Niente Da Nascondere- Conceptual Exhibition Center

July 5th, 2018

Eugenio Montale, famous Italian poet and writer who was born in Genoa admires the conflict of the sea and high rise mountains facing each other in Genova and how it is similar to the facts of human individual life and society, also on the other hand in this project we are dealing with two buildings which both of them dates back to fascism area in 20th century with stifling and dark atmosphere. Considering the fact that we are in the 21st century with the motto of democracy and freedom and according to all of these paradoxes in our way of design, we came to a concept of showing the narrow line between lighting and darkness. To reach this aim, two buildings and their mountainous connection are considered as a substrate for an exact story with its timeline to bring people to a journey with a new experience of art. Each building plays its own role depends on its features and specialities.

Renesso:

With a look to all interior and exterior features and functions of existing building, it is significant that it has almost all the fascism signs such as symmetry, rationality, simplicity and the sense of invitation. so we decided to represent this monument through different exhibitions which are emphasizing The paradoxes mentioned above. We started with bricking the straight pathway to the building which is placing in the domain of the mountain and we made a long journey made of abstract and conceptual elements which are presenting different fascism features of the building with the contrast of freedom and light (thanks to the free and light nature of Savignone).

In the next step we define the right side the building as a sign of fascism and the left side of it as a sign of democracy and freedom and we developed our design in the way to let the visitors experience a journey from darkness to the pure light .we added two main volumes to the building which are 2 ramps passing vertically in two wings of the building, the one on the right is struggling with the structure inside the building and tries to pass through it without any touch, the ramp is like a closed box which visitors can feel the stifling and dark atmosphere inside it and in some parts we made it open to show them the various features of existing building and structure.in the end ramp lead the visitors to the resulting room which is exhibited as an installation and each of them can have their own perceptions. In each floor between two ramps we designed different installation, the visitors can experience the journey from darkness to lighting, closed to open and roughness to softness. Finally, they will go through the other ramp which penetrates the facade of the building and its flying through nature and light and gives the visitors the best result of freedom.


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Biennale-Sessions_20186-8JUL: Co-working and Co-living Building

July 5th, 2018

The building is a place for co-working and co-living.
The load-bearing structure of the building is composed of the inside bearing walls and the four outside pillars standing at the two diagonal corners where the beams are free-standing. Two couples of bearing walls stand at the other two diagonal corners on the outline of the structure grid, and the other bearing walls stand at the inner corner of the grid facing the outside pillars. In this way, the two corners where outside stand the pillars are freed from the structure and are guaranteed a good view.
The interior partitions are connected at the inner corner of the grid and detached from the exterior walls. Therefore, every rectangular space within the grid becomes a “room” and connected to the neighboring space through the gap between the walls. The rooms are directly connected to each other without corridors, even there can be no interior doors for the rooms because the function of the rooms is carefully arranged and the privacy can be guaranteed by the blocking of the furniture. The whole space is separated from the outside by glazing and the bearing walls at the corner while the interior space can still stay as a whole surrounded by the connections between the rooms. And the building stands on a sunken pedestal and surrounded by a sunken garden as if the whole building is separated from exterior environment.
For each room, except for the toilets on the corners, the function can be changed freely from a bedroom to a work space, for instance, two neighboring bedrooms, or two neighboring work space, or one bedroom connected with a work space. On each floor, there are two balconies at a big scale extended from the interior public space. As the axial directions of the floors are interlaced, at the balcony, the space is double-heighted and open to strengthen the feeling of the excellent view. The sunken garden is connected to a underground parking lot and some ancillary rooms.


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Mass and void

July 5th, 2018

The project is inspired by Palladian Villas. Initially, the spaces of the villa were perceived as completely free and open spaces that are shaped by the presence of walls. These free space – regardless of their function – have been ordered and organized by the presence of these walls. Conceptualy we see the space as a “void” and walls as a “mass”.

A conceptual model emphasizes the invert power which “void” has , and in this case it is the mass.

As an architects we always deal with the mass which modulate the space. Mass can direct or stop people movement, and void is giving a freedom to interact with the space. With this physical representation the aim is to show the size and the power of the free space in our project, but also to show its limits. Another interesting point we can see, is the form of the free space and how it takes shape of the limits that we put.
We can say that these two elements, mass and void, are the important points in designing. It is a gift to provide people with practical movement through space, especially when it comes to free spaces then the walls get more meaning because they are the less.

Dina Sretenovic


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Palladian interpretation_breaking in simplicity

July 5th, 2018

The model represents modern version of villas designed by Andrea Palladio. By working with spatial principles of Palladio we created conpemorary villa for cohousing and coworking. One of the four principles, was introducing central space in the object, which would connect and unify the heirarchy of subspaces created inside. Inner intersection, overlapping and overall dynamic of volume is in the contrast with plane and simple form of the building’s exterior. The central space, is in this case, slightly moved from its geometrical center, but kept emphasized, via cut in the form, visible in the structure, in the facade and experienced in the inner organization. Second microelement, taken from Palladian villas, was presence of water, which back in the days was surrounding buildings. This element is introduced in form of a elongated pool, connecting the building with lake in front of it. Water now becomes at the same time element of interior and of the landscape and creates a dialog between inside and outside. In the context of landscape, pool with its shape, gives the villa monumentality, in a way that, villas of Palladio were uniqly positioned and heighlighted by their context.

Surrounded by nature, which came through water element up to the building, breaking it and leaving a mark the villa. Therefore the villa itself becomes a space where water starts , while lake as a place where it ends, or starts again.

Ivana Dzida


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Biennale-Sessions_2018/6-8JUL: ZERO-CENTO

July 5th, 2018

The project is located in a space donated to the public. Initially used as an anti-aircraft shelter now it has given back as a memory of itself and as an opportunity for reflection and confrontation between past and present.

The exercise consists in creating an exhibition on the contrasts.
The set-up takes shape from the juxtaposition of two temporal perceptions that, albeit different, tell the same theme: the Terror, yesterday (the Wars,) and today (the terrorist attacks).

ZERO-CENTO was born as a result of the inspection carried out inside the ex-refuge anti-aircraft 87 in Milan. The space still tells the events that happened almost a hundred years ago: Terror, Fear and Dismay, were the feelings felt when the alarm sounded. Then, the running to the shelter where many people crammed into a just 30 square meters room. People remained seated for an indefinite lapse of time. They waited helplessly for the slow and inexorable passage of time. A time that by its nature during the waiting times dilates so slow, to be defined as 0.
Here is the contrast.
Today the terror is no longer lived with the sound of a siren, you can not even realize what is happening. There are the attacks and there are only the screams, the races and the time sped up, so accelerated that almost does not exist. The TIME 100.

Rooms were then created in which the exhibition takes shape, in particular the room of time dilated, the time 0, which wants to give a sense of oppression in a first phase, and a sense of timelessness and spacelessness in a second phase.
We find then a filter room, the numbers room, which represents all the numerology concerning wars and terrorist attacks.
The last room instead characterizes the time 100, the contract time, represented as a distortion of the user through a myriad of screens representing videos with pieces of news that overlap each other.
The last part, in the corridor, was thought as participatory wall, where people can leave a thought about the two sentences: ‘’I’m afraid of..’’ and ‘’I whish that..’’


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Alpine chalet

July 5th, 2018

The model represents the interior of Alpine chalet. The challenge was to reactivate and to extend the abandoned chalet, located in National park of Ponte di Legno without touching the exterior facade. The concept was to organize the space in such a way that there are no formal walls as divisions, but margines which would divide space, but at the same time keep it unified. The furniture is an element itself which modulates the space and is designed to perfectly fit the human scale. By working on this micro-scale, the idea was to directly influence human needs and to improve quality of usage of space. The secrets of space are created by combination of openings which are not clearly visible, giving the person more privacy by making spatial divisions. For instance, the hidden doors in the closet, which at the same time separates but also connects two different functions, giving the user a chance to feel an unusual experience overagain. In this way we are giving those personalized spaces as a gift to the user.

Katarina Radaljac


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In and Out of Amsterdam: EXHIBITION HOUSE

July 5th, 2018

In and Out of Amsterdam: EXHIBITION HOUSE

The challenge to show respect to the strong surrounding of Amsterdam and also to host the small dutch collection is completed by the design of ‘in and out’ exhibition house. The specific style and almost always repeated rhythm of facades could not be avoided in the facades of new buildings inserted between traditional villas and churches as it is on this site.
The analysis within three-partition, highlighting of the center and diverse treatment of ground floor in the facades is the base which served as a grid. The grid is enriched by removing unnecessary shapes and the rest is drawn-out or inserted according to the use of interior.
Anyway, the reaction between facade and interiors is crucial for the presence of the light in the exhibition and its disposition. The ‘outside’ creates ‘inside’ and the influence of the surrounding comes deeply in the flow of space. The main attribute of openings that are not on the front rectangular shape in the plane of facade, but on the sides of the pop-in and pop-outs gives the most significant distinction between fitted-in new and existing old. Something unusual for the traditional architecture came in the core of the building- the three floors void which defined the concept of core and shell together with described story of facades. The known feeling outside and new experience inside exhibition is the result of contrast in the concept of the building.
So, what should be more valued by citizens than something domestic-but new, holding the part of national art previously widely spread and lost.

Sanja Gogic

Processed with VSCO with b5 preset


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Biennale-Sessions_2018/6-8JUL: The Flow of Motion

July 5th, 2018

The project stems from the “memory” of the site in which the Navigli’s water completely surrounded the area and created an island where the existing building rests. In an attempt to blend the public space with the private spaces of the project, the “flow of water” is replaced with “flow of motion”, creating a fluid public space that offers translation between the different levels of the site.

The fluidity of motion in this project augments to the how “freely” one can move throughout the entire project, making the exiting paths and the new ones indifferentiable.
The outer flow of motion in the project is perceived as a historic timeline; “the past”: taking place in the historic channel where the water once passed and where the traditional architecture is reflected and ends at the other end of the site: “the present” and where the visitor is set at a point reflecting the modern side of the area and all the changes that had occurred architecturally.

The volume frames the old building as a memory with a volume on each side and bricks are chosen as a material that offers different transparency regardless of its rigid form. These transparencies correspond to the need of the privacy or light in the interior spaces and creates an animation of texture on the exterior facades.

Charles Barakat



Biennale-Sessions_2018/6-8JUL: Marie short house_ Glenn Murcutt

July 5th, 2018

 

 

The first part of our work consisted in the study of Glenn Murcutt’s Marie short house. 

Located on farmland in northern coastal New South Wales the Marie Short House was designed in the 1970s, later purchased and altered by Murcutt in 1980. The house plan is disarmingly simple with two almost identical pavilions, rotated and slipped; Each pavilion is composed by structural timber bays, the last two bays treated as an open entry porch. Between the two, a thickened wall implies an external corridor which links the porches and accommodates the collection of rain water. The strategy to repeat and distinguish the pavilions by function is extended to the kitchen and bathrooms where each functional component is individuated, repeated and grouped as a cluster of cells. The spatial contrast between the service and living zones heightens a sense of generosity in the larger rooms.

The orientation of the house and its articulation are conceived in relation to climatic considerations. The living pavilion faces north to receive sun for the majority of the day. Retractable metal louvers control levels of light and privacy and the glass louvers allow varying degrees of ventilation. This double layered system gives a high degree of personal freedom to orchestrate the building as an instrument, for both environmental comfort and aesthetic experience of the landscape. Climatic performance also drives the detailed resolution of the roof. Curved corrugated metal sheets overlap to provide horizontal ventilation slots. Doubling the layers calls attention to the immaterial edge and renders the building as a horizontal volume. This abstract treatment of the pitched roof form reinforces the conception of the house as a floating platform.

The abstract and original re-presentation of familiar forms such as the pitched roof and entrance porch using local techniques and materials assigns the building an important position within the pursuit and evolution of modernist architecture in Australia.

Our project consists of an extension of our assigned case study.

 

 

We decided to realize an independent pavillon, that only has a visual relationship with the existing building.The concept is to create a space of meditation in total relation with the nature of the site, a pavilion that in the vastness of the prairie focuses on creating a relationship between the man and the water; for this reason the idea of ??creating it in the middle of an artificial water basin that contained another pool inside. Our intent was to respect some of the design ideas that Glenn Murcutt used in Marie Short house. We reused the same modularity in our plan,and we have recreated a building that is detached from the ground and that gives the impression of being floating on the water. Thanks to the different dimensions within our project we managed to create different relationships between the pavilion user and the water that surrounds it, both visually and physically, creating a space illuminated only by the frame that surrounds the building at floor level that manages to create an atmosphere suitable for relaxation and meditation.

As in Marie Short House we have designed a wooden frame structure with different types of wooden finishing perfectly integrated in the Australian countryside surrounding. The building wants to reach its potential of interacting with such natural elements as the sun light, the rain water, and the physical context extremely generous in that region. Therefore it shows how architecture can provide the opportunity to emphasize nature’s free gifts creating spaces of quality for anyone who inhabits them.

 

Maria Cristina Giambri e Karyna Kalchenko.



Biennale-Sessions_2018/6-8JUL: SAN PIO X – A SOCIAL SANCTUARY

July 5th, 2018

Two themes intertwined in this project are creating a social gathering space, at the same time embodying a sacred sanctuary. The space has to enable a certain religious community, as well as anyone from the outside to feel welcome, to communicate and interact.

The golden ratio and the shape of the Nautilus shell were chosen as primary symbols at the concept stage of the project. Starting from the centre, which is ourselves and our belief, the ideas and experiences shared, widening the circle – like the shape above. The sacred geometry forms depict how nature and mathematics work together to create complex yet functioning structures and this is what we believe in.

When analysing the context of the area, it showed a neighbourhood of mixed use. The building site of the church marks a midpoint between a university campus and a residential use zone. Having the definition of a gathering space, the project had to promote continuity on multiple design levels. It features a parvis leading to a tennis court in the backyard of the church, both aligned to a pathway connecting the main street and the pedestrian zone. This pathway is narrow enough so that people would have to consciously choose to pass through there instead of being attracted there. Its narrowness also shows hierarchy between it and the wide passage/piazza (via AM Ampere).

Part of the necessary functions are found on the ground floor. The liturgy hall hosting 450 seats, with a double altar and an organ instrument. It is designed in a way that the construction system of columns and beams holding the glass roof create continuity in space when seen in perspective. There are two smaller chapels and a baptistry as welL. In the other building there is the cafeteria and vertical communications.

The structural system consists of steel construction and reinforced concrete. The materials are also used in a symbolical way where they represent the ‘holy trinity’. The reinforced concrete load bearing envelope as the Father; Continuous beams and roof support of steel as the Son; And flushed glazed roof of glass as The Holy Spirit. Also attention was payed to the symmetry of facades since it creates a sense of harmony.



Summer guest house in Ponte di Legno

July 5th, 2018

The project of our interior design studio is a extension project which is located on a gentle slope in ponte di legno,Italy.In our concept of our design,we are supposed to distinguish the using space between the host and the guest.The first floor is used for the host’s bedroom and the kitchen and dining space .On the other hand ,the second floor is used for the guest’s suite,and we also provide the double height to slove the illumination problem. The extension is living room which is connect with the ground and the first floor.And it could provide a very gorgeous view .At the same time, we use the “bookshelves”to  make our corridor more interesting.


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Biennale-Sessions_2018/6-8JUL: Ponte di legno, Cheese stop

July 5th, 2018

 

 

In the high mounttain area of Alps,  a tiny vllage named Vescasa Bassa, two section of historical ruin walls are our construction site.

The easy-to-build structure is located on a ruined wall with a hundred years of history. A part of the ruins was transformed into an event square and viewing platform overlooking the distance. The workshop and a structure of a cowshed and straw storage can be enjoyed by tourists, locals or animals during the pleasant season of the year.

The idea of the cheese workshop is to hope that the function of this village in history can be realized in today’s life in another form. We recreate and protect the ruins of the wall and make it part of the public event. The best protection for old buildings is that they can continue to be used in future life.


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Biennale-Sessions_2018/6-8JUL: Music School in previous Colonia Montana di Renesso

July 5th, 2018

The building was a former colonia that used as children’s summer holiday camp. It was built during the facist era of Italy, and designed in the rationlist architectural style. The building was constructed with a reinforced concrete frame, and external masonry cavity walls. The colonia locates in the countryside close to Genova, which surrounded by hills and forests. On top of the roof there is nice view with landscape of hills and greenary.

Few concepts were important when designing the renovation of this building. First, we do not want to change the existing structures, as a result, we inserted new space within the exsiting building, as you can see in the model those curvy organic shaped space. Second, we would like to distinguish and give new life to the building, that we designed those organic shaped space inside the original rigid design of the rationalistic style of the building. Of course, those newly inserted structures can be removed later if one day the users no longer like them. The important concept is to keep the space flexible and editable in the future, and at the same time keep the original historic and structural value. Third, given an advantage of natural landscape around the colonia, we would like to combine and introduce the surrouding natural environment to the interior, some parts of the exisiting windows are removed, and transformed into loggia for the newly inserted space, which create a barrier between exterior and interior.

The function of the building is a branch of the music school, that provides two theatres, dwelling for visiting musicians, sound recording studio, co-working space, jazz cafe, and instrument shop. The aim is the provide a space not only for students study in music school, but also suitable for families of students, visiting guests of school and also public.



Biennale-Sessions_2018/6-8JUL: BOX

July 5th, 2018

To project a new temporary residence we decided to start from the new open spaces in and out our building. Firstly we decided that the new internal square should be linked to the open space in front of the lot through a visual relationship, thanks to the use of a continuous glass window that runs throughout the building. The main entrance can be reached through the square that connects the sidewalk with the level at -0.98m of the entrance itself thanks to the play of triangles and various slopes. 

the flows are greeted by a double-height wall covered with a golden material. It represents the first visible element that leads to the entrance, located on the adjacent wall.

The special feature of our building is the cladding. We decided to use a stainless steel cladding in iron grey, modulated according to four types, which contrasted with the clarity and transparency of the curtain wall on the ground floor, with the intention of recreating a box that would act as a filter between inside and outside.

The concept of the BOX was also brought in the interiors of the project. In fact, on the ground floor, we have inserted three separate boxes that contain more private functions. In the basement were provided public functions such as a vertical supermarket, co-working and bicycle storage.

From the upper floor begin the residences. As you go up the concept of residence becomes more and more linked to privacy. We begin with common kitchen and common rooms to then go up and find real apartments, for two or four people, or multi apartments (called MULTI FLEX) that can be divided if necessary. All the interiors are made flexible and temporary thanks to sliding panels, able to create privacy, but at the same time community. The internal distribution is also designed taking always into account the concept of the BOX, which is perceptible up to the roof.

In general, the concept of BOX is treated in such a way that, on public and semi-public floors, it acts as a container, while the more space is privatised, the more the “box” acts as a content, that is, what organizes, manages and makes the space live.

These are what we considered free spaces: a space in which you can be the actor of the place where you live.

 

 



Biennale-Sessions_2018/6-8JUL: Inside insight

July 5th, 2018

Our project is to reconstruct a small cottage in vesscasa bassa, which is a small village on the mountain behind Ponte di legno. The village is quiet well known for its cheese production. So we are going to rebuilt this building into a cheese workshop and restaurant as well.

 

First, the cottage is well conserved, it works even we did not do anything on it. For this reason, we try to not change too much of the original structure.

 

The extension will be added without any direct connection with the old cottage, serving as a house for worker. And by extending the roof, a sheltered space for milking, will be created. As we all know, milk is the indispensable material of cheese making and milking is also an interesting activity for tourists.

After researching the process of cheese making we plan the upper floor as the workshop because people can work here by collecting milk directly from the farm on the hill behind. Meanwhile, the ground floor will serve as a restaurant for people to taste food cooked with cheese the made.

 

On the north part of the cottage, we have a very narrow and low space. So we designed it as a double height and elevated the floor a little bit as well to shorten the length of the stairs. This part will be used as the dining area.



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