamo e ripensiamo mentre rifacciamo.

VICI

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Founded in 2008 by Pieterjan Ginckels (BE) and Julian Friedauer (DE) and rooted in architecture and art, SPEEDISM operates in what they call the dead angle of architecture. As dark knights they race through theoretic landscapes and referential playgrounds, performing an endless visual universe that feeds off conŃict and beauty, dream and doom.

www.speedism.net

Fondé en 2008 par Pieterjan Ginckels (Belgique) et Julian Friedauer (Allemagne), ancré dans l’architecture et l’art, SPEEDISM intervient dans ce que nous appelons l’angle mort de l’architecture. Tels des chevaliers noirs, ils galopent à travers les territoires théoriques et les champs référentiels, en créant un univers visuel inłni qui se nourrit de conŃit et de beauté, de rêve et de malheur.

www.speedism.net

Fondato nel 2008 da Pieterjan Ginckels (Belgio) e Julian Friedauer (Germania) e radicato nell’architettura e nell’arte, SPEEDISM opera in quello che chiamiamo l’angolo morto dell’architettura. Come cavalieri oscuri corrono attraverso territori teorici e campi referenziali, realizzando un universo visivo inłnito che si nutre di conŃitto e bellezza, sogno e sventura.

www.speedism.net

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crescita e urbanizzazione accelerata, il progetto Asian Cairns si batte per la realizzazione di un polo urbano polifunzionale, multiculturale ed ecologico. E’ ovviamente un progetto per costruire un prototipo di cittĂ verde, densa e intelligente connessa con le ICT ed eco-disegnata dalle biotecnologie! 3.1 Tre eco-spirali intrecciate Il master plan è progettato in forma di tre spirali intrecciate che rappresentano i tre elementi – fuoco, terra e acqua – organizzate attorno a un vuoto centrale. Ciascuna spirale si avvolge intorno a due torri megalitiche e forma un ecosistema urbano, impiantando la biodiversitĂ nel cuore della CittĂ sottoforma di vasti orti pubblici e di campi agricoli urbani. Enormi bacini per la viticoltura H YDVWH ODJXQH SHU OD Ă€WRGHSXUD]LRQH ULFLFODQR OH acque grigie riversate dalle fattorie urbane. 3.2 Sei grattacieli-fattoria polifunzionali Le sei torri-giardino scolpite in un Triangolo D’Oro impilano funzioni miste, sovrapponendo grattacieli-fattoria coltivati dai loro stessi abitanti. &RPH SHU LO PLR SURJHWWR 'UDJRQĂ \ SHU 1HZ <RUN l’obiettivo è di ricollocare la campagna nella cittĂ e rigenerare le modalitĂ di produzione del cibo nei luoghi del consumo. Le torri megalitiche sono EDVDWH VX FXPXOL GL SLHWUD DUWLĂ€FLDOH FRPH TXHOOL che si trovano in montagna per segnalare i sentieri. Sfruttando intelligentemente la costruzione, queste VHL WRUUL VRYUDSSRQJRQR UHVLGHQ]H XIĂ€FL VSD]L per lo svago in ciottoli monolitici accatastati uno sull’altro lungo un viale centrale verticale. Questo viale centrale costituisce la cornice strutturale GL FLDVFXQD WRUUH 2UJDQL]]D L Ă XVVL XPDQL GLVWULEXLVFH OH ULVRUVH QDWXUDOL H ´GLJHULVFHÂľ L ULĂ€XWL estraendoli e selezionandoli per il compostaggio. Veri e propri quartieri urbani con isolati a uso misto, questi cumuli rendono piĂš denso lo spazio urbano ottimizzando la qualitĂ della vita dei loro abitanti grazie alla riduzione dei mezzi di trasporto, dell’inclusione di reti per la domotica, la rinaturalizzazione degli spazi pubblici e privati e l’integrazione di energie pulite rinnovabili. I sei grattacieli-fattorie sono torri pionieristiche che mirano ai seguenti 10 obiettivi: 1. Diminuzione dell’impronta ecologica di questi nuovi eco-quartieri attraverso la valorizzazione della propria autonomia per il cibo e la riduzione dei mezzi di trasporto. 2. Rigenerazione dell’impiego locale nei settori primario e secondario con la coproduzione di prodotti freschi e organici per gli abitanti che saranno in grado di riappropriarsi della conoscenza dei modi di produzione agricola. 5LFLFOR D FRUWR UDJJLR FKLXVR GHL ULĂ€XWL OLTXLGL R VROLGL RUJDQLFL GHOOH DFTXH UHĂ XH DWWUDYHUVR compostaggio anaerobico e pannelli di alghe verdi che producono biogas tramite fotosintesi accelerata. 4. Riduzione della deforestazione, della GHVHUWLĂ€FD]LRQH H GHOO¡LQTXLQDPHQWR GHOOH IDOGH freatiche grazie all’economia rurale. 5. Ossigenazione dei centri urbani inquinati la cui qualitĂ dell’aria è satura di particelle di piombo. 6. Produzione di agricoltura organica verticale di frutta e ortaggi per limitare il ricorso sistematico a pesticidi, insetticidi, erbicidi e fertilizzanti chimici. 7. Salvaguardia delle risorse d’acqua attraverso il riciclo delle acque urbane, nebulizzazione ed evaporazione dalle piante. O¡AI 114 75

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8. Protezione della biodiversitĂ e sviluppo di cicli ecosistemici nel cuore della cittĂ . 9. Diminuzione dei rischi sanitari grazie alla scomparsa di pesticidi nocivi per la salute e alla fertilitĂ e protezione totale delle falde freatiche. 10. Diminuzione del ricorso ai combustibili fossili necessari all’agricoltura convenzionale ad ampio raggio per la refrigerazione e il trasporto dei beni. 3.3 Centinaia di ciottoli bioclimatici a energia positiva Ogni ciottolo è un vero e proprio eco-quartiere di questo nuovo modello di cittĂ verticale. Strutturalmente, sono costituiti da anelli di acciaio che uniscono i doppi-piani orizzontali. Questi anelli sono collegati alla colonna spinale centrale da travi Vierendeel che consente la massima Ă HVVLELOLWj H PRGXODULWj VSD]LDOH 4XHVWH HQRUPL WUDYL formano un piano trasversale che accoglie le funzioni singole di ogni ciottolo. Gli spazi interstiziali tra questo piano trasversale e la pelle del megalite accolgono grandi giardini pensili sottoforma di serre coltivate. Vere e proprie pietre viventi che funzionano dalla loro posizione pensile, i ciottoli cristallini sono eco-progettati da energie rinnovabili Un’epidermide esposta di celle fotovoltaiche e foto-termo-solari insieme a una foresta di turbine eoliche assiali riveste le coperture zenitali punteggiate di orti e giardini. Ogni ciottolo, dunque, presenta un equilibrio energetico positivo sia dal punto di vista elettrico sia da quello calorico. ,O SURJHWWR $VLDQ &DLUQV VLQWHWL]]D OD PLD Ă€ORVRĂ€D architettonica che trasforma le cittĂ in ecosistemi, i quartieri LQ IRUHVWH H JOL HGLĂ€FL LQ DOEHUL PDWXUL PRGLĂ€FDQGR FRVu RJQL OLPLWD]LRQH LQ RSSRUWXQLWj H RJQL ULĂ€XWR LQ XQD ULVRUVD naturale rinnovabile!

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1. DE L’EXODE RURAL A LA BIOSPHERE URBAINE CHINOISE Fin 2011 en Chine, le nombre d’habitants des villes a dĂŠpassĂŠ celui des campagnes. Alors qu’il y a trente ans, seul un Chinois sur cinq habitait en ville, les citadins reprĂŠsentent aujourd’hui 51,27% de la population totale de 1,347 milliard de personnes. Cette population urbaine devrait croĂŽtre jusqu’à 800 millions d’habitants d’ici 2020 rĂŠpartis principalement sur 221 villes d’au moins un million d’habitants (contre seulement 40 en Europe) et 23 mĂŠgapoles de plus de cinq millions d’habitants. Selon Li Jianmin, un expert en dĂŠmographie de l’universitĂŠ de Tianjin, la population chinoise sera d’ici 2030 Ă 75% citadine ! Face Ă cet exode rural massif et Ă une accĂŠlĂŠration effrĂŠnĂŠe de l’urbanisation, les futurs modèles de villes – vert, densitĂŠ et liaisons - doivent ĂŞtre repensĂŠs dès maintenant ! Le challenge est de crĂŠer une urbanisation fertile Ă ĂŠmission de carbone zĂŠro et Ă ĂŠnergie positive, c’est-Ă -dire produisant plus d’Ênergie qu’elle n’en FRQVRPPH DĂ€Q GH FRQFLOLHU OH GpYHORSSHPHQW pFRQRPLTXH DYHF OD SURWHFWLRQ de la planète. Le niveau de vie de chacun pourra ainsi ĂŞtre augmentĂŠ tout en respectant le niveau de vie de tous. 1.1. La ville verte Les villes sont actuellement responsables de 75% de la consommation mondiale d’Ênergie et elles rejettent 80% des ĂŠmissions mondiales de CO2. Le modèle urbain contemporain est donc ultra-ĂŠnergivore et fonctionne sur l’importation des richesses et des ressources naturelles d’une part et sur l’exportation de la pollution et des dĂŠchets d’autre part. Cette boucle des Ă X[ pQHUJpWLTXHV SHXW rWUH pYLWpH HQ UDSDWULDQW OD FDPSDJQH HW OHV PRGHV GH production agricoles au cĹ“ur de la ville par la crĂŠation de poumons verts, de champs d’agriculture ĂŠtagĂŠs Ă la verticale et par l’implantation de centrales ĂŠoliennes et solaires. Les lieux de production des ressources alimentaires et ĂŠnergĂŠtiques seront ainsi rĂŠintĂŠgrĂŠs au cĹ“ur des lieux de consommation ! Les bâtiments Ă ĂŠnergies positives doivent devenir la norme et rĂŠduire l’empreinte carbone Ă moyen terme. 1.2. La ville dense Le modèle de la plupart des villes contemporaines prĂ´nant l’Êtalement urbain et basĂŠ sur la mono-fonctionnalitĂŠ et la sĂŠgrĂŠgation sociale doit ĂŞtre rejetĂŠ! En effet, plus une ville est dense, moins elle consomme d’Ênergie. Fin des ghettos de riches ultrasĂŠcurisĂŠs s’opposant aux quartiers de grande pauvretĂŠ! Fin des banlieues dortoirs sans activitĂŠ alternant avec des zones marchandes XQLIRUPHV HW VDQV KDELWDQW )LQ GHV FHQWUHV YLOOH PXVpLĂ€pV V¡RSSRVDQW DX[ quartiers d’affaires monofonctionnels. Fin de l’embolie du tout-automobile rongeant nos centres-ville ! Fin de l’explosion des transports, privĂŠs ou collectifs, dĂŠvorant nos campagnes car basĂŠs sur une sĂŠparation gĂŠographique obsolète entre habitat et travail! La mixitĂŠ sociale et la mixitĂŠ fonctionnelle doivent ĂŞtre les maĂŽtres mots pour construire des villes plus intelligentes ! Ecologiquement plus viable, la ville dense, verticale et moins ĂŠtalĂŠe constituera un pĂ´le attractif ouvert et offrant de multiples services. Le social sera rĂŠinventĂŠ ! 1.3. La ville connectĂŠe Les technologies de l’information et de la communication jouent dĂŠsormais un rĂ´le moteur dans l’Êlaboration des rĂŠseaux de ville et pourront d’ici 2020 rĂŠduire de 15 Ă 20% les ĂŠmissions de carbone. Les solutions de FRPPXQLFDWLRQ WHOOHV TXH OD Ă€EUH RSWLTXH HW OHV V\VWqPHV VDWHOOLWHV SHUPHWWHQW dĂŠjĂ grâce Ă leurs applications associĂŠes (vidĂŠoconfĂŠrence, tĂŠlĂŠtravail, tĂŠlĂŠmĂŠdecine, tĂŠlĂŠsurveillance, e-commerce, information en temps rĂŠel, etc.) de rĂŠduire considĂŠrablement les ĂŠmissions et d’Êconomiser les coĂťts de dĂŠplacement tout en renforçant le dynamisme ĂŠconomique et l’attractivitĂŠ des villes. FondĂŠes sur l’innovation, les solutions TIC favorisent la diminution des biens physiques et des moyens de transports via la dĂŠmatĂŠrialisation. Elles favorisent ĂŠgalement une logistique intelligente et une synchronisation des opĂŠrations de production. Le tout tend vers de nouvelles opportunitĂŠs de croissance rentable et vers une ĂŠconomie Ă faible empreinte carbone. Le dĂŠveloppement durable doit donc permettre de trouver des solutions innovantes pour une ĂŠconomie rĂŠsiliente aux changements climatiques qui VRLW HQ WRWDOH KDUPRQLH DYHF OD ELRVSKqUH DĂ€Q GH SUpVHUYHU OHV FDSDFLWpV GHV gĂŠnĂŠrations futures de satisfaire Ă leurs besoins. 2. LE BIOMORPHISME, LA BIONIQUE ET LE BIOMIMETISME AU SERVICE DE LA RENATURALISTION DE LA VILLE Les plus anciennes formes vivantes sont apparues il y a 3,8 milliards d’annĂŠes. En matière de durabilitĂŠ, les sociĂŠtĂŠs humaines ont donc une O¡AI 114 77

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longueur de retard sur la nature qui a fait ses preuves. Si seulement 1% des espèces a survĂŠcu, en s’adaptant sans cesse sans hypothĂŠquer le futur et sans une goutte pĂŠtrole, leur subsistance mĂŠrite le respect et nous rappelle les lois de leur prospĂŠritĂŠ : ‡ /D 1DWXUH IRQFWLRQQH SULQFLSDOHPHQW j O¡pQHUJLH solaire. ‡ Elle n’utilise que la quantitĂŠ d’Ênergie dont elle a besoin. ‡ (OOH DGDSWH OD IRUPH j OD IRQFWLRQ ‡ Elle recycle tout. ‡ Elle parie sur la biodiversitĂŠ. ‡ Elle limite les excès de l’intĂŠrieur. ‡ Elle transforme les contraintes en opportunitĂŠs. ‡ Elle transforme les dĂŠchets en ressources naturelles. ‡ Elle valorise la compĂŠtence locale. S’inspirant de ces milliards d’annĂŠes de Recherche & DĂŠveloppement, de nouvelles GpPDUFKHV G¡LQQRYDWLRQ YLVDQW OD PRGLĂ€FDWLRQ du bilan carbone, nous guident vers trois ĂŠchelles complĂŠmentaires exploitĂŠes par les biotechnologies contemporaines : les Formes, les StratĂŠgies et les Ecosystèmes. 2.1 Le Biomorphisme : s’inspire strictement des formes de la Nature. ([ /HV DLOHWWHV YHUWLFDOHV GH O¡DLJOH GHV VWHSSHV la forme spiralĂŠe et hydrodynamique du nautile, la ventilation naturelle des termitières. 2.2 La Bionique : s’inspire des stratĂŠgies du vivant et des processus naturels de fabrication. ([ /D SODVWLFLWp GHV IHXLOOHV GH QpQXSKDU OD structure hyper-rĂŠsistante des ruches en nid d’abeille. 2.3 Le BiomimĂŠtisme : s’inspire des ĂŠcosystèmes matures et tente de reproduire l’ensemble des interactions prĂŠsentes dans une forĂŞt tropicale comme par exemple : l’utilisation des dĂŠchets FRPPH UHVVRXUFHV OD GLYHUVLĂ€FDWLRQ HW OD coopĂŠration, la rĂŠduction des matĂŠriaux Ă leur strict minimum. Ex : l’agriculture autorĂŠgĂŠnĂŠrative, la reproduction du processus de photosynthèse (principale source d’Ênergie pour l’humanitĂŠ), la production de bioK\GURJqQH j SDUWLU GHV DOJXHV YHUWHV Alors que la raison primaire de l’architecture est depuis la nuit des temps de protĂŠger l’homme contre la nature, la ville contemporaine dĂŠsire par FHV PpWKRGHV pPHUJHQWHV UpFRQFLOLHU HQĂ€Q O¡KRPPH HW OHV pFRV\VWqPHV QDWXUHOV /¡DUFKLWHFWXUH VH IDLW PpWDEROLTXH HW FUpDWLYH /HV IDoDGHV deviennent des peaux, intelligentes, rĂŠgĂŠnĂŠratives et organiques. Elles sont matière en mouvement, recouvertes de plantes libres et ajustent toujours la IRUPH j OD IRQFWLRQQDOLWp /HV WRLWXUHV GHYLHQQHQW OHV QRXYHDX[ VROV GH OD YLOOH YHUWH /H MDUGLQ Q¡HVW SOXV DFFROp j O¡pGLĂ€FH LO HVW O¡pGLĂ€FH /¡DUFKLWHFWXUH GHYLHQW FXOWLYDEOH FRPHVWLEOH HW QRXUULFLqUH /HV circulations verticales deviennent les organes digestifs qui mĂŠtabolisent les rebus de l’occupation GH OD YLH HW OHV GpFKHWV DOLPHQWDLUHV /¡$UFKLWHFWXUH n’est plus implantĂŠe au sol mais elle est plantĂŠe dans la terre et ĂŠchange avec elle les matières organiques transformĂŠes en richesses naturelles. 3. ASIAN CAIRNS, VERS UN NOUVEAU MODELE DE SMART CITY %pQpĂ€FLDQW GH VD SRVLWLRQ JpRJUDSKLTXH SULYLOpJLpH au cĹ“ur de la mĂŠgalopole chinoise du Delta de la 78 O¡AI 114

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Rivière des Perles, Shenzhen connaĂŽt un essor ĂŠconomique et dĂŠmographique spectaculaire. Depuis 2010, elle compte 10 millions d’habitants et ne cesse GH VH GHQVLĂ€HU 'HSXLV OD UHVWLWXWLRQ GH +RQJ .RQJ j OD &KLQH OHV GHX[ YLOOHV sont en train de se fondre et elles constituent dĂŠsormais l’une des plus grandes PpWURSROHV FKLQRLVHV DYHF SOXV GH PLOOLRQV G¡KDELWDQWV 'DQV FH FRQWH[WH G¡K\SHU FURLVVDQFH HW G¡XUEDQLVPH DFFpOpUp OH SURMHW Š $VLDQ &DLUQV ÂŞ PLOLWH pour la construction d’un nouveau pĂ´le urbain multifonctionnel, multiculturel HW pFRORJLTXH &¡HVW XQ SURMHW PDQLIHVWH SRXU FRQVWUXLUH XQ SURWRW\SH GH 6PDUW &LW\ YHUWH GHQVH FRQQHFWpH SDU OHV 7,& HW pFR FRQoXH j SDUWLU GHV biotechnologies ! 3.1. Trois ĂŠco-spirales entrecroisĂŠes /H PDVWHU SODQ HVW FRQoX VRXV IRUPH GH WURLV VSLUDOHV HQWUHFURLVpHV TXL reprĂŠsentent les 3 ĂŠlĂŠments que sont le feu, la terre et l’eau, tous organisĂŠs DXWRXU GH O¡DLU VH WURXYDQW DX PLOLHX &KDFXQH GHV VSLUDOHV YLHQW V¡HQURXOHU DXWRXU GH GHX[ WRXUV PpJDOLWKLTXHV HW IRUPHQW GHV pFRV\VWqPHV XUEDLQV UpLPSODQWDQW OD ELRGLYHUVLWp DX FÂąXU GH OD &LWp VRXV IRUPH GH YDVWHV YHUJHUV publics et de champs d’agriculture urbains. De grands bassins de viticultures et GH YDVWHV ODJXQHV GH SK\WR pSXUDWLRQ \ UHF\FOHQW OHV HDX[ JULVHV UHMHWpHV SDU OHV fermes verticales habitĂŠes.

PD[LPXP GH Ă H[LELOLWp HW GH PRGXODULWp VSDWLDOH &HV LPPHQVHV SRXWUHV IRUPHQW XQ SODQ HQ FURL[ TXL UHoRLW OD SURJUDPPDWLRQ LQGLYLGXHOOH GH FKDTXH JDOHW /HV HVSDFHV LQWHUVWLWLHOV HQWUH FHWWH FURL[ HW OD SHDX GHV PpJDOLWKHV accueillent de grands jardins suspendus nourriciers sous forme de serres agricoles. 9pULWDEOHV SLHUUHV YLYDQWHV MRXDQW GH OHXU SRUWH j IDX[ OHV JDOHWV FULVWDOOLQV VRQW pFR FRQoXV j SDUWLU GHV pQHUJLHV UHQRXYHODEOHV $ FLHO RXYHUW XQ pSLGHUPH de cellules solaires photovoltaĂŻques et photothermiques ainsi qu’une forĂŞt G¡pROLHQQHV D[LDOHV UHFRXYUHQW OHV WRLWXUHV ]pQLWKDOHV SRQFWXpHV GH YHUJHUV HW GH SRWDJHUV VXVSHQGXV &KDTXH JDOHW SUpVHQWH DLQVL XQ ELODQ pQHUJpWLTXH SRVLWLI DXWDQW VXU OH SODQ pOHFWULTXH FDORULĂ€TXH TX¡DOLPHQWDLUH /H SURMHW Š $VLDQ &DLUQ ÂŞ V\QWKpWLVH QRWUH SKLORVRSKLH DUFKLWHFWXUDOH TXL WUDQVIRUPH OHV YLOOHV HQ pFRV\VWqPHV OHV TXDUWLHUV HQ IRUrWV HW OHV pGLĂ€FHV HQ arbres matures transformant ainsi chaque contrainte en opportunitĂŠ et chaque dĂŠchet en ressource naturelle renouvelable.

3.2. Six farmscrapers multifonctionnels /HV VL[ WRXUV PDUDvFKqUHV LQVFULWHV GDQV XQ WULDQJOH G¡RU YLHQQHQW HPSLOHU XQH SURJUDPPDWLRQ PL[WH VRXV IRUPH GH IHUPHV YHUWLFDOHV pWDJHDQW GHV FKDPSV G¡DJULFXOWXUH FXOWLYpV SDU OHXUV SURSUHV KDELWDQWV 7RXW FRPPH SRXU QRWUH SURMHW 'UDJRQĂ \ j 1HZ <RUN OH EXW HVW GH UDSDWULHU OD FDPSDJQH GDQV OD YLOOH HW GH UpLQWpJUHU OHV PRGHV GH SURGXFWLRQ DOLPHQWDLUH DX VHLQ GHV OLHX[ GH FRQVRPPDWLRQ /HV WRXUV PpJDOLWKLTXHV V¡LQVSLUHQW GHV FDLUQV DPDV DUWLĂ€FLHO de pierres que l’on trouve au sommet des montagnes pour baliser le chemin GHV UDQGRQQHXUV 6DYDQWHV SURXHVVHV GH FRQVWUXFWLRQ FHV VL[ WRXUV HPSLOHQW OHV ORJHPHQWV OHV EXUHDX[ OHV FRPPHUFHV OHV HVSDFHV GH ORLVLUV DX VHLQ GH JDOHWV monolithiques superposĂŠs les uns sur les autres le long d’un boulevard central YHUWLFDO &H ERXOHYDUG FHQWUDO FRQVWLWXH O¡DUPDWXUH VWUXFWXUHOOH GH FKDTXH WRXU ,O RUFKHVWUH OHV Ă X[ KXPDLQV GLVWULEXH OHV UHVVRXUFHV QDWXUHOOHV HW GLJqUH OHV dĂŠchets par tri et compostage sĂŠlectif. VĂŠritable quartier de ville empilant des vORWV PL[WHV FHV FDLUQV GHQVLĂ€HQW O¡HVSDFH XUEDLQ WRXW HQ RSWLPLVDQW OD TXDOLWp de vie de ses habitants par la rĂŠduction des moyens de transports, l’implantation d’un rĂŠseau domotique, la re-naturalisation des espaces publics et privĂŠs, et l’intĂŠgration des ĂŠnergies renouvelables propres. &HV VL[ IDUPVFUDSHUV VRQW GHV WRXUV SLRQQLqUHV YLVDQW OHV REMHFWLIV VXLYDQWV 1. La diminution de l’empreinte ĂŠcologique de ce nouvel ĂŠco-quartier vertical en valorisant la consommation locale par son autonomie alimentaire et par la UpGXFWLRQ GHV PR\HQV GH WUDQVSRUWV URXWLHUV IHUURYLDLUHV HW Ă XYLDX[ /D UpLQWpJUDWLRQ G¡HPSORLV ORFDX[ GDQV OH VHFWHXU SULPDLUH HW VHFRQGDLUH HQ coproduisant des produits frais et biologiques pour les citadins qui pourront se rĂŠapproprier la connaissance des modes de production agricoles. 3. Le recyclage en boucle courte et fermĂŠe des dĂŠchets organiques liquides ou VROLGHV SDU FRPSRVWDJH DQDpURELH SLOHV j FRPEXVWLEOH j K\GURJqQH ODJXQH GH SK\WR pSXUDWLRQ GHV HDX[ XVpHV HW SDQQHDX[ G¡DOJXHV YHUWHV SURGXLVDQW GX biogaz par photosynthèse accĂŠlĂŠrĂŠe. /¡pFRQRPLH GX WHUULWRLUH UXUDO UpGXLVDQW OD GpIRUHVWDWLRQ OD GpVHUWLĂ€FDWLRQ HW la pollution des nappes phrĂŠatiques. /¡R[\JpQDWLRQ GHV FHQWUHV YLOOH SROOXpV GRQW OD TXDOLWp GH O¡DLU HVW VDWXUpH HQ particules de plomb. /D SURGXFWLRQ G¡XQH DJULFXOWXUH ELRORJLTXH GH IUXLWV HW GH OpJXPHV j OD YHUWLFDOH OLPLWDQW OH UHFRXUV V\VWpPDWLTXH DX[ SHVWLFLGHV LQVHFWLFLGHV KHUELFLGHV et engrais chimiques. /¡pFRQRPLH GH OD UHVVRXUFH HQ HDX SDU OH UHF\FODJH GHV HDX[ XUEDLQHV GHV HDX[ G¡DUURVDJH HW GH O¡HDX pYDSR WUDQVSLUpH SDU OHV SODQWDWLRQV 8. La protection de la biodiversitĂŠ et le dĂŠveloppement de cycles ĂŠcosystĂŠmiques au cĹ“ur de la citĂŠ. /D GLPLQXWLRQ GHV ULVTXHV VDQLWDLUHV SDU OD GLVSDULWLRQ GHV SHVWLFLGHV QRFLIV j OD VDQWp HW j OD IHUWLOLWp HW SDU OD SURWHFWLRQ WRWDOH GHV QDSSHV SKUpDWLTXHV /D GLPLQXWLRQ GX UHFRXUV DX[ FRPEXVWLEOHV IRVVLOHV QpFHVVDLUHV j l’agriculture conventionnelle en cycle long pour la rĂŠfrigĂŠration et le transport des marchandises. 3.3. Cent galets bioclimatiques Ă ĂŠnergie positive &KDTXH JDOHW HVW XQ YpULWDEOH pFR TXDUWLHU GH FH QRXYHDX PRGqOH GH YLOOH YHUWLFDOH 6WUXFWXUHOOHPHQW LOV VRQW FRQVWLWXpV G¡DQQHDX[ HQ DFLHUV TXL YLHQQHQW VH FLQWUHU DXWRXU GH GRXEOH GHFNV KRUL]RQWDX[ &HV DQQHDX[ VRQW UHOLpV j OD colonne vertĂŠbrale centrale par des poutres Vierendeel qui permettent un O¡AI 114 79

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1. FROM RURAL EXODUS TO CHINESE URBAN BIOSPHERE At the end of 2011 in China, the number of inhabitants in the cities exceeded the number of inhabitants in the countryside. :KHUHDV \HDUV DJR RQO\ RQH &KLQHVH SHUVRQ RXW RI Ă€YH OLYHG in the city, the city-dwellers represent now 51.27% of the total population of 1, 347 billion of people. This urban population is supposed to increase to 800 million of inhabitants within 2020 spread mainly in 221 cities of at least one million of inhabitants YHUVXV RQO\ LQ (XURSH RI WKH VDPH VFDOH DQG PHJDSROLV RI PRUH WKDW Ă€YH PLOOLRQ RI LQKDELWDQWV According to Li Jianmin, an expert in demography from the 7LDQMLQ 8QLYHUVLW\ WKH &KLQHVH SRSXODWLRQ ZLOO EH XUEDQ DW ZLWKLQ )DFLQJ WKLV PDVVLYH UXUDO H[RGXV DQG WKH unrestrained acceleration of the urbanisation, the future models of the – green, dense and connected – cities must be rethought from now on ! The challenge is to create a fertile urbanisation ZLWK ]HUR FDUERQ HPLVVLRQ DQG ZLWK SRVLWLYH HQHUJ\ WKLV PHDQV producing more energy that it consumes, in order to conciliate WKH HFRQRPLFDO GHYHORSPHQW ZLWK WKH SURWHFWLRQ RI WKH SODQHW 7KH VWDQGDUG RI OLYLQJ RI HYHU\RQH ZLOO WKXV EH LQFUHDVHG E\ UHVSHFWLQJ DW WKH VDPH WLPH WKH VWDQGDUG RI OLYLQJ RI HYHU\ERG\ 1.1. The green city The cities are currently responsible for 75% of the worldwide consumption of energy and they reject 80% of worldwide emissions of CO2. The contemporary urban model is thus ultraenergy consuming and works on the importation of wealth and natural resources on the one hand, and on the exportation of the pollution and waste on the other hand. This loop of energetic Ă RZV FDQ EH DYRLGHG E\ UHSDWULDWLQJ WKH FRXQWU\VLGH DQG WKH farming production modes in the heart of the city by the creation RI JUHHQ OXQJV IDUPVFUDSHUV LQ YHUWLFDO VWRUH\V DQG E\ WKH implantation of wind and solar power stations. The production sites of food and energy resources will be thus reintegrated in WKH KHDUW RI WKH FRQVXPSWLRQ VLWHV 7KH EXLOGLQJV ZLWK SRVLWLYH energies must become the norm and reduce the carbon print on the mid term. 1.2. The dense city 7KH PRGHO RI PDLQ FRQWHPSRUDU\ FLWLHV DGYRFDWLQJ WKH XUEDQ spread and based on the mono-functionality and the social segregation, must be rejected ! Actually, the more a city is dense, the less it consumes energy. This is the end of ultra secured ghettos of rich people against TXDUWHUV RI KXJH SRYHUW\ 7KLV LV WKH HQG RI EHGURRP VXEXUEV ZLWKRXW DQ\ DFWLYLW\ alternating with uniform commercial area and without any inhabitant ! 7KLV LV WKH HQG RI PXVHXP FLW\ FHQWUHV Ă€JKWLQJ DJDLQVW monofunctional business districts. This is the end of embolism of the all-car eating away the city centres ! 7KLV LV WKH HQG RI WKH H[SORVLRQ RI SXEOLF DQG SULYDWH WUDQVSRUWV GHYRXULQJ RXU ODQGV EHFDXVH EDVHG RQ DQ REVROHWH JHRJUDSKLFDO separation of housing and work! 7KH VRFLDO GLYHUVLW\ DQG WKH IXQFWLRQDO GLYHUVLW\ PXVW EH WKH NH\ ZRUGV WR EXLOG PRUH LQWHOOLJHQW FLWLHV (FRORJLFDOO\ PRUH YLDEOH WKH GHQVH YHUWLFDO DQG OHVV VSUHDG FLW\ ZLOO FRQVWLWXWH DQ DWWUDFWLYH RSHQ SROH DQG RIIHULQJ PDQ\ VHUYLFHV 7KH VRFLDO ZLOO EH UHLQYHQWHG 1.3. The connected city 7KH LQIRUPDWLRQ DQG FRPPXQLFDWLRQ WHFKQRORJLHV KDYH QRZ D PDMRU UROH LQ WKH GHYHORSPHQW RI FLW\ QHWZRUN DQG ZLOO EH able to reduce the carbon emissions from 15 and 20% within 7KH FRPPXQLFDWLRQ VROXWLRQV VXFK DV WKH RSWLF Ă€EUH DQG the satellite systems enable already thanks to their associated DSSOLFDWLRQV YLGHRFRQIHUHQFH WHOHFRPPXWLQJ WHOHPHGLFLQH YLGHR VXUYHLOODQFH H FRPPHUFH UHDO WLPH LQIRUPDWLRQ HWF WR UHGXFH FRQVLGHUDEO\ WKH FDUERQ HPLVVLRQV DQG WR VDYH WKH WUDYHO costs by reinforcing at the same time the economical dynamism DQG WKH DWWUDFWLYHQHVV RI WKH FLWLHV 82 O¡AI 114

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Based on innovation, the TIC solutions favour the diminution of physical goods and means of transport via the dematerialization. They empower also a clever logistics and a synchronisation of the production operations. (YHU\WKLQJ WHQGV WR QHZ RSSRUWXQLWLHV RI SURĂ€WDEOH JURZWK DQG WR D VDYLQJ ZLWK ORZ FDUERQ SULQW 7KH VXVWDLQDEOH GHYHORSPHQW PXVW WKXV HQDEOH WR Ă€QG innovative solutions for an economy resilient to climatic changes which is in WRWDO KDUPRQ\ ZLWK WKH ELRVSKHUH LQ RUGHU WR SUHVHUYH WKH FDSDELOLWLHV RI WKH future generations to meet their needs. 2. THE BIOMORPHISM, THE BIONIC AND THE BIOMIMICRY AT THE SERVICE OF THE RENATURALISATION OF THE CITY 7KH ROGHVW OLYLQJ EHLQJV DSSHDUHG ELOOLRQ \HDUV DJR ,Q WHUPV RI GXUDELOLW\ WKH KXPDQ VRFLHWLHV DUH WKXV IDU EHKLQG WKH QDWXUH WKDW PDGH LWV SURRIV ,I RQO\ RI WKH VSHFLHV VXUYLYHG E\ DGDSWLQJ WKHPVHOYHV FRQVWDQWO\ ZLWKRXW K\SRWKHFDWH WKH IXWXUH JHQHUDWLRQ DQG ZLWKRXW DQ\ IXHO WKHLU VXEVLVWHQFH merits the respect and reminds us the laws of their prosperity : ‡ 7KH 1DWXUH ZRUNV PDLQO\ ZLWK VRODU HQHUJ\ ‡ It uses only the quantity of energy it needs. ‡ It adjusts the shape to the function. ‡ It recycles everything. ‡ ,W EHWV RQ WKH ELRGLYHUVLW\ ‡ It limits the excess from the interior. ‡ It transforms the constraints into opportunities. ‡ It transforms waste into natural resources. ‡ It enhances the local expertise. %DVHG RQ WKHVH ELOOLRQV RI \HDUV RI 5HVHDUFK DQG 'HYHORSPHQW QHZ LQQRYDWLRQ DSSURDFKHV DLPLQJ DW PRGLI\LQJ WKH FDUERQ EDODQFH JXLGH XV WR WKUHH DGGLWLRQDO VFDOHV RSHUDWHG E\ WKH FRQWHPSRUDU\ ELRWHFKQRORJLHV WKH shapes, the strategies and the ecosystems. 2.1 The Biomorphism : is based only on shapes from the Nature. Ex : The vertical wings of the Steppes Eagle, the spiralling and hydrodynamical shape of the nautilus, the ventilation of the termite mounds. 2.2 The Bionics : is based on living strategies, natural manufacturing processes. Ex : The plasticity of the lilypads, the hyper-resistant structure of the hives in EHH QHVWV 2.3 The Biomimicry : is based on mature ecosystems and tends to reproduce all the interactions present in a tropical forest such as : the XVH RI ZDVWH DV UHVRXUFHV WKH GLYHUVLĂ€FDWLRQ DQG WKH FRRSHUDWLRQ WKH reduction of the materials at their strict minimum. Ex : the autogenerative agriculture, the reproduction of the photosynthesis SURFHVV PDLQ HQHUJ\ VRXUFH RI KXPDQLW\ WKH SURGXFWLRQ RI ELR K\GURJHQ from green algae. Whereas the primary reason of architecture is since WLPH LPPHPRULDO WR SURWHFW 0DQ DJDLQVW 1DWXUH WKH FRQWHPSRUDU\ FLW\ GHVLUHV E\ LWV HPHUJHQW PHWKRGV WR UHFRQFLOLDWH Ă€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the organic matters changed in natural resources. 3. ASIAN CAIRNS, TOWARDS A NEW MODEL OF SMART CITY %HQHĂ€WLQJ IURP LWV SULYLOHJHG JHRJUDSKLFDO SRVLWLRQ LQ WKH KHDUW RI WKH &KLQHVH PHJDORSROLV RI WKH 'HOWD RI WKH 3HDUO 5LYHU 6KHQ]KHQ IDFHV D spectacular economic and demographic development. Since the return of +RQJ .RQJ WR &KLQD ERWK FLWLHV KDYH EHHQ PHUJLQJ WRJHWKHU DQG FRQVWLWXWH now one of the greatest Chinese metropolises with more than 20 millions of LQKDELWDQWV ,Q WKLV FRQWH[W RI K\SHU JURZWK DQG DFFHOHUDWHG XUEDQLVP WKH ´$VLDQ &DLUQVÂľ SURMHFW Ă€JKWV IRU WKH FRQVWUXFWLRQ RI DQ XUEDQ PXOWLIXQFWLRQDO PXOWLFXOWXUDO DQG HFRORJLFDO SROH ,W LV DQ REYLRXV SURMHFW WR EXLOG D SURWRW\SH RI JUHHQ GHQVH 6PDUW FLW\ FRQQHFWHG E\ WKH 7,& DQG HFR GHVLJQHG IURP ELRWHFKQRORJLHV 3.1. Three interlaced eco-spirals The master plan is designed under the shape of three interlaced spirals that UHSUHVHQW WKH HOHPHQWV ZKLFK DUH Ă€UH HDUWK DQG ZDWHU DOO RUJDQLVHG DURXQG

air in the middle. Each spiral curls up around two megalithic towers and IRUPV XUEDQ HFRV\VWHPV LPSODQWLQJ WKH ELRGLYHUVLW\ LQ WKH KHDUW RI WKH &LW\ XQGHU WKH VKDSH RI YDVW SXEOLF RUFKDUGV DQG XUEDQ DJULFXOWXUH Ă€HOGV +XJH EDVLQV RI YLWLFXOWXUH DQG YDVW ODJRRQV RI SK\WR SXUDWLRQ UHF\FOH WKH JUH\ ZDWHUV UHMHFWHG E\ WKH LQKDELWHG YHUWLFDO IDUPV 3.2. Six multifunctional farmscrapers The six gardening towers engraved in a Golden Triangle pile up a mixed SURJUDPPDWLRQ VXSHULPSRVLQJ IDUPLQJVFUDSHUV FXOWLYDWHG E\ WKHLU RZQ LQKDELWDQWV /LNH RXU 'UDJRQĂ \ SURMHFW LQ 1HZ <RUN WKH DLP LV WR UHSDWULDWH the countryside in the city and to reintegrate the food production modes LQWR WKH FRQVXPSWLRQ VLWHV 7KH PHJDOLWKLF WRZHUV DUH EDVHG RQ FDLUQV DUWLĂ€FLDO VWRQH KHDS SUHVHQW RQ WKH PRXQWDLQV WR PDUN RXW WKH KLNHU WUDFNV &OHYHU H[SORLWV RI WKH FRQVWUXFWLRQ WKHVH VL[ WRZHUV SLOH XS KRXVLQJ RIĂ€FHV OHLVXUH VSDFHV LQ WKH PRQROLWKLF SHEEOHV VXSHULPSRVHG RQ HDFK RWKHU DORQJ D YHUWLFDO FHQWUDO ERXOHYDUG 7KLV FHQWUDO ERXOHYDUG FRQVWLWXWHV WKH VWUXFWXUDO IUDPHZRUN RI HDFK WRZHU ,W FKRUHRJUDSKV WKH KXPDQ Ă RZV GLVWULEXWHV WKH QDWXUDO UHVRXUFHV DQG GLJHVWV WKH ZDVWH E\ VRUWLQJ DQG VHOHFWLYH FRPSRVWLQJ 7UXH FLW\ TXDUWHU SLOLQJ XS PL[HG EORFNV WKHVH FDLUQV PDNH WKH XUEDQ VSDFH GHQVHU E\ RSWLPLVLQJ DOVR WKH TXDOLW\ RI OLIH RI LWV LQKDELWDQWV E\ WKH reduction of means of transport, the implantation of a home automation QHWZRUN WKH UH QDWXUDOLVDWLRQ RI WKH SXEOLF DQG SULYDWH VSDFHV DQG WKH LQWHJUDWLRQ RI FOHDQ UHQHZDEOH HQHUJLHV These six farmscrapers are pioneer towers aiming at the 10 following REMHFWLYHV 1. The diminution of the ecological footprint of this new vertical eco-quarter HQKDQFLQJ WKH ORFDO FRQVXPSWLRQ E\ LWV IRRG DXWRQRP\ DQG E\ WKH UHGXFWLRQ of means of road, rail and river transport. 2. The reintegration of local employment in the primary and secondary sectors coproducing the fresh and organic products to the city dwellers ZKR ZLOO EH DEOH WR UHDSSURSULDWH WKH NQRZOHGJH RI WKH IDUPLQJ SURGXFWLRQ modes. 7KH UHF\FOLQJ LQ VKRUW DQG FORVHG ORRS RI WKH OLTXLG RU VROLG RUJDQLF ZDVWH RI WKH XVHG ZDWHUV E\ DQDHUREH FRPSRVWLQJ DQG JUHHQ DOJDH SDQHOV SURGXFLQJ ELRJDV E\ DFFHOHUDWHG SKRWRV\QWKHVLV 4. The economy of the rural territory reducing the deforestation, the GHVHUWLĂ€FDWLRQ DQG WKH SROOXWLRQ RI WKH SKUHDWLF WDEOHV 5. The oxygenation of the polluted city centres whose air quality is saturated in lead particles. 7KH SURGXFWLRQ RI D YHUWLFDO RUJDQLF DJULFXOWXUH RI IUXLWV DQG YHJHWDEOHV OLPLWLQJ WKH V\VWHPDWLF UHFRXUVH WR SHVWLFLGHV LQVHFWLFLGHV KHUELFLGHV DQG chemical fertilizers. 7KH VDYLQJ RI ZDWHU UHVRXUFH E\ WKH UHF\FOLQJ RI XUEDQ ZDWHUV VSUD\LQJ ZDWHUV DQG WKH HYDSR VZHDWHG ZDWHU E\ WKH SODQWV 7KH SURWHFWLRQ RI WKH ELRGLYHUVLW\ DQG WKH GHYHORSPHQW RI HFR V\VWHPLF cycles in the heart of the city. 7KH GLPLQXWLRQ RI WKH VDQLWDU\ ULVNV E\ WKH GLVDSSHDUDQFH RI SHVWLFLGHV QR[LRXV IRU WKH KHDOWK DQG E\ WKH IHUWLOLW\ DQG WRWDO SURWHFWLRQ RI WKH SKUHDWLF WDEOHV 10. The diminution of the recourse to fossil fuel needed for the conventional agriculture in long cycle for the refrigeration and the transport of the goods. 3.3. Hundred of bioclimatic pebbles with positive energy (DFK SHEEOH LV D WUXH HFR TXDUWHU RI WKLV QHZ PRGHO RI YHUWLFDO FLW\ Structurally, they are made of steel rings which arch around the KRUL]RQWDO GRXEOH GHFNV 7KHVH ULQJV DUH OLQNHG WR WKH FHQWUDO VSLQDO FROXPQ E\ 9LHUHQGHHO EHDPV WKDW HQDEOH D PD[LPXP RI Ă H[LELOLW\ DQG VSDWLDO PRGXODULW\ 7KHVH KXJH EHDPV IRUP D SODQ LQ FURVV WKDW ZHOFRPHV WKH LQGLYLGXDO SURJUDPPDWLRQ RI HDFK SHEEOH 7KH LQWHUVWLWLDO VSDFHV EHWZHHQ WKLV FURVV DQG WKH PHJDOLWK VNLQ ZHOFRPH JUHDW QXWULWLYH suspended gardens under the shape of farming greenhouses. True living stones playing from their overhanging position, the FU\VWDOOLQH SHEEOHV DUH HFR GHVLJQHG IURP UHQHZDEOH HQHUJLHV $Q RSHQ air epidermis of photovoltaic and photo thermal solar cells as well as D IRUHVW RI D[LDO ZLQG WXUELQHV FRYHUV WKH ]HQLWKDO URRIV SXQFWXDWHG E\ VXVSHQGHG RUFKDUGV DQG YHJHWDEOH JDUGHQV (DFK SHEEOH SUHVHQWV WKXV D SRVLWLYH HQHUJHWLF EDODQFH RQ WKH HOHFWULFDO KDQG DQG DOVR RQ WKH FDORULĂ€F or food hand. 7KH Š $VLDQ &DLUQV ÂŞ SURMHFW V\QWKHVHV RXU DUFKLWHFWXUDO SKLORVRSK\ that transforms the cities in ecosystems, the quarters in forests and the EXLOGLQJV LQ PDWXUH WUHHV FKDQJLQJ WKXV HDFK FRQVWUDLQW LQ RSSRUWXQLW\ DQG HDFK ZDVWH LQ UHQHZDEOH QDWXUDO UHVRXUFH O¡AI 114 83

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ARTS

Profondo digitale Maurizio Vitta gnoseologia inferiore, vera e propria ragione analogica che Baumgarten a suo tempo propose. Ma a partire da qui, il discorso deve agganciarsi in YLD SUHOLPLQDUH DO GLEDWWLWR VXOOD QDWXUD GHOO¡DUWH DYYLDWR DOOD Ă€QH GHO ;; secolo, con la presa d’atto, lucidamente registrata da Rosalind Krauss, GHOOD FULVL GHO ´PHGLXPÂľ /¡DUWH GLJLWDOH SRWUHEEH RULHQWDUH TXHVWR GLEDWWLWR in una nuova direzione, per un verso ponendosi in ondivaga continuitĂ con una tradizione moderna che va dal Dada all’Informale e dal Futurismo all’Arte programmata, e per un altro opponendo a questa tradizione una immagine di novitĂ assoluta, ripensando alla radice il concetto di ´FRUQLFHÂľ HVDOWDQGR OD PRELOLWj GHOO¡LPPDJLQH DGGHQWUDQGRVL QHOOH viscere di un nuovo rapporto con lo spazio e con il tempo. ,Q UHDOWj SHUz HVVD YD EHQ ROWUH JOL DQJXVWL FRQĂ€QL GL XQD VHPSOLFH GLVFXVVLRQH VXOO¡´DUWHÂľ OH SURVSHWWLYH FKH VSDODQFD VRQR SUHVVRFKp VFRQĂ€QDWH DQFKH VH SHU LO PRPHQWR q SRVVLELOH VROR FODVVLĂ€FDUOH SHU via analitica, senza pretendere di organizzarle in una visione d’assieme. CosĂŹ per esempio possiamo segnalare la reale novitĂ dell’intimo rapporto FRQ OD WHFQRORJLD FKH KD FRQVHQWLWR LO SDVVDJJLR GDOO¡´RSHUD G¡DUWH QHOO¡HSRFD GHOOD VXD UL SURGXFLELOLWj WHFQLFDÂľ DOO¡´RSHUD G¡DUWH QHOO¡HSRFD GHOOD VXD SURGXFLELOLWj WHFQLFDÂľ JUD]LH DO TXDOH OD WHFQLFD SDUWHFLSD DO progetto d’arte, lo orienta e lo condiziona, imponendo all’artista un’opera di negoziazione, transazione, ricomposizione continua; sottolineare le potenzialitĂ di una fruizione telematica dell’opera, con un drastico annullamento dello spazio e del tempo, ridotti a un eterno presente, a un HWHUQR ´TXLÂľ D XQ hic et nunc interminabile; mettere in evidenza l’inattesa

Daniele Girardi, Inner Surface, 2008

Nicola Evangelisti, Geodetic Spheres, 2007

DQGUHEEHUR LQ SULPD LVWDQ]D HVFOXVH GDOOD GHĂ€QL]LRQH GL ´DUWH GLJLWDOHÂľ tutte quelle operazioni che sfruttano la strumentazione tecnica in vista di risultati pratici e immediati, e che attualmente vengono qua e lĂ UDJJUXSSDWH VRWWR O¡HWLFKHWWD GL ´GLJLWDO DUWVÂľ /D GLVWLQ]LRQH q VRWWLOH ma ineludibile: a contare non è il semplice effetto visivo, l’acrobazia tecnologica, il virtuosismo digitale, la spettacolaritĂ delle immagini R OH ORUR PRGDOLWj IXQ]LRQDOL PD TXHOOD FKH SRWUHPPR GHĂ€QLUH XQD vera e propria intenzione d’arte, la ricerca di un senso, un progetto che travalichi la natura stessa della strumentazione per puntare al cuore di una rivelazione. ,Q SUDWLFD RFFRUUH VSRVWDUH O¡DWWHQ]LRQH GDJOL DJJHWWLYL ´GLJLWDOHÂľ ´HOHWWURQLFDÂľ H FRQFHQWUDUFL VXO VRVWDQWLYR ´DUWHÂľ GDQGR XQ ULOLHYR DVVROXWR DO FRQFHWWR GL ´HVSHULHQ]D HVWHWLFDÂľ FKH YD TXL LQWHVR FRPH IRQGDWLYR ,O ULFKLDPR GLUHWWR q DOOH RULJLQL VWHVVH GHOOD ULĂ HVVLRQH VXOO¡DUWH vale a dire a quell’idea dell’estetica in quanto conoscenza sensitiva,

interazione fra l’artista e l’osservatore, realizzata in un incessante scambio dei ruoli, in quel rispecchiamento continuo fra autore e spettatore che KD IDWWR DIĂ€RUDUH LO FRQFHWWR GL ´VSHWWDWWRUHÂľ XQD ´WÂľ LQ SL ULVSHWWR DOOD WUDGL]LRQH VHQ]D DOFXQ UDSSRUWR SDYORYLDQR VWLPROR ULVSRVWD PD SXQWDQGR VROR D XQD ULFHUFD FRPXQH GL LQWHVD H LQĂ€QH SRUUH O¡DFFHQWR sulla nuova qualitĂ percettiva dell’immagine digitale, grazie alla quale dall’opera bidimensionale della pittura, da quella a tridimensionale della scultura, da quella a quattro dimensioni della narrazione visiva (la 9LGHR DUW VLDPR DUULYDWL DOO¡RSHUD D ´QÂľ GLPHQVLRQL D XQ LSHUWHVWR FKH presuppone una metamorfosi continua dell’immagine, resa proteiforme dalla sua stessa logica generativa. E non basta, giacchĂŠ sull’insieme delle operazioni tecniche, progettuali e creative che è alla base di questi ULVXOWDWL V¡LQWUDYHGH LO VXSHUDPHQWR SHUĂ€QR GHO FRQFHWWR GL LQWHUDWWLYLWj D OXQJR SHUVHJXLWR GDOOH VSHULPHQWD]LRQL SL UHFHQWL SHU FRQĂ€JXUDUH XQ QXRYR UDSSRUWR WUD ´FDVRÂľ H ´QHFHVVLWjÂľ WUD DQFRUDJJLR D SURJUDPPL

Barbara de Romedis

L’arte vive ancora oggi l’illusione che per essere pensata deve ricomporsi in linguaggio, essere narrata o, quanto meno, descritta. Illusione antica, visto che la ricerca di un ragionevole equilibrio tra l’arte e la scrittura è di antica data, a cominciare dalle ekphrasis di Luciano di Samosata, che nel II secolo d.C. offrĂŹ un’accurata descrizione dei dipinti di un’intera pinacoteca, dando vita a una tradizione didascalica che KD Ă€QLWR FRO GLYHQWDUH XQ YHUR H SURSULR PRGHOOR FULWLFR 3HU TXDQWR persistente, però, questa illusione, che giĂ sembrò arenarsi nelle secche dell’Astrattismo, appare destinata a sfumare del tutto nella nuova realtĂ GHOO¡DUWH GLJLWDOH FKH VHPEUD YROWDUH GHĂ€QLWLYDPHQWH OH VSDOOH D RJQL compromesso con la parola. In pratica, sull’arte digitale non è possibile alcun discorso, non solo nel senso che non si può tradurla in parole, cosĂŹ FRPH QRQ ULXVFLUHPPR D GHVFULYHUH GDYYHUR XQ GLSLQWR GL 3ROORFN R GL Rothko, ma anche perchĂŠ il linguaggio verbale, destinato a rendere il VLJQLĂ€FDWR LO SL VWDELOH SRVVLELOH q LPSRWHQWH GL IURQWH DOOR VFRUULPHQWR continuo dell’evento digitale, non riesce a controllare la pluralitĂ delle sue coordinate, e addirittura non trova i corrispettivi linguistici alle manifestazioni di una creativitĂ proiettata verso dimensioni tuttora LQGHĂ€QLWH /D ULĂ HVVLRQH VXOO¡DUWH GLJLWDOH GHYH GXQTXH SHU LO PRPHQWR OLPLWDUVL D RVVHUYDUH LO IHQRPHQR GDOO¡HVWHUQR D FLUFRVFULYHUQH L FRQWRUQL D Ă€OWUDUH i suoi esiti in modo da separare il vero dal falso, ovvero, in altre parole, D FRPSLHUH XQD PDSSDWXUD GDOOD TXDOH IDU DIĂ€RUDUH L UHDOL OLQHDPHQWL GL XQD ULFHUFD FKH DSSDUH Ă€Q G¡RUD ULFFD GL SRWHQ]LDOLWj ,Q WDOH SURVSHWWLYD

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– autour duquel il crĂŠe un univers visuel qui dĂŠpasse très vite les limites de la bidimensionnalitĂŠ du dessin pour plonger dans une sorte d’univers parallèle oĂš ce signe devient un point cardinal, un point de repère. Mais cet univers engloutit l’observateur qui en devient non pas contrepartie (comme dans les systèmes interactifs ordinaires) mais interlocuteur. L’œuvre observe l’observateur, l’examine, cherche un dialogue et son expĂŠrience se dĂŠveloppe le long de l’axe d’une comparaison perpĂŠtuelle, rĂŠgi par une idĂŠe de cadre qui semblerait une ĂŠvocation sĂŠduisante de l’art traditionnel. Davide Coltro, pour sa part, s’aventure dans le monde HQFKDQWp GHV QDWXUHV PRUWHV R O¡DUWLĂ€FH pOHFWURQLTXH FKHUFKH GH OD vĂŠritĂŠ ultime des choses, en redessine la composition secrète, fait de l’image le spectre d’une rĂŠalitĂŠ qui, sous nos yeux, s’interroge sur sa propre structure, force le regard Ă glisser le long de la courbe d’un temps insaisissable et tire son identitĂŠ du changement ininterrompu. Devant ces Ĺ“uvres, une fameuse observation d’Henri Bergson nous revient naturellement Ă l’esprit : ÂŤLa forme n’est qu’un instantanĂŠ pris sur une transition.Âť (L’Êvolution crĂŠatrice - 1907) Mais Ă ce stade dĂŠjĂ , le problème du langage avec lequel crĂŠer un discours explicatif sur l’art numĂŠrique s’accentue encore, en permettant aux mots de crĂŠer seulement une sorte d’allusion Ă la perception directe de l’œuvre. Qui plus est, c’est cette mĂŞme communication visuelle des images numĂŠriques qui pose des problèmes sans solution, avec le statisme de la page imprimĂŠe qui crĂŠe des obstacles insurmontables Ă la perception de leur dynamisme. NĂŠanmoins, c’est justement de ce genre de tentatives qu’Êmerge un ĂŠlĂŠment capable de s’imposer de façon unitaire dans ce paysage impraticable et variĂŠ, un

Vincenzo Marsiglia, Hirst Star Interactive, 2011

Davide Coltro, Continuous Still Life, (detail) 2013

sature l’espace numĂŠrique de compositions instables et sans cesse renouvelĂŠes, qui expriment ouvertement leurs matrices picturales, en dĂŠmolissant toutefois toute structure compositionnelle pour se tourner vers un dĂŠveloppement frĂŠnĂŠtique qui marque les ĂŠtapes fugaces d’un rĂŠcit qui se rĂŠsume en une introspection dĂŠlirante. Nicola Evangelisti s’appuie sur les gĂŠomĂŠtries non-euclidiennes de l’holographie, du support ĂŠlectronique, des capteurs bien modulĂŠs, pour rĂŠsoudre chaque image dans la lumière et chaque lumière dans la stricte ĂŠnonciation de thĂŠorèmes VFLHQWLĂ€TXHV GH SDUDEROHV G¡pYRFDWLRQV IDQWRPDWLTXHV VRXYHQW JXLGpHV par l’intervention fortuite d’acteurs extĂŠrieurs, de sons, de mouvements, d’impulsions imperceptibles. Dans ses grandes installations, l’interaction avec l’espace et l’environnement souligne le caractère sĂŠmiotique et iconique des ÂŤ choses Âť, la façon dont elles se modèlent en s’adaptant Ă notre ÂŤ interprĂŠtation Âť, qui n’est jamais dĂŠtachĂŠe mais fait partie de l’œuvre mĂŞme. Vincenzo Marsiglia part d’un signe ĂŠlĂŠmentaire – l’Êtoile

ĂŠlĂŠment qui, d’une certaine manière, sert de pont entre la logique numĂŠrique Ă XLGH HW XQ Š ORJRV ÂŞ HQFRUH LQQHUYp GDQV OD VWUXFWXUH GX GLVFRXUV YHUEDO Il s’agit du sens de la profondeur que ces Ĺ“uvres transmettent au-delĂ de leurs manifestations contingentes, l’impression que l’analyse ĂŠlectronique est en mesure de creuser dans les mĂŠandres les plus reculĂŠs de l’expĂŠrience sensorielle, en dĂŠcouvrant des vestiges inattendus et des mĂŠtaphores ĂŠclairantes qui, en quelque sorte, remettent en question nos relations avec le PRQGH HW H[LJHQW XQH UpĂ H[LRQ TXL QRXV LPSOLTXH GLUHFWHPHQW ELHQ DX GHOj d’un simple rapport contemplatif avec l’œuvre. Que la perception de ce ÂŤ profond numĂŠrique Âť puisse ĂŞtre le point de dĂŠpart d’une refondation des modèles critiques de façon plus avancĂŠe est XQH K\SRWKqVH HQFRXUDJHDQWH PDLV j YpULĂ€HU 7RXWHIRLV HOOH SUpVHQWH G¡RUHV HW GpMj XQ SRLQW Ă€[H j VDYRLU OD QpFHVVLWp ² SRXU O¡HVWKpWLTXH G¡DERUG ² GH UHYRLU VRQ SURSUH VWDWXW DĂ€Q GH OH PHWWUH j OD KDXWHXU GHV GpĂ€V G¡XQH contemporanĂŠitĂŠ toujours plus riche en rumeurs et toujours plus fuyante.

Courtesy Gagliardi Art System - Torino

avec une annulation radicale de l’espace et du temps, rĂŠduits Ă un ĂŠternel prĂŠsent, Ă un ĂŠternel ÂŤiciÂť, Ă un hic et nunc interminable ; mettre en ĂŠvidence l’interaction inattendue entre l’artiste et l’observateur, rĂŠalisĂŠe GDQV XQ pFKDQJH LQFHVVDQW GHV U{OHV GDQV FH UHĂ HW SHUSpWXHO HQWUH DXWHXU et spectateur qui a fait ĂŠmerger le concept de ÂŤspectacteurÂť (un ÂŤcÂť en plus par rapport Ă la règle), sans aucun rapport pavlovien de stimulus/ rĂŠponse, mais en visant seulement une recherche de comprĂŠhension FRPPXQH HW HQĂ€Q PHWWUH O¡DFFHQW VXU OD QRXYHOOH TXDOLWp GH OD SHUFHSWLRQ de l’image numĂŠrique, grâce Ă laquelle nous sommes passĂŠs de l’œuvre bidimensionnelle de la peinture, de l’œuvre tridimensionnelle de la sculpture et de l’œuvre Ă quatre dimensions de la narration visuelle (la Video art), Ă l’œuvre Ă ÂŤnÂť dimensions, Ă un hypertexte qui implique une mĂŠtamorphose continue de l’image, que sa propre logique gĂŠnĂŠratrice rend protĂŠiforme. Mais ce n’est pas tout, puisque sur l’ensemble des opĂŠrations techniques, crĂŠatrices et conceptuelles, Ă la base de ces rĂŠsultats, nous entrevoyons mĂŞme le dĂŠpassement de la notion d’interactivitĂŠ, longtemps SRXUVXLYLH SDU OHV GHUQLqUHV H[SpULPHQWDWLRQV SRXU FRQĂ€JXUHU XQ QRXYHDX rapport entre ÂŤhasardÂť et ÂŤnĂŠcessitĂŠÂť, entre ancrage Ă des programmes GpĂ€QLV HW FRQVWDQWV HW GpYHORSSHPHQW GH VLWXDWLRQV DXWRQRPHV FDSDEOHV GH dĂŠvier le parcours en visant l’inattendu. Le passage des ĂŠnoncĂŠs thĂŠoriques du problème Ă ses manifestations dans des Ĺ“uvres, projets, propositions, est destinĂŠ Ă fragmenter davantage le discours. Chez les auteurs que nous prĂŠsentons, les ĂŠlĂŠments analysĂŠs MXVTX¡LFL VH FRPSRVHQW VHORQ GHV FRQĂ€JXUDWLRQV GLIIpUHQWHV GLFWpHV par des intentions subjectives et des projets variĂŠs. Daniele Girardi

86 O¡AI 114

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Digital Deepness Art still seems to be under the illusion that, in order to be thought about, it needs to be set in language, narrated or, at least, described. An illusion that can be traced back to ancient times bearing in mind that the quest for a reasonable balance between art and writing actually began with the ekphrasis by Luciano di Samosata, who provided an accurate description of all the paintings in an entire art gallery in the second century A.D., giving rise to a tradition of descriptive explanation that ended up turning into an authentic critical model. However enduring this illusion may seem to be DOWKRXJK LW Ă€UVW EHJDQ WR Ă RXQGHU RQ WKH EDQNV RI Abstract Art), it now appears to be on the brink of fading away completely within the latest realm of digital art, which appears to be bent on turning its back, once and for all, on any kind of compromise with words. Practically speaking, nothing can be said about digital art, not only in the sense that it cannot be translated into words, just as we can never really manage to describe a painting by Pollock or Rothko, but also because verbal language, aimed at making meaning as stable as possible, is powerless in the IDFH RI WKH FRQVWDQW Ă X[ RI D GLJLWDO HYHQW LW FDQQRW FRQWURO DOO LWV GLIIHUHQW FRRUGLQDWHV DQG FDQQRW Ă€QG WKH linguistic counterparts to the physical embodiments of D NLQG RI FUHDWLYLW\ SURMHFWHG LQWR KLWKHUWR XQGHĂ€QHG dimensions. For the time being, any thoughts on GLJLWDO DUW PXVW EH FRQĂ€QHG WR PHUHO\ REVHUYLQJ WKH phenomenon from the outside, circumscribing its RXWOLQHV DQG Ă€OWHULQJ LWV UHVXOWV LQ RUGHU WR VHSDUDWH WKH true and false or, in other words, map it out so as to bring forth the real lines of experimentation that already seems to be bursting with potential. With this in mind, DQ\ GHĂ€QLWLRQ RI ´GLJLWDO DUWÂľ PXVW H[FOXGH DOO WKRVH operations making use of technical tools to achieve practical, instantaneous results, which, at the moment, DUH JURXSHG XQGHU WKH KHDGLQJ ´GLJLWDO DUWVÂľ 7KLV LV D subtle but unavoidable distinction: what counts is not a simple visual effect, technological acrobatics, digital wizardry or spectacular images and their functional modalities, but what we might describe as a genuine artistic intention, the search for meaning, a project moving beyond the very nature of tools in order to focus on some revelation. In practical terms, we need to shift our attention from WKH DGMHFWLYHV ´GLJLWDOÂľ ´HOHFWURQLFÂľ DQG IRFXV RQ WKH QRXQ ´DUWÂľ DOORFDWLQJ XWPRVW LPSRUWDQFH WR WKH FRQFHSW RI ´DHVWKHWLF H[SHULHQFHÂľ ZKLFK LV JLYHQ D FRPPDQGLQJ UROH KHUH 7KH GLUHFW UHIHUHQFH LV WR WKH very origins of thoughts on art, i.e. an idea of aesthetics as sensible knowledge, lower gnoseology, the authentic logical reasoning Baumgarten proposed back in his day. But from here on discourse must initially latch RQWR GHEDWH DERXW WKH QDWXUH RI DUW WKDW Ă€UVW EHJDQ DW the end of the 20th century when Rosalind Krauss noted with great clarity that there was a real crisis in the ´PHGLXPÂľ 'LJLWDO DUW FRXOG VHW WKLV GHEDWH RII LQ DQ\ GLUHFWLRQ RQ RQH KDQG Ă€WWLQJ LQ ZLWK PRGHUQ WUDGLWLRQ stretching from Dada and Informal Art to Futurism and Programmed Art, and, on the other, projecting an image of absolute novelty in contrast with this tradition,

UHWKLQNLQJ WKH YHU\ FRQFHSW RI D ´IUDPHÂľ IURP LWV YHU\ roots, focusing on the mobile nature of image and delving to the very depths of a new kind of relationship with space and time. In actual fact, though, it actually goes well beyond the UDWKHU QDUURZ ERXQGDULHV RI VLPSOH GHEDWH DERXW ´DUWÂľ it opens up almost boundless prospects, even though, for the time being, they can only be classed analytically without attempting to set them out into some sort of overall vision. So, for example, we can point out the real novelty of close bonds with technology that has HQDEOHG WKH WUDQVLWLRQ IURP WKH ´ZRUN RI DUW LQ WKH DJH RI LWV WHFKQLFDO UH SURGXFLELOLW\Âľ WR WKH ´ZRUN RI DUW LQ WKH DJH RI LWV WHFKQRORJLFDO SURGXFLELOLW\Âľ WKDQNV WR which technology is involved in creating art, guiding DQG LQĂ XHQFLQJ SURMHFWV DQG IRUFLQJ DUWLVWV WR FRQVWDQWO\ negotiate, transact and recompose; underlining the potential of telematic usage of art works, drastically cancelling out space and time that are reduced to an HWHUQDO SUHVHQW DQ HWHUQDO ´KHUHÂľ DQG DQ LQWHUPLQDEOH ´KLF HW QXQFÂľ IRFXVLQJ RQ WKH XQH[SHFWHG LQWHUDFWLRQ between the artist and onlooker brought about by a ceaseless exchanging of roles within the constant mirroring between the creator and onlooker, which has EURXJKW RXW WKH FRQFHSW RI DQ ´H[ VSHFWDWRUÂľ DGGLQJ RQ expectancy), without any kind of Pavlovian relationship between stimulus/response and concentrating solely RQ WKH TXHVW WRZDUGV VRPH FRPPRQ JRDOÂľ DQG ODVWO\ focusing on the latest perceptual properties of digital imagery, thanks to which we have moved on from two-dimensional painting, three-dimensional sculpture and four-dimensional visual narrative (Video Art) WR ZRUNV LQ ´QÂľ GLPHQVLRQV K\SHUWH[WV FDOOLQJ IRU constantly morphing imagery rendered proteiform by the very logic generating it. But that is not all, against the backdrop of the technical, design and creative operations underscoring these results, we can even glimpse the superseding of the concept of interactivity, pursued for so long by the very latest experimentation to establish a new kind of relationship between ´FKDQFHÂľ DQG ´QHFHVVLW\Âľ EHWZHHQ FRQIRUPLQJ to constant, carefully designed programs and the development of independent situations capable RI GHĂ HFWLQJ WKH SODQQHG SDWKZD\ LQ XQH[SHFWHG GLUHFWLRQV 7KH WUDQVLWLRQ IURP WKHRULVLQJ RYHU WKLV LVVXH to its actual embodiment in works, projects and ideas is likely to fragment discourse even further. In the case of the artists we are presenting here, the aspects analysed so far take shape in various different ways depending on subjective intentions and the diverse nature of the projects themselves. Daniele Girardi saturates digital space with stable and constantly renewed compositions, which openly avow their pictorial roots, while, however, breaking down their own compositional structure to rely on the sort of frenetic development FKDUDFWHUL]LQJ WKH Ă HHWLQJ VWDJHV LQ D VWRU\ UHVROYHG LQWR a kind of delirious introspection. Nicola Evangelisti relies on the non-Euclidean geometric patterns of holography , electronic props and carefully modulated sensors to resolve each image into light and light LQWR WKH HQXQFLDWLRQ RI VFLHQWLĂ€F WKHRUHPV V\PEROLF parables and phantasmatic evocations, often guided

by the random intervention of outside players, sounds, movements and imperceptible impulses. Interaction with space and the environment in his large installations underlines the sign-like and iconic nature RI ´WKLQJVÂľ WKH Ă H[LEOH ZD\ WKH\ VKDSH WKHPVHOYHV DURXQG RXU ´LQWHUSUHWDWLRQÂľ ZKLFK LV KRZHYHU QHYHU detached but rather always part of the work itself. Vincenzo Marsiglia begins with a simple sign - a star - around which he constructs a visual world soon moving beyond the bounds of the two dimensionality of drawing to spread into a sort of parallel universe in which that sign becomes a linchpin or reference point. But this universe sucks in the onlooker who becomes not its counterpart (as in the case of ordinary LQWHUDFWLYH GHYLFHV EXW UDWKHU LWV LQWHUORFXWRU 7KH work observes the onlooker, analysing him/her and attempting to set up dialogue, and his/her experience develops along the axis of constant confrontation governed by an idea of a frame that would appear to poke fun at traditional art. For his part, Davide Coltro immerses himself in the enchanted world of still life, while electronic artefacts pursue the ultimate truth of things, redesigning their mysterious composition and making image the spectre of a kind of reality that questions its very own structure right before our very eyes, forcing vision to slide along the curve of some ungraspable time and making ceaseless change its very identity. Faced with these works, we are tempted to refer to D ZHOO NQRZQ UHPDUN E\ +HQUL %HUJVRQ ´)RUP LV QRWKLQJ EXW D VQDSVKRW RI D WUDQVLWLRQÂľ $W WKLV SRLQW the issue of the language to be used to descriptively explain digital art becomes even more poignant, only allowing words to create a sort of antiphony to the direct perception of a work. Moreover, it is the visual communication of digital images itself that poses unsolvable problems as the static nature of a printed page presents insurmountable obstacles to sensing their dynamism. Nevertheless, it is these attempts that bring forth an element capable of imposing itself uniformly across this varied and impervious panorama, an element which, in some sense, acts as a bridge between VPRRWKO\ Ă RZLQJ GLJLWDO ORJLF DQG D ´ORJRVÂľ VWLOO VHW LQ the architectural framework of verbal discourse. 7KLV LV WKH VHQVH RI GHSWK WKDW WKHVH ZRUNV FRQYH\ above and beyond their contingent embodiments, the impression that electronic analysis can actually delve into the most remote meanders of sensorial experience EULQJLQJ WR OLJKW XQH[SHFWHG Ă€QGLQJV DQG HQOLJKWHQLQJ metaphors, which, in some way, call into question our UHODWLRQV ZLWK WKH ZRUOG DQG FDOO IRU FDUHIXO UHĂ HFWLRQ that directly involves us, well beyond the mere pure contemplation of a work. 7KDW WKH SHUFHSWLRQ RI WKLV ´GLJLWDO GHSWKÂľ PLJKW EH WKH starting point for a re-grounding of critical models in a more advanced way is an encouraging idea that still QHHGV WR EH YHULĂ€HG 1HYHUWKHOHVV RQH WKLQJ FOHDUO\ HPHUJHV VWUDLJKWDZD\ DQG WKDW LV WKH QHHG Ă€UVW DQG foremost for aesthetic reasons - to revise its own status, so that it can take on the challenges posed by modernGD\ OLIH WKDW LV LQFUHDVLQJO\ Ă HHWLQJ DQG QXDQFHG Maurizio Vitta O¡AI 114 87

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ARTS

Del Signor Caos ovvero il nuovo ordine La rivoluzione della 55. Biennale di Venezia Carmelo Strano Photos: Paolo Emilio Sfriso

1RQ XQ ÀORVRIR ma un critico-curatore mi ha messo in crisi.

Ci ha pensato Massimiliano Gioni, direttore della 55. Biennale Arte. Dopo anni di studi sul campo che mi hanno portato a considerare la cultura che ci precede un grande archivio poco utile per la vita odierna o in prospettiva, PL DUULYD LQ WHVWD OD WHJROD GHO 3DOD]]R (QFLFORSHGLFR 8Q JUDQGH HGLĂ€FLR ovviamente, se l’ambizione dei dioscuri “diacroniciâ€? Auriti-Gioni è quella GL UDFFKLXGHUYL ´DOO WKH ZRUNV RI PDQ LQ ZKDWHYHU Ă€HOG GLVFRYHULHV PDGH and those which may followâ€?. Per accogliere tutto il sapere e le scoperte dell’uomo senza nulla escludere, l’outsider abruzzese-americano Marino Auriti (1861-1980) ha ipotizzato una sorta di sua Terza Internazionale, di sua torre di Babele, di Biblioteca borgesiana, o di intimistico ambiente Merz alla Schwitters, e anche di atmosfera kafkiana. Misure: 136 piani, altezza 700 metri, 16 isolati di Washington. Ha fatto la felicitĂ di Dante, Gioni, recuperando Auriti di cui il web è pieno, ma come fratello siamese: sul web trovi quasi zero sull’artistaarchitetto indipendentemente dalla Biennale. Tuttavia, mi sono ripreso presto dallo sconforto, appena mi sono reso conto che Gioni, il quale non ha lasciato nulla al caso, si è comportato da allievo, piĂš che di Leibniz, e GHOOH VXH PRQDGL VHQ]D SRUWH Qp Ă€QHVWUH GHO 6LJ &DRV GD FRQVLGHUDUH mi è parso opportuno, come “nuovo ordineâ€?). Nel tempo in cui i principi della rivoluzione francese, compresa la tendenza enciclopedizzante, si DOOHQWDQR R YDQLĂ€FDQR D FDXVD GHOO¡LPSHULR GHOOH QXRYH FXOWXUH QHOOD VFHQD mondiale, i dioscuri Auriti-Gioni riprendono il ruolo del duo DiderotG¡$ODPEHUW 0D VLDPR VDOYL LO SDWDĂ€VLFR SDOD]]R q SLHQR GL SRUWH H Ă€QHVWUH SHQHWUDWR GD LQDUUHVWDELOL YHQWL SOXULGLUH]LRQDOL 1RQ FDGH O¡HGLĂ€FLR VL piega ma non si spezza. Antisismico. Ma annientabile dallo tsunami del Caos. Giri per la Biennale, e vivi (non la studi, la vivi sentimentalmente) l’altalena tra ricerca di sicurezza (nell’etimologia di enciclopedia c’è anche il senso della chiusura) e smarrimento provocato dai venti impazziti (tutta la Kermesse è sottesa dall’ossessione). I dioscuri non possono assegnare con sicurezza e onnipotenza tizio e caio, questo e quello ad una cantica o un’altra, a un girone o a un altro, perchĂŠ i piedi vacillano e, per restare nella metafora dantesca, si può cadere “come corpo morto cadeâ€?. In ogni caso, Massimiliano Gioni ha dato una sferzata alla stracca e imbellettata Kermesse lagunare, complice il navigatissimo, competente e appassionato presidente Paolo Baratta di cui sottoscrivo in pieno queste parole: “Le mostre di Gioni e Koolhaas (direttore della sezione Architettura, NdR) rappresenteranno momenti importanti nella storia della nostra Istituzioneâ€?. 1RQ VL WUDWWD GL HWj DQDJUDĂ€FD q VHQ]D GXEELR XQ UHFRUG SHU LO TXDUDQWHQQH

direttore essere il piĂš giovane dalla nascita della Biennale). Il merito principale è nelle idee che volano o no indipendentemente dalla consunzione citologica. Gioni ha rivoluzionato una stantia routine curatoriale, andando ben oltre formalismi, tendenze, scuole, barricate disciplinari. Capace di ampio respiro, di controllo di una complessa fenomenologia non solo artistica, ma, alla base, sociologica, politica (in senso etimologico). Ha dato per scontato (e, quindi, con speciale eleganza, non vi ha posto enfasi) alle condizioni multiculturali e globali. Ha sovrapposto e fuso, in un dinamismo attuale e postbergsoniano, le dimensioni (mi si conceda il plurale) sincroniche e diacroniche, mettendo in relazione esperienze artistiche e parartistiche di inizi ‘900 e di oggi. Ma, fatto non trascurabile, facendo questo in modo direi piĂš “ellitticoâ€? che “apertoâ€?, oltre la dicotomia del tutto chiuso e del tutto aperto. Infatti, il visitatore ha modo di giocare il proprio percorso tra suggerimenti VFLHQWLĂ€FR FXUDWRULDOL H XQ SURSULR Ă€OR URVVR LQ SURJUHVV &Lz DQDORJDPHQWH a modi di operare di Gioni: tra il chiudere e l’aprire, il circoscrivere e O¡HOLPLQD]LRQH GHL FRQĂ€QL /D %LHQQDOH $UWH GL 9HQH]LD KD FDPELDWR volto, non senza interferenze dell’edizione del compianto amico Harald Szeemann. Dal 1895 si salta al 2013. Si riparte. Ora, il mondo dell’arte LQ VHQVR JHRJUDĂ€FR GLVFLSOLQDUH H PXOWLFXOWXUDOH KD GL QXRYR PD LQ modo nuovo, un capitale, ineludibile riferimento nella Laguna. Non senza EHQHĂ€FLR VRFLRHFRQRPLFR LQGLUHWWR VXOO¡(XURSD H VXOO¡,WDOLD &Lz SHUFKp *LRQL LQ SULPD LVWDQ]D YROHYD IDUFL VDOLUH VDOYLĂ€FDPHQWH VXOO¡$UFD PDJDUL quella costruita nel 1984, proprio nella Laguna, da Renzo Piano per il Prometeo di Luigi Nono); ma inevitabilmente, e con grande regia, ha fatto Ă XLUH QDWXUDOPHQWH JOL HYHQWL PHVVL LQ FDPSR WUD DUWH H FLQHPD OHWWHUDWXUD psicologia. A questo proposito introduce una nota di pertinente attualitĂ . La recente (2009) pubblicazione dell’inedito Libro Rosso di Jung. L’esperienza di ricerca di sĂŠ, da parte dello psicanalista svizzero, fatta grazie a questa sua opera di testi e immagini, dopo la rottura con Freud, viene intelligentemente assunta da Gioni come emblematica di un percorso di abreazione: per se stesso (teso a liberarsi della dittatura delle icone) e per i fruitori della sua Enciclopedia. Tra primo ingresso di 10 Paesi (come la Santa Sede, referenti il card. Gianfranco Ravasi e Antonio Paolucci, tra Tano Festa e Studio Azzurro attivi sul tema “In principioâ€?); i vivaci Meetings on Art e Biennale Sessions; Padiglione Italia (curatore Bartolomeo Pietromarchi); variegati e rigorosi eventi collaterali, ecco la regia di Paolo Baratta darci una Biennale di grande fascino e richiamo.

88 O¡AI 114

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Marino Auriti, Palazzo Enciclopedico, 1955

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La révolution de la 55. Biennale de Venise

Ce n’est pas un SKLORVRSKH TXL P·D PLV HQ GLIÀFXOWp PDLV XQ FULWLTXH G·DUW

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LQWURGXLW XQH QRWH G·XQH SHUWLQHQWH DFWXDOLWp /D SXEOLFDWLRQ UpFHQWH GX /LYUH 5RXJH HQFRUH LQpGLW GH &DUO *XVWDY -XQJ /·H[SpULHQFH GH UHFKHUFKH GH VRL GX SV\FKDQDO\VWH VXLVVH PHQpH HQ WH[WHV HW HQ LPDJHV GDQV FH PDQXVFULW DSUqV OD UXSWXUH DYHF )UHXG HVW LQWHOOLJHPPHQW FRQVLGpUpH SDU *LRQL FRPPH HPEOpPDWLTXH G·XQ SDUFRXUV G·DEUpDFWLRQ SRXU VRL PrPH YLVDQW j VH OLEpUHU GH OD GLFWDWXUH GHV LF{QHV HW SRXU OHV EpQpÀFLDLUHV GH VRQ (QF\FORSpGLH (QWUH OD SUHPLqUH HQWUpH GH GL[ SD\V FRPPH OH 9DWLFDQ TXL D SRXU UpIpUHQWV OH FDUGLQDO *LDQIUDQFR 5DYDVL HW $QWRQLR 3DROXFFL HQWUH 7DQR )HVWD HW 6WXGLR $]]XUUR HQJDJpV VXU OH WKqPH ´,Q 3ULQFLSLRµ OHV UpXQLRQV DQLPpHV GHV 0HHWLQJV RQ $UW HW GHV %LHQQDOH 6HVVLRQV DX 3DYLOORQ ,WDOLH FRPPLVVDLUH %DUWRORPHR Dall’alto/du haut/from the top: Bruce Nauman, Charles Ray, 3LHWURPDUFKL OHV pYpQHPHQWV SDUDOOqOHV ULJRXUHX[ HW YDULpV YRLFL OD UpJLH GH 3DROR %DUDWWD TXL Damiàn Ortega QRXV RIIUH XQH %LHQQDOH PDJLVWUDOH HW IDVFLQDQWH 90 O·AI 114

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Palazzo Enciclopedico: dall’alto a sinistra/en partant du haut à gauche/from the top left: Matt Mullican, Paul Mc Carthy, Steve McQueen, ex-voto from the Santuario di Romituzzo, Rossella Biscotti, Otto Piene, René Iché, Phyllida Barlow, Shinichi Sawada, Miroslaw Balka, Papa Ibra, Walter De Maria, Mark Leckey, Paulo Nazareth

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The Revolution of the 55. Venice Art Biennale

It was not a

philosopher but a critic-curator who threw me into crisis. It was 0DVVLPLOLDQR *LRQL 'LUHFWRU RI WKH $UW %LHQQDOH $IWHU \HDUV RI VWXG\ LQ WKH Ă€HOG WKDW led me to consider the culture that preceded us to be an archive of little use in everyday life or in the future, the tile of the Palazzo Enciclopedico hit me on the head. A great building, obviously, if the aim of the Auriti-Gioni’s “diachronicâ€? Dioscuri was to enclose ´DOO WKH ZRUNV RI PDQ LQ ZKDWHYHU Ă€HOG GLVFRYHULHV PDGH DQG WKRVH ZKLFK PD\ IROORZ Âľ To accommodate all man’s knowledge and discoveries without leaving anything out, the Abruzzese-American outsider, Marino Auriti (1861-1980) suggested his own sort of Third International, Tower of Babel, Borges Library, or an intimate Merz Ă la Schwitters, or HYHQ D .DINDHVTXH VHWWLQJ 0HDVXUHPHQWV Ă RRUV PHWUHV :DVKLQJWRQ EORFNV Gioni made Dante happy by recovering Auriti, who is all over the web, but as a Siamese WZLQ RQ WKH ZHE \RX Ă€QG DOPRVW QRWKLQJ DERXW WKH DUWLVW DQG DUFKLWHFW LQGHSHQGHQW RI the Biennale. However, I recovered quickly from this dejection as soon as I realised that Gioni, who left nothing to chance, behaved like a pupil, more than of Leibniz and his monads, without doors or windows, of Sig. Chaos (who, it seemed appropriate, should be considered as a “new orderâ€?). At a time when the principles of the French Revolution, including the tendency to make encyclopaedias, became reduced and frustrated due to the empire of new cultures on the worldwide stage, Auriti-Gioni’s Dioscuri took up the role of the duo of Diderot and D’Alambert. But we are saved: the pataphysical palace is full of doors and windows, relentless winds penetrating from all directions. It does not fall, this building: it bends but it does not break. Earthquake proofed. But vulnerable to destruction by the tsunami of Chaos. You tour the Biennale and you experience (you don’t study it, you experience it sentimentally) the swing between a search for safety (the etymology of encyclopaedia also includes a sense of closure) and loss, provoked by crazy winds (the whole Kermesse is implied by this obsession). The Dioscuri cannot bestow so and so with FHUWDLQW\ DQG RPQLSRWHQFH WKLV RU WKDW WR RQH FDQWLFOH RU DQRWKHU WR RQH FLUFOH RU DQRWKHU because their feet teeter and, to retain the Dantean metaphor, they could fall “as a dead body fallsâ€?. In any case, Massimiliano Gioni gave a boost to the tired and tarted up Venetian Kermesse, aided by the extremely experienced, competent and passionate president, Paolo Baratta, whose words I fully support: “The exhibitions by Gioni and Koolhaas (Director of the Architecture Section - Editor’s note) represent important moments in the history of our institution.â€? It is not a question of age (in his forties, the director no doubt holds the record for being the youngest since the inception of the Biennale). The principal merit is LQ WKH LGHDV WKDW HLWKHU WDNH Ă LJKW RU GR QRW LQGHSHQGHQWO\ RI WKH F\WRORJLFDO FRQVXPSWLRQ Gioni revolutionised a stale curatorial routine, going well beyond formalism, movements, VFKRROV DQG GLVFLSOLQDU\ EDUULFDGHV FDSDEOH RI D ZLGH UHDFK RI FRQWUROOLQJ D FRPSOH[ and not only artistic phenomenology, but one that is basically sociological and political (in an etymological sense). He took for granted (and therefore, with special elegance, did not emphasise) the multicultural and global conditions. He overlapped and blended, with a current and post-Bergsonian dynamism, synchronic and diachronic dimensions (may I be granted use of the plural), linking artistic and para-artistic experiences from the early twentieth century to the present day. But, a non-negligible fact, he did it in a way I would describe as more “ellipticalâ€? than “openâ€?, beyond the dichotomy of fully closed or fully open. In fact, the visitor has the opportunity to gamble their own route through academic and curatorial suggestions and a common thread in progress. This in a similar way to Gioni’s ZD\V RI ZRUNLQJ EHWZHHQ FORVLQJ DQG RSHQLQJ WKH FRQWDLQLQJ RU HOLPLQDWLQJ RI FRQĂ€QHV 7KH DSSHDUDQFH RI WKH 9HQLFH $UW %LHQQDOH KDV FKDQJHG QRW ZLWKRXW LQWHUIHUHQFH IURP KLV late friend Harald Szeemann’s year. From 1895, we jump to 2013. And we’re off again. Now, the art world (in a geographical, disciplinary and multicultural sense) has a capital once again, but in a new way, an inescapable reference in the Lagoon. And not without indirect VRFLR HFRQRPLF EHQHĂ€WV IRU (XURSH DQG ,WDO\ $QG WKLV EHFDXVH LQ WKH Ă€UVW LQVWDQFH *LRQL wanted to take us up onto the Ark to save us (albeit the one built in 1984 in the Lagoon itself, by Renzo Piano for Luigi Nono’s Prometeo EXW LQHYLWDEO\ ZLWK JUHDW GLUHFWLRQ KH PDGH WKH HYHQWV Ă RZ QDWXUDOO\ EHWZHHQ DUW FLQHPD OLWHUDWXUH DQG SV\FKRORJ\ 7KLV issue introduces a pertinently current note. The recent (2009) publication of the previously unpublished Red Book by Jung. The experience of searching for oneself, according to the Swiss psychoanalyst, carried out thanks to his work of texts and images after breaking with Freud, was intelligently taken on by Gioni as being emblematic of a journey of abreaction: for himself (anxious to free himself from the dictatorship of icons) and for the users of his (QF\FORSDHGLD 7KH Ă€UVW HQWULHV IURP WHQ FRXQWULHV VXFK DV WKH +RO\ 6HH ZLWK UHIHUHQFH WR Cardinal Gianfranco Ravasi and Antonio Paolucci, between Tano Festa and Studio Azzurro, DFWLYH RQ WKH WKHPH ´,Q WKH %HJLQQLQJ WKH OLYHO\ 0HHWLQJV RQ $UW DQG %LHQQDOH 6HVVLRQV WKH ,WDO\ 3DYLOLRQ FXUDWHG E\ %DUWRORPHR 3LHWURPDUFKL YDULRXV DQG H[DFWLQJ VLGH HYHQWV WKLV LV how Paolo Baratta’s direction gives us an extremely fascinating and appealing Biennale. Dall’alto/du haut/from the top: UK, Germany (French pavilion) 92 O¡AI 114

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Arsenale: dall’alto a sinistra/en partant du haut à gauche/from the top left: Brazil, France (German Pavilion), Japan, Egypt, Israel, Poland, Russia, Usa, Switzerland, Italy (Vice versa, Fabio Mauri), Lebanon, Argentina, EAU, Holy See

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DESIGN COMPILATION

CARBONIO CARBONE CARBON Diamond

Graphite

/D SULPD ÀEUD di carbonio ad alte prestazioni fu

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94 O·AI 114

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/D SUHPLqUH Ă€EUH de carbone "haute performance" a ĂŠtĂŠ crĂŠĂŠe en 1958 par Roger Bacon, physicien et spĂŠcialiste des sciences physiques et des matĂŠriaux au Parma Technical Center, Ohio (USA). Le matĂŠriau crĂŠĂŠ par Bacon se composait SULQFLSDOHPHQW GH Ă€EUHV GH JUDSKLWH GLVSRVpHV HQ IHXLOOHV RX en rouleaux ; les feuilles s'ĂŠtendaient en continu sur toute la ORQJXHXU GX Ă€ODPHQW GH JUDSKLWH Le 14 janvier 1969, Carr Reinforcements a fabriquĂŠ le premier WLVVX HQ Ă€EUH GH FDUERQH DX PRQGH 8Q SURFpGp FRXUDPPHQW XWLOLVp SRXU REWHQLU OHV Ă€EUHV GH FDUERQH HVW O R[\GDWLRQ HW OD pyrolyse thermique du polyacrylonitrile (PAN), un polymère Ă base d'acrylonitrile ĂŠgalement utilisĂŠ dans la production de matières plastiques. Le PAN est chauffĂŠ Ă l'air Ă une tempĂŠrature d'environ trois cent degrĂŠs, ce qui a pour rĂŠsultat l’oxydation et la rupture des nombreux liens d'hydrogène qui se sont crĂŠĂŠs entre les longues chaĂŽnes de polymères. Le produit de l’oxydation est ensuite placĂŠ dans un four oĂš il est chauffĂŠ Ă environ deux mille degrĂŠs en atmosphère inerte, comme celle de l'argon, ce qui produit un changement radical de la structure molĂŠculaire avec formation de graphite. En rĂŠalisant l'opĂŠration de chauffage dans les conditions requises, on obtient une condensation GHV FKDvQHV GH SRO\PqUHV DYHF SURGXFWLRQ GH Ă€QHV IHXLOOHV GH JUDSKqQH TXL VH IRQGHQW HQVXLWH HQ JpQpUDQW XQ VHXO Ă€ODPHQW /H UpVXOWDW Ă€QDO HVW JpQpUDOHPHQW O¡REWHQWLRQ G XQ PDWpULDX prĂŠsentant un taux de carbone variable allant de 93 Ă 95 %. /HV SURSULpWpV PpFDQLTXHV GH OD Ă€EUH GH FDUERQH SHXYHQW rWUH encore amĂŠliorĂŠes avec des traitements thermiques appropriĂŠs. En chauffant entre 1 500 et 2 000 °C (carbonisation), on obtient un matĂŠriau prĂŠsentant une plus haute rĂŠsistance Ă la WUDFWLRQ 03D WDQGLV TXH OD Ă€EUH GH FDUERQH FKDXIIpH j 2 500-3 000 °C (graphitisation) prĂŠsente un module d'ĂŠlasticitĂŠ VXSpULHXU *3D /D Ă€EUH GH FDUERQH SHUPHW GH FRQVWUXLUH une grande variĂŠtĂŠ de matĂŠriaux appelĂŠs composites parce que OHV Ă€EUHV VRQW FRPSRVpHV F HVW j GLUH XQLHV j XQH PDWULFH JpQpUDOHPHQW HQ UpVLQH PDLV HOOH SHXW rWUH HQ PpWDO RX HQ SODVWLTXH TXL VHUW j PDLQWHQLU HQ SRVH OHV Ă€EUHV UpVLVWDQWHV (pour qu'elles restent dans le bon sens quand elles absorbent les VROOLFLWDWLRQV j SURWpJHU OHV Ă€EUHV HW QRWDPPHQW j FRQVHUYHU la forme de l'objet composite. Pour la rĂŠalisation de structuUHV HQ FRPSRVLWH OHV Ă€EUHV GH FDUERQH VRQW G DERUG WUHVVpHV ensemble pour rĂŠaliser un vĂŠritable tissu en carbone, puis, une fois en pose, sont immergĂŠes dans la matrice. Parmi ses principales caractĂŠristiques, citons la haute rĂŠsistance mĂŠcanique, la faible densitĂŠ, la capacitĂŠ d'isolation thermique, la rĂŠsistance aux variations de tempĂŠrature et Ă l’effet des agents chimiques, de bonnes propriĂŠtĂŠs ignifuges. Elle est cinq fois plus rĂŠsistante et deux fois plus rigide que l’acier et pèse un cinquième de celui-ci. Quelques formes allotropiques du carbone : a) Diamant b) Graphite c) LonsdalĂŠite d) Buckminsterfullerène e) Fullerène C540 f) Fullerène C70 g) Carbone amorphe h) Nanotubes

The first high performance carbon fibre was created in 1958 by Roger Bacon, physicist and material scientist at Parma Technical Center, Ohio. The material created by Bacon was largely composed of thin graphite filaments. &DUU 5HLQIRUFHPHQWV SURGXFHG WKH Ă€UVW IDEULF PDGH RI FDUERQ Ă€EUH LQ WKH ZRUOG RQ WKH -DQXDU\ $ FRPPRQ PHWKRG XVHG WR REWDLQ Ă€ODPHQWV RI FDUERQ is composed of oxidation and thermal pyrolysis of polyacrylonitrile (PAN), a polymer based on acrylonitrile also used in the production of plastic materials. PAN is heated to a temperature of approximately 300°C in the presence of air resulting in the oxidation and breakdown of many hydrogen bonds between the long polymer chains. The product of the oxidation is then placed in a furnace and heated to approximately 2000°C in an atmosphere of inert gas such as argon, which results in a radical change in the molecular structure with the formation of graphite. By carrying out the heating process in the correct conditions, the polymeric chain condenses with production of foliated graphite that fuse together generating a single filament. The final result is usually a material with a carbon content varying between 93-95%. The mechanical properties of carbon fibre can be further improved by exploiting suitable thermal treatments. Heating to 1500-2000 °C (carbonisation) obtains a material with a higher breaking load (5650 MPa) while carbon fibre heated to 2500-3000 °C (graphitisation) has a better modulus of elasticity (531 GPa). A wide variety of compound materials are made of carbon fibre in which the fibres are “compoundedâ€?, that is, joined together in a matrix, generally resin (but can be plastic or metal) whose function are to keep the strong fibres “in placeâ€? (so that they maintain the correct orientation when absorbing stresses and strains), protect the fibre, and maintain the shape of the composite manufactured article. To manufacture composite structures, the carbon fibres are first interwoven together to organise true breakdown of the carbon fabric, then once put in place, they are immersed in the matrix. Its characteristics include great mechanical strength, low density, thermal insulation, resistance to changes of temperature and the effect of chemical agents, and good fire resistance properties. It is five times stronger than steel, twice as rigid, but weighs a fifth of steel. Various allotropic forms of carbon: a) Diamond b) Graphite c) Lonsdaleite d) Buckminsterfullerene e) Fullerene C540 f) Fullerene C70 g) Amorphous carbon h) Nanotube O¡AI 114 95

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DESIGN COMPILATION

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Össur Flex-Run™ with Nike Sole

Monolito Megalito

Inspired by Sarah Reinertsen ZZZ RVVXU FRP Ă H[ UXQ

Jules Sturgess www.julessturgess.com

Une nouvelle semelle lĂŠgère en composite rĂŠsistant Ă utiliser avec la lame prothĂŠtique FlexRun d’Össur destinĂŠe aux athlètes amputĂŠs. La semelle Nike est XQH VHPHOOH VWUDWLĂ€pH intĂŠgrĂŠe dotĂŠe d’une semelle extĂŠrieure, d’une semelle intercalaire et d’un thermoplastique urĂŠthane appelĂŠ Aeroply, composĂŠ de coussins d’air recyclĂŠs de Nike Air Bag qui servent d’amortisseurs entre la semelle Nike et la lame HQ Ă€EUH GH FDUERQH GX Flex-Run d’Össur. Neuf languettes plastiques en nylon servent de doigts qui s’enroulent autour du Flex-Run pour un système facile de mise en place/retrait.

Suola resistente in FRPSRVLWR GD DEELQDUH con la lamina protesica Ă–ssur Flex-Run per gli atleti amputati. La suola Nike è una suola a strati integrata che comprende una suola esterna, una soletta centrale e un uretano termoplastico denominato Aeroply, realizzato con unitĂ Nike Air Bag riciclate, che funge da moderatore tra suola Nike e la lamina LQ Ă€EUD GL FDUERQLR GL Ă–ssur Flex-Run. Nove linguette plastiche in nylon funzionano come dita che si avvolgono saldamente intorno DOOD ODPLQD LQ Ă€EUD GL FDUERQLR SHU JDUDQWLUH XQ EORFFR VLFXUR H OD massima facilitĂ di calzata.

'XUDEOH FRPSRVLWH VROH WKDW FDQ HDVLO\ EH XVHG ZLWK gVVXU¡V )OH[ 5XQ SURVWKHWLF EODGH IRU amputee athletes The Nike Sole features an integrated layered sole including an outsole, midsole and thermal plastic urethane called Aeroply, made of recycled Nike Air Bag units, VHUYLQJ DV PRGHUDWRU EHWZHHQ 1LNH 6ROH DQG WKH gVVXU )OH[ 5XQ¡V FDUERQ Ă€EHU EODGH

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,O WDYROR 0RQROLWR H 0HJDOLWR GLVHJQDWR GD -XOHV Sturgess, non assomiglia a un tipico tavolo da SUDQ]R (¡ UHDOL]]DWR LQ Ă€EUD GL FDUERQLR OHJJHUD H UHVLVWHQWH ,O WDYROR OXQJR PHWUL q DQFRUDWR

al suolo con un’enorme lastra che ne garantisce O¡HTXLOLEULR H OD VWDELOLWj ,O SLDQR GHO WDYROR VL assottiglia a soli 5 mm di spessore sul lato aperto mentre alla “radiceâ€? lo spessore è di 100 mm. 7KH 0RQROLWR DQG 0HJDOLWR 7DEOH GHVLJQHG E\ -XOHV 6WXUJHVV GRHV QRW ORRN OLNH D W\SLFDO GLQLQJ WDEOH ,W LV PDGH RXW RI OLJKW DQG GXUDEOH FDUERQ Ă€EHU PDWHULDO 7KLV PHWUH ORQJ WDEOH LV DQFKRUHG LQWR JURXQG E\ D KXJH VODE WKDW SURYLGHV EDODQFH DQG VWDELOLW\ 7KH WDEOH WRS WKLQV RXW WR MXVW PP WKLFN RQ WKH open end and 100 mm at the root. O¡AI 114 97

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Project Zero AgustaWestland, Stile Bertone www.agustawestland.com Project Zero est un démonstrateur technologique pour un n rotor basculant/air V/STOL électrique. Il est le résultat d’une étroite collaboration entre Finmeccanica - Selex ES, Ansaldo Breda et Ansaldo Energia - et les entreprises partenaires en Italie, Royaume-Uni, Etats-Unis et Japon (Lucchi R. Elettromeccanica, Rotor Systems Research LLC, Advanced Concepts Group et AgustaWestland Japon partenaire Asie Technology Center, Uchida, Microtecnica, ORAL Engineering, MB Motorsport, Aerosviluppi, Marc’Ingegno). L’italien Stile Bertone a développé le GHVLJQ HW OD FRQÀJXUDWLRQ DpURG\QDPLTXH XQLTXH GX URWRU basculant. Toute la surface extérieure est en graphite de carbone, produite par Lola Composite au Royaume-Uni. Sistemi Dinamici, une société d’ingénierie, a joué un rôle déterminant dans le Project Zero, en étroite collaboration avec le Advanced Concepts Group pour le Système de Contrôle de Vol et le design du rotor d’AgustaWestland. Project Zero a été conçu, construit et testé en douze mois.

Project Zero è un dimostratore tecnologico per un convertiplano/aereo V/STOL elettrico. E’ il risultato di una stretta collaborazione tra aziende Finmeccanica – Selex ES, Ansaldo Breda, and Ansaldo Energia – e aziende partner in Italia, UK, USA e Giappone (Lucchi R. Elettromeccanica, Rotor Systems Research LLC, Advanced Concepts Group and AgustaWestland Japan Asia Technology Center, Uchida, Microtecnica, ORAL Engineering, MB Motorsport, Aerosviluppi, Marc’Ingegno). L’italiana Stile Bertone ha VYLOXSSDWR LO GHVLJQ H OD FRQÀJXUD]LRQH DHURGLQDPLFDPHQWH XQLFD GHO FRQYHUWLSODQR /·LQWHUD VXSHUÀFLH HVWHUQD GHOO·DHUHR q LQ JUDÀWH GL FDUERQLR HG q VWDWD SURGRWWD GD /ROD Composite nel Regno Unito. Sistemi Dinamici, una società ad alta tecnologia di ingegneria, è stata determinante per il Project Zero, lavorando a stretto contatto con il Gruppo di Concetto Avanzato per il Sistema di Controllo di Volo e il design del rotore di AgustaWestland. Progetto Zero è stato progettato, costruito e testato in dodici mesi. Project Zero all-electric V/STOL tiltrotor technology demonstrator is the result of close collaborations with Finmeccanica companies – Selex ES, Ansaldo Breda, and Ansaldo Energia – and partner companies from Italy, U.K., U.S.A. and Japan (Lucchi R. Elettromeccanica, Rotor Systems Research LLC, Advanced Concepts Group and AgustaWestland Japan Asia Technology Center, Uchida, Microtecnica, ORAL Engineering, MB Motorsport, Aerosviluppi, Marc’Ingegno). Stile Bertone of Italy developed the styling and aerodynamically XQLTXH WLOWURWRU FRQÀJXUDWLRQ 7KH HQWLUH DLUFUDIW H[WHULRU surface is carbon graphite and it was produced by Lola Composite in the UK. Sistemi Dinamici, a high tech engineering company, was instrumental to Project Zero by working closely with the AgustaWestland Advanced Concept Group on Flight Control System and Rotor design. The Project Zero was designed, built and tested in twelve months. 98 O·AI 114

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AGENDA NICE 2013 Un ĂŠtĂŠ pour Matisse Through 12/9/2013 www.matisse2013.nice.fr A l’occasion du 50e anniversaire de son MusĂŠe Matisse, la ville di Nice prĂŠsente huit H[SRVLWLRQV GDQV PXVpHV PXQLFLSDX[ UHQGDQW KRPPDJH j OD Ă€JXUH j O¡¹XYUH HW j OD postĂŠritĂŠ du peintre amoureux de la capitale azurĂŠenne.

In occasione del Cinquantesimo anniversario del MusĂŠe Matisse di Nizza, otto mostre SUHVHQWDWH LQ PXVHL GHOOD FLWWj UHQGRQR RPDJJLR DOOD Ă€JXUD DOO¡RSHUD H DOOD SRVWHULWj GHO SLWWRUH WUDVIHULWRVL D 1L]]D QHO Ă€QR DOOD VXD PRUWH

Henri Matisse, Nu dans un fauteuil, plante verte, 1936. MusÊe Matisse, Nice Š Succession H. Matisse Photo : Ville de Nice

7R FRPPHPRUDWH WKH ÀIWLHWK DQQLYHUVDU\ RI WKH 0DWLVVH 0XVHXP WKH FLW\ RI 1LFH ZLOO EH KRVWLQJ HLJKW H[KLELWLRQV LQ HLJKW PXQLFLSDO PXVHXPV SD\LQJ WULEXWH WR WKH DUWLVW KLV ZRUN DQG WKH KHULWDJH RI D SDLQWHU ZKR OLYHG LQ WKH FLW\ IURP XQWLO KLV GHDWK

MONTREAL, CCA $UFKDHRORJ\ RI WKH GLJLWDO Through 13/10/2013 www.cca.qc.ca /D /HZLV UHVLGHQFH GH )UDQN 2 *HKU\ OH SURMHW GH 3HWHU (LVHQPDQ SRXU XQ %LRFHQWUXP OD ([SDQGLQJ 6SKHUH GH &KXFN +REHUPDQ HW OHV VWUXFWXUHV GH FRXYHUWXUH GX FRPSOH[H VSRUWLI G 2GDZDUD HW GX *DOD[\ 7R\DPD GH 6KRHL <RK GH JDXFKH j GURLWH GDQV O LPDJH PDUTXHQW GH QRXYHOOHV RULHQWDWLRQV HQ H[SpULPHQWDQW OHV RXWLOV QXPpULTXHV 2UJDQLVpH SDU *UHJ /\QQ l'exposition explore les fondements de l'architecture numÊrique entre la ÀQ GHV DQQpHV HW OH GpEXW GHV DQQpHV

/D /HZLV UHVLGHQFH GL )UDQN 2 *HKU\ LO SURJHWWR GL 3HWHU (LVHQPDQ SHU XQ %LRFHQWUXP OD ([SDQGLQJ 6SKHUH GL &KXFN +REHUPDQ H OH LQIUDVWUXWWXUH GL FRSHUWXUD SHU OH SDOHVWUH GL 2GDZDUD H GHO *DOD[\ 7R\DPD GL 6KRHL <RK GD VLQLVWUD QHOO¡LPPDJLQH VHJQDQR QXRYL LQGLUL]]L GL ULFHUFD VX VWUXPHQWL GLJLWDOL &XUDWD GD *UHJ /\QQ OD PRVWUD LQGDJD OH IRQGDPHQWD GHOO¡DUFKLWHWWXUD GLJLWDOH WUD OD Ă€QH GHJOL DQL 2WWDQWD H O¡LQL]LR GHL 1RYDQWD 7KH /HZLV 5HVLGHQFH E\ )UDQN 2 *HKU\ 3HWHU (LVHQPDQ¡V %LRFHQWUXP &KXFN +REHUPDQ¡V ([SDQGLQJ 6SKHUH DQG 6KRHL <RK¡V URRI VWUXFWXUHV IRU 2GDZDUD DQG *DOD[\ 7R\DPD *\PQDVLXPV IRXU VHPLQDO SURMHFWV LQ WKH LPDJH IURP OHIW WKDW HVWDEOLVKHG EROG QHZ GLUHFWLRQV IRU DUFKLWHFWXUDO UHVHDUFK E\ GLJLWDO WRROV &XUDWHG E\ DUFKLWHFW *UHJ /\QQ WKH H[KLELWLRQ LV conceived as an investigation into the foundations of digital architecture DW WKH HQG RI WKH V DQG WKH EHJLQQLQJ RI WKH V

MILANO, AEROPORTO DI MALPENSA Fausto Melotti, I Sette Savi Through 10/11/2013 www.archiviofaustomelotti.it $SUqV XQH LPSRUWDQWH UHVWDXUDWLRQ O¡¹XYUH GL )DXVWR 0HORWWL I Sette Savi est exposĂŠe Ă l’espace Porta di Milano. Le groupe sculptural, constituĂŠ de 12 statues, fut rĂŠduit j VHSW j FDXVH GHV ERPEDUGHPHQWV GH $LQVL HQ O¡¹XYUH IXW H[pFXWpH HQ SOkWUH HW HQ HOOH IXW UpSpWpH HQ PDUEUH EODQF

Dopo un lungo restauro si può ammirare nello spazio Porta di Milano l’opera I Sette Savi di Fausto Melotti. Il gruppo scultoreo, costituito da12 statue, fu ridotto a sette a FDXVD GHL ERPEDUGDPHQWL GHO TXLQGL QHO O¡RSHUD IX HVHJXLWD LQ JHVVR H QHO LQ PDUPR ELDQFR After intensive restoration, the sculptural group The Seven Sages FUHDWHG E\ )DXVWR 0HORWWL FDQ EH YLHZHG LQ DQ DUHD FDOOHG ´3RUWD GL 0LODQRÂľ 7KH VFXOSWXUDO JURXS Âł FRQVLVWLQJ RI VWDWXHV ZDV UHGXFHG WR VHYHQ VWDWXHV GXH WR WKH ERPEDUGPHQWV ,W ZDV WKHQ UH FUHDWHG LQ D FKDON YHUVLRQ DQG Ă€QDOO\ LQ LW ZDV FUHDWHG DJDLQ LQ ZKLWH PDUEOH

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SAINT PAUL-DE-VENCE, FONDATION MAEGHT Les aventures de la vĂŠritĂŠ Through 6/10/2013 www.fondation-maeght.com Bernard-Henri LĂŠvy, commissaire de l’exposition, prĂŠsente une centaine d’œuvres anciennes et contemporaines sur le thème “Peinture et philosophieâ€?: un itinĂŠraire en sept stations pour comprendre le corps Ă corps millĂŠnaire, entre la philosophie et la peinture.

Bernard-Henri LĂŠvy, commissario dell’esposizione, presenta un centinaio di opere antiche e contemporanee sul WHPD ´3LWWXUD H Ă€ORVRĂ€DÂľ SURSRQHQGR un itinerario in sette stazioni per comprendere il corpo a corpo millenario WUD Ă€ORVRĂ€D H SLWWXUD

Pierre et Gilles, Sainte VÊronique, 2013. Pierre et Gilles / Pierre Commoy Pierre Blanchard Sainte VÊronique, 2013 (modèle: Anna Mougladis) Š Pierre Gilles

Joana Vasconcelos, Babylon, 2013

SAN FRANCISCO CONTEMPORARY JEWISH MUSEUM Beyond Belief Through 27/10/2013 www. thecjm.org

VENEZIA, MURANO Glastress. White Light / White Heat Through 24/11/2013 www.glasstress.org

10 voyages. 50 artistes. Exposition numÊrique conçue comme un voyage entre spiritualitÊ et art moderne et contemporain.

Plus de 60 Ĺ“uvres en verre rĂŠalisĂŠes par des artistes et designers de renom dans les fameuses fournaises vĂŠnitiennes.

10 viaggi. 50 artisti. mostra digitale concepita come un viaggio tra spiritualitĂ e arte moderna e contemporanea.

L’esposizione presenta le opere in vetro realizzate da oltre 60 creativi nelle famose fornaci.

10 journeys. 50 artists. Digital exhibition, conceived as a journey into the connections between spirituality and modern and contemporary art.

More than 60 works realized by the well-known artists in the famous Venetian furnaces.

Bernard-Henri LĂŠvy , curator of the exhibition, is presenting about one hundred old and modern-day works on the subject of "Painting and Philosophy", organising the layout around seven stations in order to grasp the head-to-head relations between philosophy and painting.

Paul Klee, Ein Genius

MILANO, PALAZZO REALE $OIUHG +LWFKFRFN QHL ÀOP GHOOD 8QLYHUVDO 3LFWXUHV Through 22/9/2013 www.comune.milano.it/palazzoreale L’exposition prÊsente soixante-dix photographies et des contenus spÊciaux VXU $OIUHG +LWFKFRFN TXL SURYLHQQHQW GHV DUFKLYHV GH OD 8QLWHG 3LFWXUHV L’exposition est caractÊrisÊe par les "camÊes" qui montrent ses apparitions dans VHV ÀOPV

Settanta foto e contenuti speciali su Alfred Hitchcock provenienti dagli archivi GHOOD 8QLWHG 3LFWXUHV /D UDVVHJQD q FRQWUDVVHJQDWD GDL ´FDPHLÂľ GHOOH VXH DSSDUL]LRQL QHL Ă€OP The show consists of seventy pictures with special subjects that retrace the DFWLYLW\ RI $OIUHG +LWFKFRFN DQG FRPH IURP 83¡V DUFKLYHV 7KH H[KLELWLRQ LV marked by the “cameosâ€? that reveal his singular appearances in his movies. O¡AI 114 101

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BASEL, MUSÉE TINGUELY Zilvinas Kempinas. Slow Motion Through 22/9/2013 www.tinguely.ch L’artiste lituanien (1969) investit les espaces du MusĂŠe Tinguely avec VHV LQVWDOODWLRQV TXL DVVRFLHQW OH QDWXUHO HW O¡DUWLĂ€FLHO 8WLOLVDQW OD EDQGH YLGpR OHV YHQWLODWHXUV HW OHV WXEHV QpRQ LO PRGLĂ€H OD SHUFHSWLRQ GX OLHX du temps et du mouvement.

&RQLXJDQGR QDWXUDOH H DUWLĂ€FLDOH O¡DUWLVWD OLWXDQR SUHVHQWD OH VXH installazioni che, attraverso l’uso di videotape, ventilatori e tubi al neon PRGLĂ€FDQR OD SHUFH]LRQH GHO OXRJR GHO WHPSR H GHO PRYLPHQWR %ULQJLQJ WRJHWKHU QDWXUH DQG DUWLĂ€FH WKLV /LWKXDQLDQ DUWLVW ZLOO EH displaying his installations over the 1500 m² of the museum. By means of YLGHRWDSHV IDQV DQG QHRQ WXEHV KH DFWXDOO\ PRGLĂ€HV KRZ SODFH WLPH DQG movements are perceived.

Le Corbusier Š RenĂŠ Burri – Magnum Photo

GENĂˆVE, LE MUSÉE DES SUISSES DANS LE MONDE RenĂŠ Burri – Utopia Through 15/12/2013 www.penthes.ch L’exposition cĂŠlèbre l’œuvre du photographe suisse (Zurich, 1933), Ă travers des portraits de cinq artistes, Le Corbusier, Giacometti, Tinguely, Klein et Picasso, ayant Ĺ“uvrĂŠ pour le renouveau de l’idĂŠal utopiste.

La mostra celebra l’opera del fotografo svizzero (Zurigo, 1933), attraverso i ritratti di cinque artisti, Le Corbusier, Giacometti, Tinguely, Klein et Picasso, che hanno operato per il rinnovamento dell’ideale utopico. The exhibition commemorates the work of the Swiss photographer (Zurich, 1933) E\ GLVSOD\LQJ WKH LQWLPDWH DQG YHU\ VHDUFKLQJ SRUWUDLWV RI ÀYH DUWLVWV /H &RUEXVLHU Giacometti, Tinguely, Klein and Picasso, who all worked towards a regenerating of the idea of utopia.

Zilvinas Kempinas, Kakashi, 2012 , Š park du MusÊe Tinguely, Bâle 2013. Photo: Daniel Spehr

MILANO, CASTELLO SFORZESCO Tessuti egiziani dall’etĂ ellenistica al medioevo Through 15/9/2013 milanocastello.it Environ 50 pièces de tissus coptes constituĂŠs de portions d'habits et d'ornements crĂŠĂŠs il y a plus de 1500 ans appartenant Ă des tuniques, des châles, des manteaux et des voiles ainsi que des tissus de dĂŠcoration, riches en motifs ornementaux. / H[SRVLWLRQ FRPSUHQG GpFRUV JpRPpWULTXHV YpJpWDX[ DQLPDOHVTXHV DLQVL TXH GHV Ă€JXUDWLRQV KXPDLQHV

Circa 50 frammenti di tessuti copti appartenenti alle civiche Raccolte d’arte applicata che comprendono porzioni di abiti e ornamenti creati oltre 1500 anni fa appartenenti a tuniche, scialli, mantelli e veli, nonchĂŠ tessuti d’arredo, ricchi di motivi ornamentali con riferimenti alla natura. Il sistema espositivo della mostra segue una progressione FKH FRPSUHQGH GHFRUL JHRPHWULFL YHJHWDOL Ă RUHDOL DQLPDOL QRQFKp Ă€JXUD]LRQH XPDQH Approximately 50 pieces are parts of dresses and ornaments created more than 1,500 years ago, fragments of tunics, shawls, cloaks and veils, as well as furnishing fabrics, all copiously adorned with ornamental motifs inspired by QDWXUH 7KH H[KLELWLRQ OD\RXW IROORZV JHRPHWULF SDWWHUQV SODQW Ă RZHU DQG DQLPDO GHFRUDWLRQV DQG KXPDQ Ă€JXUHV ROMA, MAXXI The sea is my land. Artisti del Mediterraneo Through 29/9/2913 www.fondazionemaxxi.it OrganisĂŠe par Francesco Bonami et Emanuela Mazzonis, l’exposition rĂŠunit 22 artistes ĂŠmergents, provenant de plusieurs pays de la MĂŠditerranĂŠe. Fil conducteur de la sĂŠrie de photos et de vidĂŠos prĂŠsentĂŠs, le thème du dialogue entre les diffĂŠrents peuples unis par leur appartenance Ă ce lieu extraordinaire.

Curata da Francesco Bonami ed Emanuela Mazzonis, la mostra riunisce 22 artisti emergenti, provenienti da DOWUHWWDQWL 3DHVL EDJQDWL GDO 0HGLWHUUDQHR )LOR FRQGXWWRUH GHOOD VHULH GL IRWRJUDÀH H YLGHR SUHVHQWDWD LO GLDORJR tra popoli diversi, accomunati dall’appartenenza a questo straordinario luogo. Curated by Francesco Bonami and Emanuela Mazzonis, brings together 22 emerging artists from nine countries bordering the Mediterranean. The exhibition, through Theme of the series of photographs and videos presented, the dialogue between different peoples, united by this extraordinary place.

Arslan SukanŠ, Artificial Blast, chromogenic print, 2009

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GUGGENHEIM BILBAO Le baroque dĂŠbridĂŠ. De Cattelan Ă ZurbarĂĄn Through 6/10/2013 www.guggenheim-bilbao.es L’exposition confronte l’œuvre de grands artistes du XVIIe Ă celle de crĂŠateurs contemporains en dissociant le concept de baroque de sa perception esthĂŠtique traditionnelle, pour mettre l’accent sur le sentiment du caractère Ă la fois exubĂŠrant et fragile de l’existence. La mostra confronta l’opera di grandi artisti del XVII secolo a quella dei maggiori autori contemporanei dissociando il concetto di Barocco dalla sua percezione estetica tradizionale per mettere l’accento sul sentimento del carattere fragile e vitale dell’esistenza. The exhibition compares the work of great 17th-century artists with that of leading PRGHUQ GD\ Ă€JXUHV GLVVRFLDWLQJ WKH FRQFHSW RI %DURTXH IURP KRZ LW LV WUDGLWLRQDOO\ perceived aesthetically, in order to focus on a sense of the vital fragility of life.

Nathalie Djurberg, I Found Myself Alone, 2008, Courtesy the artists; Giò Marconi, Mailand; Zach Fauer, New York

MONTRÉAL, MACM Beat Nation: art, hip-hop et culture autochtone Through 5/1/ 2014 www.macm.org Cette exposition reprÊsente une gÊnÊration d’artistes qui juxtaposent la culture urbaine et l’identitÊ autochtone en vue de produire des œuvres novatrices, inusitÊes, qui UHà qWHQW OHV UpDOLWpV DFWXHOOHV GHV SHXSOHV autochtones.

La mostra riunisce una generazione di artisti FKH DIĂ€DQFD FXOWXUD XUEDQD H LGHQWLWLWj autoctona creando opere innovative e inusitate FKH ULĂ HWWRQR OH UHDOWj DWWXDOL GHL SRSROL aborigeni.

Skeena Reece, Raven: On the Colonial Fleet, 2010. Photo : Sebastien Kriete

This exhibition describes a generation of artists who juxtapose urban culture with Aboriginal identity to create innovative and XQH[SHFWHG QHZ ZRUNV WKDW UHà HFW WKH UHDOLWLHV of Aboriginal peoples today. BORDEAUX Jaume Plensa Through 6/10/2013 www.bordeaux.fr L’artiste catalan Jaume Plensa investit la ville de Bordeaux avec douze sculptures monumentales, dont quatre produites pour l’occasion. De Marianna & Awilda, ÊlaborÊe dans un maillage en acier inoxydable, à Sanna et Paula, en fonte de fer, ses œuvres se dressent telles des tÊmoins silencieux de l’activitÊ urbaine.

L’artista catalano Jaume Plensa presenta a Bordeaux dodici sculture monumentali, di cui quattro create per l’occasione. Da Marianna & Awilda, realizzata in maglia di acciaio inossidabile a Sanna e Paula, in ghisa, le sue opere si innalzano come testimoni silenziosi dell’attività urbana.

Jaume Plensa, House of Knowledge, 2008 - Jonty Wilde Š Yorkshire Sculpture Park

The Catalonian artist, Jaume Plensa, has decorated the city of Bordeaux of city with twelve monumental sculptures, including four created for the event. From Marianna & Awilda, made of stainless steel mesh to Sanna and Paula made of cast iron, his works pay silent homage to urban activity.

Shaun Gladwell, Approach to Mundi Mundi, 2007 (Production still from twochannel HD video. Photo Josh Raymond. Š Shaun Gladwell / Josh Raymond)

LONDON, ROYAL ACADEMY OF ARTS Australia 21/9/2013-8/12/2013 www.royalacademy.org.uk Cette exposition couvre une pĂŠriode qui s’Êtend sur plus de 200 ans, de 1800 Ă nos jours, dĂŠcouvrant la fascinante ĂŠvolution sociale et culturelle de l’Australie Ă travers son art. Les 200 Ĺ“uvres exposĂŠes – dessins, photos, aquarelles et Ĺ“uvres multimĂŠdia – tĂŠmoignent les nombreux et rapides changements; de l’impact de la colonisation sur la population indigène Ă la construction de la nation du XIXe siècle ou encore l’urbanisation de ces 100 dernières annĂŠes.

Questa mostra copre piĂš di 200 anni dal 1800 a oggi e cerca di scoprire l’evoluzione sociale e culturale dell’Australia attraverso la sua arte. RSHUH WUD GLSLQWL GLVHJQL IRWRJUDĂ€H acquerelli e opere multimediali fanno luce su un periodo di rapidi cambiamenti; dall’impatto della colonizzazione sugli indigeni, alla pionieristica FRVWUX]LRQH GHOOD QD]LRQH QHO ;,; VHFROR Ă€QR all’urbanizzazione degli ultimi 100 anni. This exhibition spans more than 200 years from 1800 to the present day and seeks to uncover the social and cultural evolution of Australia through its art. 200 works including painting, drawing, photography, watercolours and multimedia, shed light on a period of rapid and intense change; from the impact of colonisation on an indigenous people, to the pioneering nation building of the 19th century through to the last urbanisation. O¡AI 114 103

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L’Appart’hĂ´tel de demain Deux containers, un seul volume, votre projet Concours d’idĂŠes - les laurĂŠats OrganisĂŠ par l’Arca International et l’Êcole CrĂŠad de Lyon avec le parrainage du Grand Lyon, le concours d’idĂŠes "l’Appart’HĂ´tel de demain" est nĂŠ de la volontĂŠ d’encourager l’expĂŠrimentation et l’inventivitĂŠ des jeunes crĂŠateurs les rapprochant d’une thĂŠmatique qui intègre les changements sociaux en cours: la conception d’un espace de vie modulable, ergonomique, esthĂŠtique, visant une clientèle d’affaires en dĂŠplacement. Les ĂŠtudiants d’architecture, design et architecture d’intĂŠrieur ĂŠtaient invitĂŠs Ă dĂŠvelopper un concept de complexe hĂ´telier ayant comme volume de dĂŠpart deux containers maritimes (5,919m x 2,34m x 2,28m) et une gamme de produits proposĂŠs par les 14 entreprises partenaires du concours. Campa, CĂŠrabati, Delta Light France, *ODVWHWLN *HUĂ RU +L 0DFV .DZQHHU .R]DF 0DOHUED 1LNR 3RO\UH\ Siematic, Vitra, Webert, leaders dans divers domaines de spĂŠcialisation, RQW FRQWULEXp DYHF OHXUV JDPPHV GH SURGXLWV j OD GpĂ€QLWLRQ GHV SURMHWV GHV ĂŠtudiants. $ O¡LVVXH G¡XQH SUp VpOHFWLRQ GH SURMHWV UpSRQGDQW SRLQW SDU SRLQW DX FDKLHU GHV FKDUJHV OH MXU\ SUpVLGp SDU &HVDUH 0DULD &DVDWL GLUHFWHXU GH l’Arca International, et composĂŠ de Fabrice Bolenor (Sud Architectes, /\RQ 'HQLV &DSLWDQ &DS ' DUFKLWHFWXUH G¡LQWpULHXU /\RQ $OEHUWR &DWWDQL $WHOLHU &DWWDQL $UFKLWHFWHV 3DULV 'DPLHQ *DOOHW *DOOHW $UFKLWHFWHV

/\RQ -HDQ 3LHUUH /RWW -HDQ 3LHUUH /RWW DUFKLWHFWHV 3DULV 0D[ 5ROODQG 7HFWRQLTXHV $UFKLWHFWXUH ,QJpQLHULH /\RQ 7KLHUU\ 5RXVVHO 1RYRWHO /\RQ &RQĂ XHQFH (OHQD &DUGDQL l’Arca International), s’est rĂŠuni le 15 HW OH VHSWHPEUH j /\RQ DX 1RYRWHO /\RQ &RQĂ XHQFH /¡pYDOXDWLRQ GHV dossiers prenait en compte les rĂŠponses qu’ont apportĂŠes les ĂŠtudiants aux diffĂŠrents paramètres prĂŠcisĂŠs dans le cahier des charges comme la pertinence avec l’activitĂŠ d’Appart’HĂ´tel, la conception architecturale extĂŠrieure et intĂŠrieure, ou la pertinence de l’agencement intĂŠrieur. Le 16 juillet, le jury D DWWULEXp OHV WURLV SUHPLHUV SUL[ VXU XQH VpOHFWLRQ GHV PHLOOHXUV SURMHWV Ă€QDOLVWHV /HV SURMHWV UpFRPSHQVpV VH VRQW GLVWLQJXpV SDU O¡LQYHQWLYLWp GX concept architectural en adĂŠquation avec la thĂŠmatique de l’Appart’HĂ´tel de GHPDLQ OD IRQFWLRQQDOLWp GX ]RQLQJ UHVSHFWDQW OHV FULWqUHV GH O¡K{WHOOHULH ĂŠtoiles, la crĂŠativitĂŠ dans l’utilisation et l’intĂŠgration des produits sponsors, la qualitĂŠ et lisibilitĂŠ des plans et visuels, l’analyse et l’interprĂŠtation du cahier des charges dans une nouvelle vision d’espace de vie. Le jury a ĂŠgalement VRXOLJQp OH KDXW QLYHDX GHV SURMHWV Ă€QDOLVWHV TXDQW j O¡RULJLQDOLWp GH OHXUV propositions architecturales, la qualitĂŠ de leurs techniques de reprĂŠsentation, l’interprĂŠtation inventive, raisonnĂŠe et bien maĂŽtrisĂŠe de la conception architecturale intĂŠrieure et de l’agencement des espaces.

Ideas competition - the winners Organised l’Arca International DQG &UpDG +LJKHU (GXFDWLRQ ,QVWLWXWH IURP Lyon under the patronage of Gran Lyon, this ideas competition derives from a desire to encourage the experimentation and inventiveness of young DUFKLWHFWXUDO GHVLJQHUV DVNLQJ WKHP WR WDNH RQ DQ LVVXH UHODWHG WR PRGHUQ day social changes: the design of a modular, ergonomic and aesthetic living VSDFH DLPHG DW EXVLQHVV FOLHQWV ZKR DUH FRQVWDQWO\ RQ WKH PRYH 6WXGHQWV RI DUFKLWHFWXUH GHVLJQ DQG LQWHULRU DUFKLWHFWXUH ZHUH DVNHG WR GHYHORS D FRQFHSW IRU D KRWHO IDFLOLW\ VWDUWLQJ ZLWK WZR FRQWDLQHUV P [ P E\ P and a range of products proposed by 14 business partners. Campa, CĂŠrabati, 'HOWD /LJKW )UDQFH *ODVWHWLN *HUĂ RU +L 0DFV .DZQHHU .R]DF 0DOHUED 1LNR 3RO\UH\ 6LHPDWLF 9LWUD DQG :HEHUW OHDGHUV LQ WKHLU YDULRXV Ă€HOGV RI VSHFLDOLVDWLRQ FRQWULEXWHG WKURXJK WKHLU SURGXFWV WR WKH GHĂ€QLQJ RI WKH SURMHFWV SURSRVHG E\ WKH VWXGHQWV 2XW RI SUHVHOHFWHG SURMHFWV WKDW IXOO\ FRQIRUPHG WR WKH FRPSHWLWLRQ WHQGHU WKH SDQHO RI MXGJHV FKDLUHG E\ &HVDUH 0DULD &DVDWL WKH HGLWRU LQ FKLHI RI l'Arca International, and composed by Fabrice Bolenor 6XG $UFKLWHFWHV /LRQH 'HQLV &DSLWDQ &DS ' DUFKLWHFWXUH G¡LQWpULHXU /\RQ $OEHUWR &DWWDQL $WHOLHU &DWWDQL $UFKLWHFWHV 3DULV 'DPLHQ *DOOHW *DOOHW $UFKLWHFWHV /\RQ -HDQ 3LHUUH /RWW -HDQ 3LHUUH /RWW DUFKLWHFWHV

3DULV 0D[ 5ROODQG 7HFWRQLTXHV $UFKLWHFWXUH ,QJpQLHULH /\RQ 7KLHUU\ 5RXVVHO 1RYRWHO /\RQ &RQĂ XHQFH (OHQD &DUGDQL l’Arca International), PHW DW WKH 1RYRWHO /\RQ &RQĂ XHQFH RQ WK WK 6HSWHPEHU $VVHVVPHQW RI WKH HQWULHV ZDV EDVHG RQ KRZ WKH YDULRXV SURMHFWV FRQIRUPHG WR WKH GLIIHUHQW SDUDPHWHUV VHW LQ WKH WHQGHU VXFK DV FRPSO\LQJ ZLWK WKH ZRUNLQJV RI Appart’HĂ´tel, the external and internal architectural concept and the relevance RI WKH LQWHULRU OD\RXW 2Q WK -XO\ WKH SDQHO RI MXGJHV DZDUGHG WKUHH SUL]HV IURP D VHOHFWLRQ RI WKH EHVW Ă€QDOLVW SURMHFWV 7KH ZLQQLQJ SURMHFWV VWRRG RXW IRU WKH LQYHQWLYHQHVV RI WKH DUFKLWHFWXUDO GHVLJQ LQ UHODWLRQ WR WKH LVVXH RI WKH $SSDUW¡+{WHO RI WRPRUURZ WKH IXQFWLRQDOLW\ RI WKH LQWHULRU VSDFHV LQ UHODWLRQ WR JXLGHOLQHV IRU D IRXU VWDU hotel, creativity in the use and incorporation of the sponsor products, the quality and legibility of the graphic elements, and the study and interpretation RI WKH WHQGHU DV SDUW RI D QHZ YLVLRQ RI D OLYLQJ VSDFH 7KH SDQHO RI MXGJHV DOVR XQGHUOLQHG WKH KLJK VWDQGDUG RI WKH Ă€QDOLVW SURMHFWV LQ WHUPV RI WKH RULJLQDOLW\ of the architectural designs, the quality of the representation methods, and the inventive, carefully reasoned and conscientious interpretation of the interior design and layout of spaces.

Concorso d’idee - i vincitori 2UJDQL]]DWR GD l’Arca International e dall’Istituto Superiore CrĂŠad di Lione, con il patrocinio del Grand Lyon, il concorso d’idee è nato dalla volontĂ G¡LQFRUDJJLDUH OD VSHULPHQWD]LRQH H O¡LQYHQWLYLWj GHL JLRYDQL SURJHWWLVWL PHWWHQGROL D FRQIURQWR FRQ XQ WHPD FKH LQYHVWH OH RGLHUQH WUDVIRUPD]LRQL VRFLDOL LO SURJHWWR GL XQR VSD]LR GL YLWD PRGXODELOH HUJRQRPLFR HVWHWLFR rivolto a una clientela d’affari in continuo movimento. Gli studenti di architettura, design e architettura d’interni erano invitati a sviluppare un concetto di complesso alberghiero partendo da due container (5,919m x 2,34m [ P H XQD JDPPD GL SURGRWWL SURSRVWL GDOOH D]LHQGH SDUWQHU &DPSD &pUDEDWL 'HOWD /LJKW )UDQFH *ODVWHWLN *HUĂ RU +L 0DFV .DZQHHU .R]DF 0DOHUED 1LNR 3RO\UH\ 6LHPDWLF 9LWUD :HEHUW OHDGHU LQ GLYHUVL VHWWRUL GL VSHFLDOL]]D]LRQH KDQQR FRQWULEXLWR DWWUDYHUVR L ORUR SURGRWWL DOOD GHĂ€QL]LRQH GHL progetti proposti dagli studenti. 6X XQD SUHVHOH]LRQH GL SURJHWWL LQWHJUDOPHQWH FRUULVSRQGHQWL DO EDQGR GL FRQFRUVR OD JLXULD SUHVLHGXWD GD &HVDUH 0DULD &DVDWL GLUHWWRUH GH l’Arca International, e formata da Fabrice Bolenor (Sud Architectes, Lione), Denis &DSLWDQ &DS ' DUFKLWHFWXUH G¡LQWpULHXU /LRQH $OEHUWR &DWWDQL $WHOLHU &DWWDQL

$UFKLWHFWHV 3DULJL 'DPLHQ *DOOHW *DOOHW $UFKLWHFWHV /LRQH -HDQ 3LHUUH /RWW -HDQ 3LHUUH /RWW DUFKLWHFWHV 3DULJL 0D[ 5ROODQG 7HFWRQLTXHV $UFKLWHFWXUH ,QJpQLHULH /LRQH 7KLHUU\ 5RXVVHO 1RYRWHO /\RQ &RQĂ XHQFH (OHQD Cardani (l’Arca International VL q ULXQLWD LO H VHWWHPEUH DO 1RYRWHO /\RQ &RQĂ XHQFH /D YDOXWD]LRQH GHJOL HODERUDWL VL q EDVDWD VXOOD ULVSRQGHQ]D GHOOH YDULH SURSRVWH ULVSHWWR DL GLYHUVL SDUDPHWUL LQGLFDWL GDO EDQGR FRPH OD FRHUHQ]D con l’attivitĂ di l’Appart’HĂ´tel, il concetto architettonico esterno e interno o la SHUWLQHQ]D GHOO¡RUJDQL]]D]LRQH LQWHUQD ,O OXJOLR OD JLXULD KD DWWULEXLWR L WUH SULPL SUHPL VX XQD VHOH]LRQH GHL PLJOLRUL SURJHWWL Ă€QDOLVWL , SURJHWWL YLQFLWRUL si sono distinti per l’inventivitĂ del progetto architettonico rispetto al tema GHOO¡$SSDUW¡+{WHO GL GRPDQL OD IXQ]LRQDOLWj GHJOL VSD]L LQWHUQL QHO ULVSHWWR GHL FULWHUL GL XQ VWHOOH OD FUHDWLYLWj QHOO¡XVR H O¡LQWHJUD]LRQH GHL SURGRWWL VSRQVRU OD TXDOLWj H OD OHJJLELOLWj GHJOL HOHPHQWL JUDĂ€FL O¡DQDOLVL H O¡LQWHUSUHWD]LRQH GHO EDQGR LQ XQD QXRYD YLVLRQH GL VSD]LR GL YLWD /D JLXULD KD LQROWUH VRWWROLQHDWR O¡DOWR OLYHOOR GHL SURJHWWL Ă€QDOLVWL SHU O¡RULJLQDOLWj GHOOH SURSRVWH DUFKLWHWWRQLFKH OD TXDOLWj GHOOH WHFQLFKH GL UDSSUHVHQWD]LRQH O¡LQWHUSUHWD]LRQH LQYHQWLYD UDJLRQDWD H FRQVDSHYROH GHO SURJHWWR GHJOL LQWHUQL H GHOO¡RUJDQL]]D]LRQH GHJOL VSD]L

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1 Prix: Container Hôtel à Marseille de Jérémy Germe et Chloé Thomazo (ENSA Paris-Val de Seine) 2 Prix : Ark Hôtel à Nantes de Adrien Fouéré (ENSA Nantes) 3 Prix : Appart’Hôtel 2013 à Marseille de Sacha Grabowski (ENSA Paris-Val de Seine)

Les projets finalistes - I progetti finalisti - Shortlisted projects Déborah Bisciglia, (Créad - Lyon) Mathieu Bonnet, (Créad - Lyon) Edouard Delore, (Créad - Lyon) Kevin Do Couto, (Créad - Lyon) Céline Haemmerlin, (ENSA Paris-Val de Seine) Thibaud Lebreton, (Créad - Lyon) Anaïs Lieutaud, (Créad - Lyon)

L’organization du Jury Les travaux du Jury au Novotel Lyon Confluence

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L’Appart’hôtel de demain 1 Prix : Container Hôtel à Marseille de Jérémy Germe et Chloé Thomazo (ENSA Paris-Val de Seine) Un concept de chaîne hôtelière dans des containers, implantée partout dans le monde. Grâce à une application mobile, la clientèle peut personnaliser depuis son Smartphone sa suite pour y retrouver toutes ses préférences d’ambiance et de services hôteliers disponibles.

Un concetto di catena alberghiera all’interno di container, ambientabile ovunque nel mondo. Grazie a un’applicazione portatile, la clientela può personalizzare dallo Smartphone la propria suite per ottenere tutte le preferenze di ambienti e di servizi alberghieri disponibili. A concept for a hotel inside a container that can be located anywhere in the world. Thanks to a portable application, guests can customise their own suite using a Smartphone to take advantage of all their favourite hotel facilities and services.

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L’Appart’hôtel de demain 2 Prix : Ark Hôtel à Nantes de Adrien FouÊrÊ (ENSA Nantes) L’ ARK Hôtel est installÊ sur les quais de l’Île de Nantes. Faisant rÊfÊrence à l’ancienne activitÊ portuaire les conteneurs usagÊs seront dÊchargÊs puis assemblÊs pour devenir un complexe hôtelier original, contemporain et accueillant.

/¡ $5. +{WHO q LQVHULWR VXO OXQJR Ă€XPH GHOO¡vOH GH 1DQWHV ,Q ULIHULPHQWR DOO¡DQWLFD DWWLYLWj SRUWXDOH i container usati verranno scaricati e poi assemblati per dar vita a un complesso alberghiero originale, contemporaneo e accogliente. L’ARK HĂ´tel is located along the banks of the ĂŽle de Nantes. As with old port operations in the past, the containers used will be unloaded and then assembled to create an original, cutting-edge, warm and welcoming hotel.

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L’Appart’hôtel de demain 3 Prix : Appart’Hotel 2013 à Marseille de Sacha Grabowski (ENSA Paris-Val de Seine) 'H O·DVVHPEODJH GHV GHX[ FRQWDLQHUV HVW QpH XQH VROXWLRQ VLPSOH TXL D SX pYROXHU DÀQ GH UpSRQGUH j XQ objectif : séparer deux espaces de manière distincte. En bas la zone diurne, en haut le lieu de vie nocturne, OH WRXW DFFHQWXp SDU XQ HVFDOLHU TXL IDLW RIÀFH GH MRQFWLRQ

Dall’assemblaggio di due container è nata una soluzione semplice che si è via sviluppata per rispondere a un obiettivo: separare due spazi in modo distinto. In basso, la zona diurna, in alto lo spazio di vita notturna, il tutto accentuato da una scala di collegamento. $ VLPSOH VROXWLRQ EDVHG RQ WKH DVVHPEO\ RI WZR FRQWDLQHUV WR VHUYH D VSHFLÀF SXUSRVH FOHDUO\ VHSDUDWH two spaces. Bottom, the living quarters, top, the sleeping quarters, all enhanced by a staircase joining them together.

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L’Appart’hôtel de demain Chauffage Design www.campa.fr

Quand il s’agit d’innovations en matière de chauffage design, une entreprise se dĂŠmarque: Campa. SpĂŠcialisĂŠ dans le secteur du chauffage pOHFWULTXH GHSXLV OD Ă€Q GHV DQQpHV &DPSD invente le premier appareil rayonnant et dans les DQQpHV QDLVVHQW OHV SUHPLHUV VqFKH VHUYLHWWHV Faisant de la technologie, des matières et matĂŠriaux YHUUH DFLHU HW SLHUUH OHV FRPSRVDQWV indissociables du confort, la marque propose une nouvelle perception de l’objet “radiateur’’, beau, stylĂŠ, performant et ĂŠconomique.

Quando si parla di innovazione in materia di riscaldamento di design, Campa è un punto di riferimento. Specializzata nel settore del ULVFDOGDPHQWR HOHWWULFR GDOOD Ă€QH GHJOL DQQL Campa inventa il primo apparecchio radiante e negli DQQL QDVFRQR L SULPL VFDOGD VDOYLHWWD )DFHQGR della tecnologia, delle materie e dei materiali – vetro, acciaio e pietra – i componenti indissociabili del confort, l’azienda propone una nuova percezione dell’oggetto “radiatoreâ€?, bello, di design, performante ed economico.

When there is talk of innovation in designer heating, Campa sets the benchmark. Specialising LQ WKH HOHFWULFDO KHDWLQJ VHFWRU VLQFH WKH V &DPSD LQYHQWHG WKH Ă€UVW UDGLDWLQJ DSSOLDQFH DQG WKH Ă€UVW KHDWHG WRZHO UDLOV LQ WKH V %\ PDNLQJ technology and materials – glass, steel and stone – the essential components of comfort, the company RIIHUV D QHZ ZD\ RI SHUFHLYLQJ WKH ´UDGLDWRUÂľ DV D EHDXWLIXO HFRQRPLFDO KLJK SHUIRUPDQFH GHVLJQHU object.

Forte di un’esperienza consolidata nel settore della ceramica e della sua appartenenza al Gruppo Marazzi, CĂŠrabati sviluppa un impegno costante nel campo della creazione e dell’adeguamento continuo alle nuove tecnologie per rispondere sia alle piĂš esigenti richieste tecniche, sia a quelle di stile e di tendenza piĂš all’avanguardia. Un livello di SURGX]LRQH FKH SHUPHWWH DOO¡D]LHQGD GL TXDOLĂ€FDUVL tra i leader della ceramica sui principali segmenti dei mercati francesi e internazionali.

'UDZLQJ RQ LWV H[WHQVLYH H[SHULHQFH LQ WKH FHUDPLFV industry and the fact that it is part of the Marazzi Group, CĂŠrabati is constantly committed to innovation DQG WKH FRQVWDQW XSGDWLQJ RI QHZ WHFKQRORJ\ designed to meet even the most demanding technical requirements and also the latest needs in terms of FXWWLQJ HGJH VW\OH DQG WUHQGV ,WV SURGXFWLRQ RXWSXW DOORZV WKH FRPSDQ\ WR FODLP WR EH DPRQJ WKH OHDGLQJ ceramics manufacturers in the main segments of both French and international markets.

CrĂŠateur de CĂŠramique www.cerabati.fr

Forte de son expĂŠrience solidement ĂŠtablie dans le secteur du carrelage et de son appartenance au Groupe Marazzi, CĂŠrabati dĂŠveloppe des efforts permanents en matière de crĂŠation et d’adaptation constante aux technologies nouvelles rĂŠpondant tant aux exigences techniques les plus strictes qu’aux styles et tendances actuels. Une qualitĂŠ de production qui lui permet de rayonner parmi les leaders du carrelage sur les principaux segments des marchĂŠs français et internationaux.

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L’Appart’hôtel de demain Recherche et Innovation www.deltalight.fr

En recherche perpĂŠtuelle d’innovation, Delta LightÂŽ a toujours su se placer Ă la pointe du design, et par consĂŠquent, demeurer prĂŠcurseur dans la conception de projets architecturaux. Conçus dans les matĂŠriaux les plus nobles, les produits Delta LightÂŽ dĂŠgagent une image avant-gardiste, d’ÊlĂŠgance et de fonctionnalitĂŠ. Cette large gamme de produits permettra de sublimer toutes vos ambiances, aussi bien en intĂŠrieur qu’en extĂŠrieur.

Alla continua ricerca d’innovazione, Delta LighttŽ ha da sempre saputo posizionarsi all’avanguardia del design confermandosi come precursore nel progetto di importanti architetture. Concepiti utilizzando materiali nobili, i prodotti di Delta LightŽ sono l’espressione di un’immagine d’eleganza e funzionalità all’avanguardia; l’ampia gamma di prodotti permette di sublimare ogni ambiente, sia interno sia esterno.

In an eternal quest for innovation, Delta LightŽ has always been at the cutting edge of design and is globally recognized as a pioneer in architectural OLJKWLQJ FRQFHSWV 'HVLJQHG XVLQJ WKH ÀQHVW materials, the products of Delta LightŽ are a subtle blend of avant-gardism, elegance and functionality. This extensive range of products will enhance any interior or exterior living space.

*HUà RU q VSHFLDOL]]DWR QHO VHWWRUH GHL SDYLPHQWL vinilici, rivestimenti murali, sistemi di accesso, dalla SRVD DOOD ÀQLWXUD SHU SURIHVVLRQLVWL H SULYDWL 'D ROWUH DQQL *HUà RU q ULFRQRVFLXWR SHU soluzioni a valore aggiunto tecnico, decorativo, ecoUHVSRQVDELOH H VSHFLÀFKH SHU RJQL WLSR GL PHUFDWR

*HUà RU LV WKH H[SHUW DQG OHDGHU LQ JOREDO VROXWLRQV IRU UHVLOLHQW à RRUV ZDOO FRYHULQJV DFFHVVLELOLW\ IURP LQVWDOOLQJ WR ÀQLVKLQJ IRU SURIHVVLRQDO DQG consumers. )RU PRUH WKDQ \HDUV *HUà RU LV ZHOO NQRZQ IRU its technical, decorative and eco-responsible added YDOXH VROXWLRQV VSHFLÀF WR HDFK PDUNHW DSSOLFDWLRQ

Sols et RevĂŞtements www.gerflorgroup.com

*HUĂ RU HVW O¡H[SHUW HW OH OHDGHU GHV VROXWLRQV complètes de sols souples, revĂŞtements muraux, HW G¡DFFHVVLELOLWp GH OD SRVH j OD Ă€QLWLRQ SRXU OHV professionnels et les particuliers. 'HSXLV SOXV GH DQV *HUĂ RU HVW UHFRQQX SRXU VHV solutions Ă valeur ajoutĂŠe Technique, DĂŠcorative, (FR UHVSRQVDEOH HW VSpFLĂ€TXHV j FKDTXH DSSOLFDWLRQ marchĂŠ.

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L’Appart’hôtel de demain Verres Décoratifs www.glastetik.fr

Glastetik est un réseau de transformateurs et G·LQVWDOODWHXUV TXDOLÀpV HQ YHUUHV GpFRUDWLIV TXL FRQVHLOOH DUFKLWHFWHV GHVLJQHUV RX PDvWUHV G·RXYUDJH HW DVVXUH OD SRVH GHV SURGXLWV /H JURXSH YHUULHU $*& D SHQVp XQH JDPPH GH SURGXLWV LQQRYDQWV HW GH GHVLJQ SRXU DJHQFHU RX UpQRYHU LQWpULHXUV HVSDFHV GH EXUHDX RX KDELWDW 'X YHUUH ODTXp HQ UHYrWHPHQW PXUDO j OD FORLVRQ HQ YHUUH PDWp j O·DFLGH OH FKDPS GHV SRVVLEOHV GH OD *ODVWHWLN *ODVV &ROOHFWLRQ HVW LQÀQL

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Matériau Unique www.himacs.eu

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L’Appart’hĂ´tel de demain Façades et Murs Rideaux www.kawneer.com

Kawneer France, a specialist in curtain wall and window solutions, supports architects’ creativity and boldness thanks to its national and international expertise. Kawneer France offers a complete and coherent line of aluminium systems for architecture: curtain walls, concealed vent windows, sliding windows and doors, backed up by technical/ commercial support to cater for any kind of project designed for both non-residential and residential markets.

Produttore di scale metalliche e metalleria su misura, KozacÂŽ accompagna i propri clienti nell’integralitĂ dei loro progetti. L’azienda coniuga le competenze della VXD pTXLSH SHU OD PLJOLRUH GHĂ€QL]LRQH GHO SURJHWWR H la sua integrazione nell’abitazione, dalla realizzazione di preventivi dettagliati, la costruzione accurata nei SURSUL ODERUDWRUL Ă€QR DOOD FRQVHJQD H DOO¡LQVWDOOD]LRQH in loco. KozacÂŽ realizza anche scale progettate per HVVHUH LQVWDOODWH GD SURIHVVLRQLVWL H VFDOH VHPSOLĂ€FDWH per essere installate dai clienti.

Manufacturer of the metal staircase and bespoke metal work, KozacÂŽ follows his clients from the beginning to the end of their projects. The company combines WKH NQRZ KRZ RI LWV WHDP IRU WKH EHVW GHĂ€QLWLRQ RI the project and its integration into the home, from WKH GHĂ€QLWLRQ RI GHWDLOHG TXRWDWLRQV WKH FDUHIXO construction in its workshops, to the delivery and installation on site. KozacÂŽ also realizes staircases designed to be installed by professionals and simpler staircases that can be installed by the clients.

Guillermo Garcia-Hoz Belmonte

Specialista di soluzioni di facciata e facciate continue, Kawneer France mette a servizio della creatività e dell’audacia degli architetti la sua competenza nazionale e internazionale. Un’offerta completa e GLYHUVLÀFDWD GL VLVWHPL DUFKLWHWWRQLFL LQ DOOXPLQLR IDFFLDWH ÀQHVWUH DG DSHUWXUD QDVFRVWD VFRUUHYROL porte, completati da un servizio assistenza tecnica e supporti tecnici e commerciali per rispondere a ogni tipo di progetto destinato ai mercati residenziale e non residenziale.

DLM AssociĂŠs

Vasconi AssociĂŠs Architectes

SpĂŠcialiste des façades et des murs rideaux, Kawneer France met son savoir-faire national et international au service de la crĂŠativitĂŠ et de l’audace des architectes. Une offre complète et performante de systèmes architecturaux en aluminium : façades, fenĂŞtres Ă ouvrant cachĂŠ, coulissants Ă galandage, portes, que complètent un service d’assistance technique et la mise Ă disposition de supports techniques et commerciaux permettant de rĂŠpondre Ă tous les projets de construction destinĂŠs aux marchĂŠs du non rĂŠsidentiel et du rĂŠsidentiel.

Escaliers et MĂŠtallerie sur Mesure www.kozac.fr

Fabricant d’escaliers mĂŠtalliques et mĂŠtallerie sur mesure, KozacÂŽ accompagne son client dans l’intĂŠgralitĂŠ de ses projets. L’entreprise conjugue les FRPSpWHQFHV GH VRQ pTXLSH SRXU XQH ERQQH GpĂ€QLWLRQ du projet et son intĂŠgration dans la maison, la remise d’un devis dĂŠtaillĂŠ, une construction soignĂŠe dans ses ateliers jusqu’à sa livraison et son installation sur le site. KozacÂŽ rĂŠalise aussi des escaliers conçus pour ĂŞtre installĂŠs par des professionnels ainsi que des escaliers VLPSOLĂ€pV SRXU OHXU PLVH HQ SODFH SDU OH FOLHQW

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L’Appart’hôtel de demain Blocs-portes MÊtalliques et en Bois www.malerba.fr

Malerba est le rĂŠfĂŠrent français dans la fabrication de blocs-portes mĂŠtalliques et en bois pour tous les segments de marchĂŠ. Isolation thermique et acoustique, rĂŠsistance au feu et Ă l’effraction, chaque bloc-porte est fabriquĂŠ sur commande pour rĂŠpondre aux contraintes de tous les types de construction. MaĂŽtres d’ouvrages, maĂŽtres d’œuvre et entreprises peuvent sĂŠlectionner, parmi plusieurs centaines de modèles, les solutions correspondant Ă leurs aspirations esthĂŠtiques, techniques et ĂŠconomiques.

Malerba è il referente francese nella produzione di serrature blocchi-porta metallici e in legno per tutti i segmenti di mercato. Isolamento termico e acustico, resistenza al fuoco e all’effrazione, ogni serramento è prodotto su richiesta per rispondere alle esigenze di ogni tipo di costruzione. Committenti, progettisti e aziende possono selezionare tra centinaia di modelli, le soluzioni corrispondenti alle loro aspirazioni estetiche, tecniche ed economiche.

Malerba is one of France’s leading manufacturers of metal and wooden door frames for every bracket RI WKH PDUNHW +HDW DQG VRXQG LQVXODWLRQ ÀUH resistance and anti-breaking-and-entering, every frame is custom-designed to meet the requirements of all types of constructions. Clients, architects and companies can choose from hundreds of solutions PHHWLQJ WKHLU RZQ VSHFLÀF GHVLJQ WHFKQLFDO DQG economic needs.

Eclairage, ContrĂ´le des Accès et Gestion de l’Energie www.niko.eu

Niko, marque belge fondĂŠe en 1919, conçoit et produit des solutions de pointe pour l’appareillage ĂŠlectrique, la domotique, la parlophonie et la vidĂŠophonie. Confort d’installation, facilitĂŠ d’utilisation et design intemporel caractĂŠrisent sa gamme destinĂŠe au secteur rĂŠsidentiel, avec un large choix de produits ĂŠlectrotechniques servant Ă la commande de l’Êclairage et au contrĂ´le des accès, ainsi qu’à la gestion de l’Ênergie.

Niko, marchio belga fondato nel 1919, progetta e produce soluzioni all’avanguardia per le apparecchiature elettriche, la domotica, la parlofonia e la videofonia. Confort d’installazione, facilità d’uso e design atemporale, caratterizzano la gamma destinata al settore residenziale, con un’ampia scelta di prodotti elettrotecnici per la gestione dell’illuminazione e il controllo degli accessi e l’ottimizzazione dell’energia.

Niko, a Belgian brand founded in 1919, designs and manufactures cutting-edge solutions for electrical appliances, domotics, intercom and video phone systems. Ease of installation/usage and timeless design are the distinctive features of the range devised for the housing sector, including a wide selection of electrical products for managing lighting, controlling access and optimising energy expenditure.

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L’Appart’hôtel de demain Stratifiés Techniques et Décoratifs www.polyrey.com

Depuis plus de 50 ans, Polyrey fabrique et développe GHV VWUDWLÀpV WHFKQLTXHV HW GpFRUDWLIV DVVRFLDQW KDXWH TXDOLWp GX SURGXLW FUpDWLYLWp GHV GpFRUV WH[WXUHV GH VXUIDFHV LQQRYDQWHV HW SURSRVDQW XQ ODUJH FKRL[ GH GLPHQVLRQV HW GH SHUIRUPDQFHV WHFKQLTXHV /H VWUDWLÀp +3/ KDXWH SUHVVLRQ OH FRPSDFW VWUDWLÀp HW OHV SDQQHDX[ GH SDUWLFXOHV PpODPLQpV RIIUHQW GHV VROXWLRQV DGDSWpHV j WRXV OHV SURMHWV GH GHVLJQ HW G·DPHXEOHPHQW LQWpULHXU

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Cuisines Haut de Gamme www.siematic.fr

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L’Appart’hôtel de demain Un Design de Qualité www.vitra.com

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Aménagement des Salles de Bain www.webert.it

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La revue internationale d’architecture, design et communication visuelle La rivista internazionale di architettura, design e comunicazione visiva The international magazine of architecture, design and visual communication

Septembre-Octobre/Settembre-Ottobre/September-October

114 2013

Editeur/Editore/Publisher S.A.M. M.D.O. SociĂŠtĂŠ anonyme monĂŠgasque 31, avenue Princesse Grace MC 98000 Monaco tĂŠl. +377 92 16 51 51 fax +377 93 50 49 78 mdo@groupep.mc ReprĂŠsentant LĂŠgal Rappresentante legale Legal Representative Edmond Pastor SecrĂŠtariat de l’Êditeur Segreteria dell’editore Publisher assistant France Lanza mdo@groupep.mc Directeur de la pubblication Direttore responsabile Editor Cesare Maria Casati direzione@groupep.mc ComitĂŠ de direction Comitato di direzione Management committee Niccolò Baldi Matteo Citterio Joseph di Pasquale Consultants culturels Consulenti culturali Cultural consultants Aldo Castellano Maurizio Vitta Maurizio Vogliazzo &RPLWp VFLHQWLĂ€TXH &RPLWDWR VFLHQWLĂ€FR 6FLHQWLĂ€F FRPPLWWHH William Alsop, Piero Castiglioni, Angelo Cortesi, Odile Decq, *LOOR 'RUĂ HV *LRUJLHWWR *LXJLDUR Gianpiero Jacobelli, Dominique Perrault, Paolo Riani, Joseph Rykwert, Alain Sarfati, Piero Sartogo RĂŠdaction de Milan Redazione di Milano Editorial staff in Milan S.E.R.A. srl Elena Tomei viale Toscana, 13 20136 Milano tel. +39 02 58 43 78 37 fax +39 02 58 43 30 99 redazione@groupep.mc

www.arcadata.com N° de commission paritaire : n. 0216 T 87573 DÊpôt lÊgal : à parution N° ISSN : 1027-460X N° TVA Intracommunautaire : FR 66000037266 ImprimÊ en Italie - Printed in Italy

Toute reproduction totale ou partielle des contenus de cette revue est interdite, sauf autorization de l’Êditeur. Ăˆ vietata la riproduzione totale o parziale del contenuto della rivista senza l’autorizzazione dell’editore. Total or partial reproduction of the magazine without previous authorization by the editor is prohibited.

RĂŠdaction de Monaco Redazione di Monaco Editorial staff in Monaco Elena Cardani 31, av. Princesse Grace MC 98000 Monaco tĂŠl. +377 92 16 51 54 fax +377 97 97 19 75 redaction@groupep.mc SecrĂŠtariat de rĂŠdaction Monaco Segreteria di redazione e commerciale Monaco Editorial assistant in Monaco Claire Nardone arcainternational@groupep.mc Communication Comunicazione Communication Alda Mercante comunicazione@groupep.mc

Traductions/Traduzioni/Translations Martine Giraud Isabelle-BÊatrice Marcherat Julie Munos Martyn J. Anderson 6RÀD - 7HRGRUL Hanno collaborato Collaborateurs Collaborators Krasimira Georgieva Pier Alessio Rizzardi Mise en page Impaginazione Page layout Patrizio Barbera JUDÀFR#JURXSHS PF Correspondant au Japon Corrispondente in Giappone Correspondent in Japan Toshyuki Kita Abonnements - France et Êtranger Abbonamenti - Francia ed estero Subscriptions - France and foreign countries M.D.O. SociÊtÊ anonyme monÊgasque 31, avenue Princesse Grace MC 98000 Monaco Claire Nardone tÊl. +377 92 16 51 54 fax +377 97 97 19 75 arcainternational@groupep.mc Abonnements pour l’Italie Abbonamenti per l’Italia Subscriptions for Italy S.E.R.A. srl Laura Ronchi viale Toscana, 13 20136 Milano tel. +39 02 58 43 78 37 fax +39 02 58 43 30 99 abbonamenti@groupep.mc 'LIIXVLRQ GDQV OHV NLRVTXHV )UDQFH

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MLP BP 59, 30291 Saint-Quentin-Fallavier France tÊl. +33 (0)4 74 82 14 14 Services de vente Servizi vendita Sales services Distri Medias Jean-Marie Degland 103 avenue François Arago 92017 Nanterre CEDEX tÊl. +33 (0)1 42 36 96 65 fax +33 (0)1 43 36 36 91 (rÊservÊ aux marchands de journaux) 'LIIXVLRQ GDQV OHV NLRVTXHV ,WDOLH Distribuzione nelle edicole (Italia) 1HZVVWDQGV GLVWULEXWLRQ ,WDO\

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