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Divisare - Projects — Top Favorites of the Week

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    L’edificio di civile abitazione oggetto della ristrutturazione è ubicato a margine dell’abitato di Cianciana, all’interno di un lotto con un leggero declivio, rivolto verso il paesaggio agrario.

    COTTONE+INDELICATO ARCHITECTS — villa B&D

    Il concetto progettuale di riferimento è la sobrietà volumetrica e il dialogo con la natura. L’edificio si relazione al paesaggio circostante con un linguaggio contemporaneo che richiama l’architettura mediterranea.

    COTTONE+INDELICATO ARCHITECTS — villa B&D

    Il volume viene ridefinito e abbassato in altezza, sostituendo la copertura a doppia falda con tetto piano; nella nuova copertura è previsto un sistema totalmente integrato di pannelli solari e fotovoltaici che garantiscono una completa autonomia energetica.

    COTTONE+INDELICATO ARCHITECTS — villa B&D

    La proposta comprende un organizzazione degli spazi esterni, con un sistema di terrazze che si adattano alla topografia e formano un tutt’uno con il volume abitativo.

    COTTONE+INDELICATO ARCHITECTS — villa B&D

    Le nuove proporzioni esprimono l’orizzontalità e la semplicità. Il volume è scandito dalle ripetizione dinamica delle aperture che, con altezza costante, variano di larghezza, movimentando i prospetti e dosando la luce negli spazi interni.

    COTTONE+INDELICATO ARCHITECTS — villa B&D

    Il fronte principale è caratterizzato da una tettoia in acciaio corten, costituita da un motivo filtrato di esili elementi verticali, che protegge la vetrata del living e forma uno spazio porticato che si affaccia sul paesaggio circostante.

    COTTONE+INDELICATO ARCHITECTS — villa B&D

    La nuova distribuzione, rispondendo alle esigenze della committenza (una coppia di norvegesi), individua longitudinalmente due gruppi di funzioni: la stecca con il living, la camera degli ospiti e la camera matrimoniale, nella parte rivolta verso il paesaggio e in continuità con le parti esterne; la stecca di servizi, con i bagni, la cucina e la lavanderia, relazionate all’esterno di servizio sul retro.

    COTTONE+INDELICATO ARCHITECTS — villa B&D

    Il sistema di aperture verticali è pensato per creare fluidità nei collegamenti tra gli spazi interni e gli spazi esterni.

    COTTONE+INDELICATO ARCHITECTS — villa B&D

    Gli spazi esterni sono organizzati in terrazze con specifiche funzioni che si sviluppano con progressivi abbassamenti di quota: accanto la zona giorno vi è la terrazza principale; scendendo alcuni gradini lo spazio barbecue con il tavolo esterno; e ad una quota più bassa l’area solarium con la piscina.

    COTTONE+INDELICATO ARCHITECTS — villa B&D

    COTTONE+INDELICATO ARCHITECTS — villa B&D

    COTTONE+INDELICATO ARCHITECTS — villa B&D


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    L’appartamento si trova in un edificio costruito negli anni Sessanta, in un quartiere borghese di Pisa. La configurazione degli ambienti è espressione delle consuetudini abitative dell’epoca, con spazi ordinatamente dedicati a rituali dell’abitare che sono ancora intuibili nonostante il trascorrere del tempo: ingresso, cucina, tinello, salotto; una netta separazione tra zona giorno e notte. L’intervento che qui si presenta è occasione di riflessione sul tema dello spazio vuoto. La strategia progettuale si fonda sulla trasformazione del vuoto come argomento di indagine utile a definire una rinnovata dimensione dell’abitare attraverso un preciso programma di intervento.

    sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

    Questo si concretizza in un elemento funzionale – comprendente attrezzature e spazi per la cucina – che si colloca come blocco indipendente e ospita, nella parte posteriore, ambienti di servizio nascosti rispetto alla zona giorno. La scelta materica e la caratterizzazione cromatica – legno di frassino spazzolato, laccato a poro aperto – accentua l’identità percettiva del blocco, completato da un piano di lavoro che non si preoccupa di celare la propria massività. All’interno di questa composizione, la scelta dei materiali lapidei – marmo bianco di Carrara e bardiglio imperiale – è stata effettuata non solo in relazione all’equilibrio cromatico degli elementi architettonici, ma anche in omaggio ad una tradizione architettonica che vede l’abbinamento storicamente consolidato nell’area di estrazione dei due marmi, non molto distante da Pisa.

    sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

    All’estremità opposta dell’ambiente giorno, un unico elemento di arredo ospita la libreria con lo spazio conversazione e integra l’ingresso all’appartamento.

    sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

    Il passaggio verso la zona notte è ottenuto mediante una bucatura ritagliata sulla parete nuda. La transizione tra le due aree è ulteriormente filtrata dalla presenza di un disimpegno dal disegno misurato.

    sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

    Il processo di semplificazione dello spazio vuoto trova il suo contrappunto nel frequente ricorso al tema percettivo figura-sfondo come strategia di composizione degli elementi architettonici: ciò si evidenzia nella collocazione del blocco in marmo rispetto alla parete attrezzata retrostante, ma anche nel rapporto che si instaura tra il passaggio ritagliato nel muro e lo spazio di disimpegno che introduce alla zona notte. In entrambi i casi non sono privilegiati punti di osservazione precisamente definiti: la continua variazione dei rapporti tra gli elementi architettonici, rispetto ad un osservatore in movimento nello spazio, diventa in questo modo espressione significativa delle premesse strategiche.

    sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

    sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

    sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

    sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

    sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

    sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

    sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

    sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

    sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

    sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

    sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

    sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

    sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

    sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

    sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

    sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

    sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

    sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

    sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

    sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

    sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

    sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

    sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa


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  • 12/24/13--09:12: casa BC - Massimo Nodari
  • L’edificio è posto su un terreno in declivio esposto a meridione sopra l’abitato di Boario Terme. Il programma prevedeva la realizzazione di una residenza unifamiliare. La conformazione morfologica del sito ha consentito di ricavare un livello seminterrato (di servizio) e una parte fuori terra costituita da due blocchi prismatici ad altezze differenti articolati dal vano scala. La rotazione di blocchi è data dalle distanze minime dai confini (lotto trapezoidale). La separazione fra zona giorno e zona notte è netta (contenuta in blocchi distinti); entrambe tuttavia presentano a meridione dei profondi loggiati a sbalzo, per filtrare e controllare la luce e per selezionare le vedute. Il linguaggio formale è semplice e razionale con una riduzione di materiali limitata al pietrame per i terrazzamenti e i basamenti di modellazione del terreno, parete intonacata ventilata per le murature esterne e boiserie in legno di ipe’ per i fianchi interni dei loggiati.

    Massimo Nodari — casa BC

    vista da valle

    Massimo Nodari — casa BC

    vista dalla rampa

    Massimo Nodari — casa BC

    vista da nordest

    Massimo Nodari — casa BC

    vista dai loggiati

    Massimo Nodari — casa BC

    vista dell'ingresso

    Massimo Nodari — casa BC

    fronte est

    Massimo Nodari — casa BC

    vista corpo giorno

    Massimo Nodari — casa BC

    vista dalla strada d'accesso

    Massimo Nodari — casa BC

    retro

    Massimo Nodari — casa BC

    vista del soggiorno

    Massimo Nodari — casa BC

    vista dello spazio cucina

    Massimo Nodari — casa BC

    pianta seminterrati

    Massimo Nodari — casa BC

    pianta piano terra

    Massimo Nodari — casa BC

    sezione/prospetto sud

    Massimo Nodari — casa BC

    sezione sul soggiorno

    Massimo Nodari — casa BC

    prospetto nord

    Massimo Nodari — casa BC

    prospetto a valle

    Massimo Nodari — casa BC

    dettagli arredi fissi


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    The amphitheater house is built in Hydra, a traditional small town, situated in an island close to Piraeus, the port of Athens. The building was constructed above the ruins of an older quasi-orthogonal foundation wall: none of the characteristics of the older construction was obvious when the operation for its design started. The material of its walls is the material that occurred from the excavation of the stone that laid underground the site.

    Aristide Antonas — The Amphitheater House

    The project challenges the possibilities of an empty –“construction site” like – living place. 

The space is organized around a high-ceiling interior that reaches, in parts, 10 meters height. The amphitheater that occupies the central part of the high space replaces the living room of the house; the amphitheater gives shape to the gatherings that occur in it or around it. The house’s kitchen space and the rooms are included in a narrow zone, located in the eastern part of the house. A horizontal wooden platform is suspended over the interior space, proposing an area that can be used as a master bedroom viewing the island’s port.



    Aristide Antonas — The Amphitheater House

    The house orchestrates a multiplicity of different situations that can swift its character according to each temporary inhabitation. The inhabitation of the house is analogue to the series of its transformations. Different interpretations of the house are translated in different dispersions of mobile objects and elements of its electronic equipment. The scene of the house has been designed in order to present every dispersion of its objecthood.

 The amphitheater house is proposed as an essay about emptiness and theatricality while it forms a post fordist – vacation space or an immaterial labor villa in the conditions of a post network society.

    Aristide Antonas — The Amphitheater House

    Aristide Antonas — The Amphitheater House

    Aristide Antonas — The Amphitheater House

    Aristide Antonas — The Amphitheater House

    Aristide Antonas — The Amphitheater House

    Aristide Antonas — The Amphitheater House

    Aristide Antonas — The Amphitheater House

    Aristide Antonas — The Amphitheater House

    Aristide Antonas — The Amphitheater House

    Aristide Antonas — The Amphitheater House

    Aristide Antonas — The Amphitheater House

    Aristide Antonas — The Amphitheater House

    Aristide Antonas — The Amphitheater House

    Aristide Antonas — The Amphitheater House

    Aristide Antonas — The Amphitheater House

    Aristide Antonas — The Amphitheater House

    Aristide Antonas — The Amphitheater House

    Aristide Antonas — The Amphitheater House

    Aristide Antonas — The Amphitheater House

    Aristide Antonas — The Amphitheater House

    Aristide Antonas — The Amphitheater House

    Aristide Antonas — The Amphitheater House

    Aristide Antonas — The Amphitheater House

    Aristide Antonas — The Amphitheater House


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    La passerella è concepita come un elemento scultoreo che si integra con l’incantevole contesto della Valle dei Templi di Agrigento, ed instaura con essa un dialogo che trae ispirazione dalle caratteristiche paesaggistiche e architettoniche del luogo.

    Joan Puigcorbé, COTTONE+INDELICATO ARCHITECTS — La passerella nella Valle dei Templi

    La finalità principale della passerella pedonale è restituire unità al percorso del parco archeologico, diviso dall’attraversamento della strada statale 118; e consentire una fruizione sicura del parco, restituendo al visitatore la percezione di questo come elemento unico ed organico.

    Joan Puigcorbé, COTTONE+INDELICATO ARCHITECTS — La passerella nella Valle dei Templi

    L’aspetto romantico delle rovine, il concetto di non-finito cui queste rimandano, le operazioni di restauro per anastilosi compiute nel corso del tempo, hanno portato ad un’immagine della Valle dei Templi caratterizzata da elementi di diverse altezze e dimensioni, creando differenti moduli espressivi e formali.

    Joan Puigcorbé, COTTONE+INDELICATO ARCHITECTS — La passerella nella Valle dei Templi

    Le differenti altezze delle colonne del vicino tempio di Eracle sono state trasfigurate e reinterpretate progettualmente nella passerella, in una sequenza dinamica di elementi verticali di diverse altezze, che generano una vibrazione della luce, producendo un effetto di trasparenza, di smaterializzazione, di antitettonicità.

    Joan Puigcorbé, COTTONE+INDELICATO ARCHITECTS — La passerella nella Valle dei Templi

    La passerella è prevista interamente in acciaio corten, materiale caratterizzato da differenze cromatiche, opacità e mutevolezze, assimilabili a materiali naturali, integrando il progetto col paesaggio.

    Joan Puigcorbé, COTTONE+INDELICATO ARCHITECTS — La passerella nella Valle dei Templi

    La struttura è costituita da un cassone a sezione alveolare rastremata alle estremità e da protezioni laterali formate da lamine di diverse altezze, disposte a distanze modulari.

    Joan Puigcorbé, COTTONE+INDELICATO ARCHITECTS — La passerella nella Valle dei Templi

    L’ancoraggio della passerella è previsto mediante apparecchi di appoggio in elastomero armato, che realizzano una cerniera bi-direzione ad un’estremità e un carrello unidirezionale nell’altra. Anziché una fondazione superficiale tradizionale che richiederebbe uno scavo invasivo è stato elaborato un sistema reversibile a impatto limitato.

    Joan Puigcorbé, COTTONE+INDELICATO ARCHITECTS — La passerella nella Valle dei Templi

    La resistenza allo scivolamento nei confronti delle azioni orizzontali trasmesse dalla passerella, solitamente garantita dall’affondamento della fondazione nel terreno, è ottenuta aumentando l’attrito terreno-fondazione attraverso un sistema di chiodature in roccia con barre tipo Dywidag.

    Joan Puigcorbé, COTTONE+INDELICATO ARCHITECTS — La passerella nella Valle dei Templi

    La logistica connessa alla realizzazione dell’opera presuppone il contenimento delle operazioni in situ, sia in ragione del particolare contesto d’inserimento che delle interferenze con la viabilità e l’accesso. Per rispondere a questa esigenza si ricorrerà alla prefabbricazione dell’intera passerella e al successivo trasporto e posizionamento in opera, laddove saranno già stati predisposti i punti di appoggio della struttura.

    Joan Puigcorbé, COTTONE+INDELICATO ARCHITECTS — La passerella nella Valle dei Templi

    Joan Puigcorbé, COTTONE+INDELICATO ARCHITECTS — La passerella nella Valle dei Templi

    Joan Puigcorbé, COTTONE+INDELICATO ARCHITECTS — La passerella nella Valle dei Templi

    Joan Puigcorbé, COTTONE+INDELICATO ARCHITECTS — La passerella nella Valle dei Templi

    Joan Puigcorbé, COTTONE+INDELICATO ARCHITECTS — La passerella nella Valle dei Templi

    Joan Puigcorbé, COTTONE+INDELICATO ARCHITECTS — La passerella nella Valle dei Templi

    Joan Puigcorbé, COTTONE+INDELICATO ARCHITECTS — La passerella nella Valle dei Templi

    Joan Puigcorbé, COTTONE+INDELICATO ARCHITECTS — La passerella nella Valle dei Templi


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    In the corner premise of just 326㎡ across Kaminari-mon Gate, the building was required to accommodate plural programs such as tourist information center, conference room, multi-purpose hall and an exhibition space.

    Kengo Kuma & Associates — Asakusa Culture and Tourism Center

    The center extends Asakusa’s lively neighborhood vertically and piles up roofs that wrap different activities underneath, creating a “new section” which had not existed in conventional layered architecture. Equipments are stored in the diagonally shaped spaces born between the roof and the floor, and by this treatment we could secure large air volume despite its just average height for high-and medium-rise buildings. Furthermore, the roofs not only divide the structure into 8 one-storied houses but also determine the role of each floor. First and second floor has an atrium and in-door stairs, creating a sequence from which you can feel the slope of the two roofs. On 6th floor, taking advantage of the slanted roof, we were able to set up a terraced floor with which the entire room can function as a theater. As angles of the roofs inclined toward Kaminari-mon and the heights from the ground vary from floor to floor, each floor relates differently to the outside, giving a unique character to each space.

    Kengo Kuma & Associates — Asakusa Culture and Tourism Center

    Kengo Kuma & Associates — Asakusa Culture and Tourism Center

    Kengo Kuma & Associates — Asakusa Culture and Tourism Center

    Kengo Kuma & Associates — Asakusa Culture and Tourism Center

    Kengo Kuma & Associates — Asakusa Culture and Tourism Center

    Kengo Kuma & Associates — Asakusa Culture and Tourism Center

    Kengo Kuma & Associates — Asakusa Culture and Tourism Center

    Kengo Kuma & Associates — Asakusa Culture and Tourism Center

    Kengo Kuma & Associates — Asakusa Culture and Tourism Center

    Kengo Kuma & Associates — Asakusa Culture and Tourism Center

    Kengo Kuma & Associates — Asakusa Culture and Tourism Center

    Kengo Kuma & Associates — Asakusa Culture and Tourism Center

    Kengo Kuma & Associates — Asakusa Culture and Tourism Center

    Kengo Kuma & Associates — Asakusa Culture and Tourism Center


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    Non lontano dal vulcano spento denominato “Kuddia Bruciata”, tra le colline di contrada Zubebi, che con vista a 180° sul mar Mediterraneo, sembra porgere le spalle alla rigogliosa montagna grande.

    Gianluca Bugeia — Recupero di un dammuso. Pantelleria

    L’intervento ha previsto il recupero di un antico dammuso e il ridisegno delle aree limitrofe, caratterizzate prevalentemente dalla coltivazione di uva e capperi.

    Gianluca Bugeia — Recupero di un dammuso. Pantelleria

    Il progetto ha previsto il ripristino delle antiche volumetrie ed il mantenimento della morfologia costruttiva del passato. I rivestimenti a parete esterni, eseguiti con pietra locale, i pavimenti realizzati mediante battitura di tufo e lastre di pietra, consentono alle architetture pantesche di celarsi all’interno del territorio in attesa di essere scoperte.

    Gianluca Bugeia — Recupero di un dammuso. Pantelleria

    Al centro del patio esterno, fa mostra di se il piccolo forno, custodito all’interno di un blocco monolitico in pietra, che su un lato disegna l’accesso ad una doccia all’aperto. Le aree esterne sono costituite da battuto di cemento e tufo, dove all’interno di fori trovano ubicazione, alcune piante di Yucca e palme Washington.

    Gianluca Bugeia — Recupero di un dammuso. Pantelleria

    Arredi semplici e accessori ridotti ai minimi termini. Le sedute esterne realizzate in muratura, il pavimento in battuto di cemento che senza discontinuità prosegue in tutti gli ambienti. I rivestimenti a parete, del piccolo angolo cottura e del bagno realizzati in “pastella”, sono in contrasto con le tinte bianche delle volte tipiche di queste antiche abitazioni.

    Gianluca Bugeia — Recupero di un dammuso. Pantelleria

    Gianluca Bugeia — Recupero di un dammuso. Pantelleria

    Gianluca Bugeia — Recupero di un dammuso. Pantelleria

    Gianluca Bugeia — Recupero di un dammuso. Pantelleria

    Gianluca Bugeia — Recupero di un dammuso. Pantelleria

    Gianluca Bugeia — Recupero di un dammuso. Pantelleria

    Gianluca Bugeia — Recupero di un dammuso. Pantelleria

    Gianluca Bugeia — Recupero di un dammuso. Pantelleria

    Gianluca Bugeia — Recupero di un dammuso. Pantelleria

    Gianluca Bugeia — Recupero di un dammuso. Pantelleria

    Gianluca Bugeia — Recupero di un dammuso. Pantelleria

    Gianluca Bugeia — Recupero di un dammuso. Pantelleria

    Gianluca Bugeia — Recupero di un dammuso. Pantelleria


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    El proceso de la operación de la ampliación de las autopistas urbanas de los años 90 habilita una gran cantidad de territorio a la lógica metropolitana en enormes operaciones sobre tierra que se vuelve urbana, y deja latente un stock de tierra en bordes y cruces de autopistas y bajadas, que paulatinamente completan la necesaria oferta de infraestructuras y equipamientos para estos nuevos territorios. Panamericana 50 se entiende dentro de esta lógica.

    AFRa — Oficinas Panamericana 50

    El proyecto trabaja sobre la idea de construir un espacio intermedio entre el exterior rutero de alta velocidad y el interior intimista de un trabajador con su monitor y sus papeles; que funcione como un buffer, mediando la entrada de luz y ruido, generando un área de trabajo semicubierta que recupera la idea de borde vegetal de la ruta.

    AFRa — Oficinas Panamericana 50

    Este espacio queda definido por una malla uniforme de chapa galvanizada plegada, perforada en distintos grados según su relación con el sol, que en el tiempo se va cubriendo de jazmines y trepadoras. En la velocidad de la ruta, un árbol iluminado aporta un diferencial en el genérico paisaje. Un baobab laboral, unas oficinas en la copa de un árbol.

    AFRa — Oficinas Panamericana 50

    AFRa — Oficinas Panamericana 50

    AFRa — Oficinas Panamericana 50

    AFRa — Oficinas Panamericana 50

    AFRa — Oficinas Panamericana 50

    AFRa — Oficinas Panamericana 50


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  • 01/07/14--07:23: Baltic Sea Art Park - WXCA
  • The objective of the competition was to find the best visions for a common exhibition space of the Baltic Sea countries in Estonia. The Baltic Sea Art Park will be located in the downtown of Pärnu, on the left shore of the Pärnu River. According to initial plans, folk art and art work of professionals of the Baltic Sea nations will be exhibited in the floating pavilions. To establish these national pavilions, nine countries will be invited: Denmark, Estonia, Germany, Finland with autonomous Aland, Latvia, Lithuania, Poland, Russia and Sweden.

    WXCA — Baltic Sea Art Park

    The target of the international contest was to find visions for a spatial solution on the riverside with green park and historical granite pier as well as the architectural sketch solution for the main building of the exposition hall with a draft for national floating pavilions on water. On 11th of December, Minister of Culture in Estonia Urve Tiidus revealed the results in Tallinn, at the Museum of Estonian Architecture. The goal of the winning entry was to emphasize the idea of community of Baltic Sea states by creating a floating square. The piazza is designed as a common space – a platform for exchange of the Baltic Sea culture that enables integration and interaction between all Baltic countries and their artistic heritage. It is a floating Forum of Art and a heart of the whole concept of the Park. It may become a new, clearly defined public space in a form of a market square that completes the urban structure of Pärnu.

    WXCA — Baltic Sea Art Park

    WXCA — Baltic Sea Art Park

    WXCA — Baltic Sea Art Park

    WXCA — Baltic Sea Art Park

    WXCA — Baltic Sea Art Park

    WXCA — Baltic Sea Art Park

    WXCA — Baltic Sea Art Park

    WXCA — Baltic Sea Art Park

    WXCA — Baltic Sea Art Park

    WXCA — Baltic Sea Art Park

    WXCA — Baltic Sea Art Park

    WXCA — Baltic Sea Art Park


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    Villa Roces is integrated in an oblong terrain of about 70m long and 30m wide, situated in the forest surroundings of Bruges. The concept consists of a 50 m long and a 4.20 m high wooden wall flanking 6 m wide glass box is disposed. The house is built along a wall with the intention to meet the lack of light and reflect the presence of the forest, the verticality of the trees, etc. The 54m long wall functions as a background for the transparant volume in front. The wall is not only visible at the outside, but also continuously visible at the inside.
    As the transparent volume is conceived as a box, the inside space is filled in with clearly defined boxes and volumes and incorporate the structural elements.
    The glass box is indented at three sides:
    One to give access to the underground parking place
    One to develop the half underground swimming pool
    And one to give access, at the backside of the house, to the master bedroom and annex bathroom

    Govaert & Vanhoutte — Villa Roces

    The plan concept is very simple:
    On the level of the garden there is the income, kitchen, dining room and fireplace situated. The kitchen can be separated from dining room with a big sliding door.
    The bedroom section of the children and the master bedroom are situated one above the other and put in split-level with the living room which has one and a half height
    In front of the master bedroom we have a secondary sitting room which spatial makes the conversion to the handled levels.
    A slope guarantuees the connection between the living room and the bedroom section of the children.
    By handling the explained levels and heights we could maintain a continuously horizontal box which was of main importance to be put in contrast to the verticality of the trees.
    Under the living room and kitchen is the underground parking situated. To put this underground was also of main importance in order to reduce the build volume above the ground level, this in relation to the disposable space and give the house the visual impression of a big pavilion.

    Govaert & Vanhoutte — Villa Roces

    Govaert & Vanhoutte — Villa Roces

    Govaert & Vanhoutte — Villa Roces

    Govaert & Vanhoutte — Villa Roces

    Govaert & Vanhoutte — Villa Roces

    Govaert & Vanhoutte — Villa Roces

    Govaert & Vanhoutte — Villa Roces

    Govaert & Vanhoutte — Villa Roces

    Govaert & Vanhoutte — Villa Roces

    Govaert & Vanhoutte — Villa Roces

    Govaert & Vanhoutte — Villa Roces

    Govaert & Vanhoutte — Villa Roces

    Govaert & Vanhoutte — Villa Roces

    Govaert & Vanhoutte — Villa Roces

    Govaert & Vanhoutte — Villa Roces

    Govaert & Vanhoutte — Villa Roces

    Govaert & Vanhoutte — Villa Roces

    Govaert & Vanhoutte — Villa Roces

    Govaert & Vanhoutte — Villa Roces

    Govaert & Vanhoutte — Villa Roces

    Govaert & Vanhoutte — Villa Roces

    Govaert & Vanhoutte — Villa Roces

    Govaert & Vanhoutte — Villa Roces

    Govaert & Vanhoutte — Villa Roces


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    The museum provides a new public platform for the ethnographic collections of Sweden. It also serves as a new forum for international and local events. Situated at the foot of a hill in the city centre, the museum incorporates an auditorium, research centre, library, seminar rooms, restaurant and administrative offices.

    Brisac Gonzalez — Museum of World Culture

    Exterior

    The design strategy revolved around creating a clearly marked difference between a solid west wing, containing the gallery spaces and offi ces along the street, and an open east wing towards the hill, where public activities take place. Between the solid west and the open east is a canyon-like zone containing the building services, with public circulation weaving its way through the three areas.

    Brisac Gonzalez — Museum of World Culture

    Hillside

    As one goes up the building, the elements which were seen from below are gradually perceived from above, creating a sequence of reference points throughout the building with alternating views of the hill, atrium and museum.

    Brisac Gonzalez — Museum of World Culture

    Atrium

    Brisac Gonzalez — Museum of World Culture

    Restaurant

    Brisac Gonzalez — Museum of World Culture

    Shop

    Brisac Gonzalez — Museum of World Culture

    Stair

    Brisac Gonzalez — Museum of World Culture

    Atrium

    Brisac Gonzalez — Museum of World Culture

    Central staircase

    Brisac Gonzalez — Museum of World Culture

    Mezzanine

    Brisac Gonzalez — Museum of World Culture

    Exhibition

    Brisac Gonzalez — Museum of World Culture

    Exhibition


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    How do you transform a civil engineering artwork into a fine art work? How can an anonymous tunnel be turned into a space full of meaning? By transporting the visitors, mentally at least, to a different place. The tunnel on the Tugelaweg – a long, rectangular tube with no columns – is ideal for this kind of temporary experience that completely immerses you. Like huge screens, you can view the two, forty-metre-long walls as windows: as man-sized windows that will give you a glimpse of another world that you can become part of. And it is here that we will be telling stories from the animal world.

    NIO architecten — Into the Shadow

    From top to bottom and front to back, both of these tunnel walls are to be fully equipped with LED strips comprising 12,000 dazzling, white lights. In front of these lights, we will place a screen of (vandal-proof) frosted, tempered glass with a natural, reed-like pattern on the visible side. In principle, all the LEDs will be fully illuminated for 24 hours a day. But within this profusion of light, a series of contours will be seen shifting across areas where the LEDs have been turned off. These will look like the contours of animals that are moving right behind the ripples in the glass. Here, a story is being told with light, or rather with the absence of light: through shadows.

    NIO architecten — Into the Shadow

    The animal world that will be seen here comes from the Transvaal in South Africa. It comprises “the big five”: the elephant, the rhino, the lion, the buffalo and the leopard. And just as on safari, we – the people – are mere visitors. If you’re lucky, you may see a grazing buffalo, a leopard that has just woken up or an elephant lifting its head. If you’re unlucky, you will see nothing at all: just light. What we experience here is the slowness and capriciousness of the daily lives of animals. This will not be some spectacular, television format animal documentary but a life-size copy of animal life that can continue to intrigue over a prolonged period of time. It will be a layered image that is sometimes evocative of the shadow plays of Indonesian wayang puppets, yet also reminds us of the primitiveness of prehistoric cave paintings or a lucid dream, a dream without colour. This will be a place where we can all read our own animal stories.

    NIO architecten — Into the Shadow

    NIO architecten — Into the Shadow

    NIO architecten — Into the Shadow

    NIO architecten — Into the Shadow

    NIO architecten — Into the Shadow

    NIO architecten — Into the Shadow


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  • 01/07/14--03:23: Maison Bastille - SCRIPT
  • Le bâtiment, de langage contemporain, répond, autant par ses matériaux de construction (maçonnerie) que par le dessin de ses façades principales, à l’architecture traditionnelle des fermes basques, avec leurs grandes façades faussement symétriques, leur grande masse blanche perforée par des petites ouvertures qui se répètent. Aux deux extrémités du volume sont creusés des auvents mis en valeur par leur couleur rouge basque. On peut lire dans ces dents creuses dans la maçonnerie une référence au lorio traditionnel. Le bâtiment assume son aspect massif. C’est un objet compact dont l’emprise au sol est relativement modeste ; le site qui l’entoure pénètre le bâtiment par les percements qui le ponctuent (baies et terrasses). Cet objet poreux permet un dialogue permanent entre site et objet architectural. Dans cette même logique, le bâtiment est implanté le plus possible vers le nord du terrain (en limite de zone constructible) de manière à bénéficier au maximum de la lumière du sud. La prairie boisée, ensoleillée pénètre l’espace du séjour en envahit visuellement l’espace intérieur du rez-de-chaussée.

    SCRIPT — Maison Bastille

    SCRIPT — Maison Bastille

    SCRIPT — Maison Bastille

    SCRIPT — Maison Bastille

    SCRIPT — Maison Bastille

    SCRIPT — Maison Bastille

    SCRIPT — Maison Bastille

    Photo Agnès Clotis © SCRIPT. Tutti i Diritti Riservati.

    SCRIPT — Maison Bastille

    SCRIPT — Maison Bastille

    SCRIPT — Maison Bastille

    SCRIPT — Maison Bastille

    SCRIPT — Maison Bastille

    SCRIPT — Maison Bastille

    SCRIPT — Maison Bastille

    SCRIPT — Maison Bastille

    SCRIPT — Maison Bastille

    SCRIPT — Maison Bastille

    SCRIPT — Maison Bastille


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    5 minute video of the history, context, and concept behind Open House - http://www.youtube.com/watch?v=hh_RB6uWQ-c

    matthew mazzotta, Jegan Vincent De Paul - Architectural Designer — Open House

    Open House 5 min video -- http://www.youtube.com/watch?v=hh_RB6uWQ-c For More Photos and Story - colemanarts.org/2013/06/open-house-matthew-mazzotta/

    OPEN HOUSE is a transforming theater in York, Alabama

    matthew mazzotta, Jegan Vincent De Paul - Architectural Designer — Open House

    Open House 5 min video -- http://www.youtube.com/watch?v=hh_RB6uWQ-c For More Photos and Story - colemanarts.org/2013/06/open-house-matthew-mazzotta/

    Artist Matthew Mazzotta, the Coleman Center for the Arts, and the people of York Alabama have teamed up to work together and transform a blighted property in York’s downtown into a new public art project this is in the shape of a house, but can physically transform into a 100 seat open air theater, free for the public.

    matthew mazzotta, Jegan Vincent De Paul - Architectural Designer — Open House

    Open House 5 min video -- http://www.youtube.com/watch?v=hh_RB6uWQ-c For More Photos and Story - colemanarts.org/2013/06/open-house-matthew-mazzotta/

    Through open conversations, hard work and planning we have developed a project that uses the materials from an abandoned house as well as the land it sits on to build a new smaller house on the footprint of the old house. However this new house has a secret, it physically transforms from the shape of a house into an open air theater that seats 100 people by having its walls and roof fold down. We call our project ‘Open House’.

    matthew mazzotta, Jegan Vincent De Paul - Architectural Designer — Open House

    Open House 5 min video -- http://www.youtube.com/watch?v=hh_RB6uWQ-c For More Photos and Story - colemanarts.org/2013/06/open-house-matthew-mazzotta/

    Open House lives mostly in the form of a house between the grocery store and the post office, reminding people what was there before, but it opens up when the community wants to enjoy shows, plays, movies, and any other event people can think of that supports community life here in York. When the theater is folded back up into the shape of a house the property is a public park for anyone to enjoy.

    matthew mazzotta, Jegan Vincent De Paul - Architectural Designer — Open House

    Open House 5 min video -- http://www.youtube.com/watch?v=hh_RB6uWQ-c For More Photos and Story - colemanarts.org/2013/06/open-house-matthew-mazzotta/

    Open House was awarded grants from the National Endowment for the Arts and the Visual Artist Network, as well as individual contributions

    matthew mazzotta, Jegan Vincent De Paul - Architectural Designer — Open House

    Open House 5 min video -- http://www.youtube.com/watch?v=hh_RB6uWQ-c For More Photos and Story - colemanarts.org/2013/06/open-house-matthew-mazzotta/

    Special Thanks to: Jegan Vincent De Paul – Architectural Designer Cory Vineyard – Carpenter Curtis Oliveira – Set Designer

    matthew mazzotta, Jegan Vincent De Paul - Architectural Designer — Open House

    Open House 5 min video -- http://www.youtube.com/watch?v=hh_RB6uWQ-c For More Photos and Story - colemanarts.org/2013/06/open-house-matthew-mazzotta/

    For more details on Matthew Mazzotta- matthewmazzotta.com

    matthew mazzotta, Jegan Vincent De Paul - Architectural Designer — Open House

    Open House 5 min video -- http://www.youtube.com/watch?v=hh_RB6uWQ-c For More Photos and Story - colemanarts.org/2013/06/open-house-matthew-mazzotta/

    For More Photos and Story – colemanarts.org/2013/06/open-house-matthew-mazzotta/

    matthew mazzotta, Jegan Vincent De Paul - Architectural Designer — Open House

    Open House 5 min video -- http://www.youtube.com/watch?v=hh_RB6uWQ-c For More Photos and Story - colemanarts.org/2013/06/open-house-matthew-mazzotta/

    matthew mazzotta, Jegan Vincent De Paul - Architectural Designer — Open House

    Open House 5 min video -- http://www.youtube.com/watch?v=hh_RB6uWQ-c For More Photos and Story - colemanarts.org/2013/06/open-house-matthew-mazzotta/

    matthew mazzotta, Jegan Vincent De Paul - Architectural Designer — Open House

    Open House 5 min video -- http://www.youtube.com/watch?v=hh_RB6uWQ-c For More Photos and Story - colemanarts.org/2013/06/open-house-matthew-mazzotta/

    matthew mazzotta, Jegan Vincent De Paul - Architectural Designer — Open House

    Open House 5 min video -- http://www.youtube.com/watch?v=hh_RB6uWQ-c For More Photos and Story - colemanarts.org/2013/06/open-house-matthew-mazzotta/

    matthew mazzotta, Jegan Vincent De Paul - Architectural Designer — Open House

    Open House 5 min video -- http://www.youtube.com/watch?v=hh_RB6uWQ-c For More Photos and Story - colemanarts.org/2013/06/open-house-matthew-mazzotta/

    matthew mazzotta, Jegan Vincent De Paul - Architectural Designer — Open House

    Open House 5 min video -- http://www.youtube.com/watch?v=hh_RB6uWQ-c For More Photos and Story - colemanarts.org/2013/06/open-house-matthew-mazzotta/


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    Cava Bordin_Salizzo dè Cogoli

    Roberto Nicoletti Architettura e Design — Bordin_Salizzo dè Cogoli

    Roberto Nicoletti Architettura e Design — Bordin_Salizzo dè Cogoli

    Roberto Nicoletti Architettura e Design — Bordin_Salizzo dè Cogoli

    Roberto Nicoletti Architettura e Design — Bordin_Salizzo dè Cogoli

    Roberto Nicoletti Architettura e Design — Bordin_Salizzo dè Cogoli

    Roberto Nicoletti Architettura e Design — Bordin_Salizzo dè Cogoli

    Roberto Nicoletti Architettura e Design — Bordin_Salizzo dè Cogoli


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    In accordance with the guidelines of the competition, the project objective is the redevelopment of the Mestre station area and surroundings. The design approach, depending on the case, consists both in the redevelopment and in the transformation with replacement of existing elements, in vision of a sustainable urban development in favor of the ecology and economic feasibility.

    COTTONE+INDELICATO ARCHITECTS, Chiara Gugliotta — Europan 12 | Venezia

    A critic evaluation of the existing structures provided the coordinates for the intervention methods based on the reuse and improvement of the town, combining proposal with ongoing transformations, integrating with them, where necessary, to encourage a holistic reading and to strengthen the “dialogue” between existing and project.

    COTTONE+INDELICATO ARCHITECTS, Chiara Gugliotta — Europan 12 | Venezia

    The main lines of the project going through the buildings and their exterior, gave birth to the architectural form and organization of the spaces. The development of linear compositional axis determined the directions of pedestrian and cycle paths.

    COTTONE+INDELICATO ARCHITECTS, Chiara Gugliotta — Europan 12 | Venezia

    Site 1 – railway station area Today, Mestre train station, an essential railway junction, is undersized in services and infrastructure with respect to the flow that includes daily. It is conceived as an urban place, with the aim to offer passengers an innovative intermodal mobility as opposed to the existing system and a concentration of transport and services to encourage and integrate the numerous needs as an active exchange center, centerpiece of a new metropolitan area.

    COTTONE+INDELICATO ARCHITECTS, Chiara Gugliotta — Europan 12 | Venezia

    The volume of the new station, which replaces the existing one, extends in length by 28 meters from north to south for about 20 meters deep, encompassing to the right the area occupied by the building of the police and the former post office, aligning itself with the important route of Via Dante.

    COTTONE+INDELICATO ARCHITECTS, Chiara Gugliotta — Europan 12 | Venezia

    Consequently it appears as a horizontal parallelepiped, whose linearity is, however, interrupted on the front of Via Trento, in two points, with the loops, cut-outs, breaking the volume at the roads parallel to Via Piave, and who welcome tree-lined gardens. It follows a reading of the volume proportions closer to the urban fabric surrounding.

    COTTONE+INDELICATO ARCHITECTS, Chiara Gugliotta — Europan 12 | Venezia

    Sito 2 – quartiere Piraghetto The design approach in this area of the competition, took into consideration the changes that are taking place, comparing on the one hand, with the choices with the manifested necessity to increase the residential settlement, and on the other hand with the desire to maintain and enhance the historical memory of the railway operations, concentrated in the warehouse of the freight.

    COTTONE+INDELICATO ARCHITECTS, Chiara Gugliotta — Europan 12 | Venezia

    The heart of the project is the park, which extends up to the limit of the railway line, and includes the entire area of the former goods yard, thus passes from the scale of garden town to that of urban park. A freeway indeed passes next to the railway line, and it acts as a noise barrier between the railroad and the park and collects traffic from the station, today running through via Trento.

    COTTONE+INDELICATO ARCHITECTS, Chiara Gugliotta — Europan 12 | Venezia

    The railroad system act as the border of the park and of the abandoned area with the route of the old tracks creating the system the use of the park. The “green” theme is an essential assumption in order to create the connection. The usability of the space brings together two different ways of travel. A slow one that is pedestrian and cycle paths and a fast one linked to the mobility of the station and the traffic.

    COTTONE+INDELICATO ARCHITECTS, Chiara Gugliotta — Europan 12 | Venezia

    In the middle of the park there are the buildings, the warehouse renovated and re-used as an exhibition hall, a low body joining it as a cultural center. Other four volumes of residences in line with them, accompany and give direction to the paths, apparently free in the green space but strongly anchored to the mainlines of the existing. The city on the one side, the warehouse of the former goods yard with the layout of the abandoned tracks, the other side.

    COTTONE+INDELICATO ARCHITECTS, Chiara Gugliotta — Europan 12 | Venezia

    Sito 3 – il parco di via Piave The area of the parquet floor of Via Piave, on the axis road that leads from the station in the city center, and lives today in improper uses, because of the social degradation of the urban context, it should be affected by the positive influences derived from the urban transformations in the station area, and also by the flow of tourists that move along the path towards the center. Indeed it is desirable, that it creates systm with the new building station and with the park expanded by Piraghetto with which it is linked by roads cross to Via Piave. Ttherefore the project aims to tie it to the system of paths that move along these lines, without altering its identity as neighborhood garden. The goal is actually to recover the existing and to introduce new elements leading to a urban use more involved and active, so that it becomes an important resting place for families with children, neighbors and tourists eager for a break to the shade of big trees. Keeping the existing masts, we proceed with small interventions reformulation of paths in order to improve the relationship with both the buildings that overlook to the garden and the axis of Via Piave who assists him with a car park area.

    COTTONE+INDELICATO ARCHITECTS, Chiara Gugliotta — Europan 12 | Venezia

    In the inner side the other hand, the existing winding path, which passes between the beds and the playground is reused and translated into a bike path with a floor of stabilized soil. The route, along with a quota system generates different spaces free of sitting in the shade of the trees and establishes two areas, one closer to the buildings, green, protected where, rearrange games for children and green lawns without edge, blend with the earth seamless, one closer to the edge of the road, where the pavement in stabilized soil, draw a square for markets and small temporary exhibition stands.

    COTTONE+INDELICATO ARCHITECTS, Chiara Gugliotta — Europan 12 | Venezia

    COTTONE+INDELICATO ARCHITECTS, Chiara Gugliotta — Europan 12 | Venezia

    COTTONE+INDELICATO ARCHITECTS, Chiara Gugliotta — Europan 12 | Venezia

    COTTONE+INDELICATO ARCHITECTS, Chiara Gugliotta — Europan 12 | Venezia


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    Riquaificazione di una area nella sudstadt di Heidelberg

    Davide Ceron Architetto, Bertolone+Plazzogna Architetti — EUROPAN 12

    Vista interna al parco polifunzionale

    Davide Ceron Architetto, Bertolone+Plazzogna Architetti — EUROPAN 12

    Vista fronte strada notturna

    Davide Ceron Architetto, Bertolone+Plazzogna Architetti — EUROPAN 12

    Scorcio interno ad uno dei cortili del centro parco polifunzionale


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    i n z w i s c h e n : from a thin strip of desolated land embedded in concrete, a reminder of former times, a new sense of life is created from the ruins. from barren lands that still bare the empty remains of a failed industrial past, a new structure is reborn to absorb the new future to come. a structure that, by embracing the past, demonstrates it is not fearful of the fickle nature of changing trends. a structure that wants to sew back together the land, the land that is so starkly torn apart by both the river and rail line, which in turn provide the landscape with a unique frame. once separated, there is a sense that the two are destined never to meet again, lending us the impression that the surrounding land is split apart indefinitely.

    cecilia fossati, Alice Busani, Lucia Pasquali — europan 12 - couvet

    the landscape is transformed in a definition of the structure, which acts as a frame immortalising a sequence of portraits of its paths woven by the river and rail line; it is in this way in possession of a strong defence against outside disturbances. the now picturesque environment of the patch of land is a refusal and a refuge to any future urban sprawl, and therefore it is possible to imagine a sense of beauty eternal. the security of the structure lies in the solidity to its introverted landscape, whilst the uniform repetition brings a sense of order without becoming overly powerful on a human scale. the exasperated rhythm of the walls has a calming effect on the landscape, particularly when coupled with the nearby flowing river. the sense of security is echoed in the service spaces housed within the frame of the structure, which themselves become containers of the basic necessities and amenities of daily life. the main components of the human living spaces become secondary; those that are found to exist within the structure seem to almost be bought to life in ceaseless transformations with time and seasons, and with changing needs and trends. in a society of momentary and forgetful existence, the structure has no sense of time, the strong interaction between the walls and the framed landscape seeks to bring comfort through its solidarity, solidity and strength, guiding social growth through longevity.

    cecilia fossati, Alice Busani, Lucia Pasquali — europan 12 - couvet

    Approaching the site with an urbanistic strategy in mind, the area is seen as continuous loop defined by two different systems around the site, each serving an important purpose.

    cecilia fossati, Alice Busani, Lucia Pasquali — europan 12 - couvet

    The train station is the figurehead of the project, being a traditional focal point of towns and cities worldwide. It is at the station that the system is divided into two working circulations: the ‘green’ line and the ‘urban’ line.

    cecilia fossati, Alice Busani, Lucia Pasquali — europan 12 - couvet

    text

    Leading away from the station, the ‘green’ circulation follows the river, and witnesses the gradual introduction of walls and houses, before it works its way through the arches of the walls towards a large orchard.

    cecilia fossati, Alice Busani, Lucia Pasquali — europan 12 - couvet

    Masterplan

    The ‘urban’ route travels through an almost enclosed street front following the facades of the houses and working places, where there is also parking available. This route also leads up to the orchard, where the two systems are reconnected. Adjacent to this there is a large urban space, which connects the sports centre with the ‘bocce’ bar & club, as well as a large hall to use for public events.

    cecilia fossati, Alice Busani, Lucia Pasquali — europan 12 - couvet

    schema 1

    There are minimal interruptions to the system, which eventually reaches the pre-existing buildings, which themselves have been transformed and renovated for new functions.

    cecilia fossati, Alice Busani, Lucia Pasquali — europan 12 - couvet

    schema 2

    cecilia fossati, Alice Busani, Lucia Pasquali — europan 12 - couvet

    the wall

    cecilia fossati, Alice Busani, Lucia Pasquali — europan 12 - couvet

    the house

    cecilia fossati, Alice Busani, Lucia Pasquali — europan 12 - couvet

    the atelier

    cecilia fossati, Alice Busani, Lucia Pasquali — europan 12 - couvet

    cecilia fossati, Alice Busani, Lucia Pasquali — europan 12 - couvet


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    Located in Marbella, on the Mediterranean coast of Spain, the Jellyfish House’s neighboring buildings block its view onto the nearby sea. Appropriately, it was chosen to cantilever the house’s pool from its roof, so that the beach and sea can always be seen while sunbathing or swimming. The house is organized around two paths of circulation: a ‘fast’ and ‘slow’ set of stairs, which intertwine and traverse the house’s four levels of living. The ‘fast’ stair leads from the exterior directly to the roof; it is enclosed in glass, which physically sepa- rates it from the house’s interior, yet it is simultaneously open to the exterior elements, so that sand is not brought into the house when returning from the beach. The ‘slow’ stair–whose long treads and short risers lend it its name–spans the entire length of the house, from ground floor main-entry to roof; it is indoors yet also open to the exterior elements, further amplifying the house’s capacity for ‘interiority’. The house’s rooftop pool is cantilevered 9 m southwest–toward the Sierra Blanca mountain range in the distance – and weighs nearly 60,000 kg. Equipped with an infinity – edge, its water merges with the sea in the distance. This pool has a glass-bottom floor and a panoramic window at its interior facing edge, both of which are 6 cm thick; the latter allows those in the kitchen to voyeuristically view those swimming, while a third window affords those in the kitchen a glimpse of the living room, whose terrace extends under the cantilevered pool. The searing Spanish sun constantly filters through the pool’s glass wall and floor, creating ripples of iridescent turquoise reflections throughout the entire house. As such, the pool can be seen and experienced from nearly all areas of the house. Integrated within the pool is an underwater bench, which traces its length and also integrates a pool cover, so that it is out of sight when the pool is in use.

    Wiel Arets Architects — Jellyfish House

    Five bedrooms are located throughout the house, with two guest bedrooms situated on the basement level that face outward and onto an extensive private terrace for the exclusive use of guests. As the ‘slow’ stair leads from the main entry to the guest bedrooms below, this area of the house is able to function as a separate entity. The kitchen is strung along the southern façade of the house’s first floor, with all secondary appliances built-into an adjacent and perpendicular hallway. The first floor is also the location of the sauna and steam bath. A small service elevator also allows, for instance, food and drink to be brought from the kitchen, or any other floor, up to the rooftop pool and terrace. This roof terrace features an oversized and custom-designed concrete table with an adjoining bench, which is contiguous to an angular chair for reclin- ing while sunbathing.

    Wiel Arets Architects — Jellyfish House

    The house’s structure is composed of poured in place white-concrete, supported by one column at the right-rear edge of its pool, and several smaller columns near the rear-dining terrace. All non-concrete walls were constructed with glazing, which allows sunlight to permeate the house. Multiple bedroom closets, whose obverse faces the ground floor hallway, are finished in translucent glazing to compound this sunlight diffusing strategy. Oversized and accordion-like folding panels of translucent glazing adjoin each dining or entertaining space, which, when opened, essentially expands the house’s numerous areas of living by nearly doubling their size.

    Wiel Arets Architects — Jellyfish House

    All of the house’s audio-video equipment–such as its countless Bose speakers–are recessed into its ceilings and walls, which allows them to disappear within their context little noticed. Lighting illuminates all corridors and staircases, as well as underwater within the pool, ensuring the rippling effects of its reflections that shimmer through its glass floor and wall can also be experienced throughout the house at night. Taking full advantage of the ever-present Spanish sun, the Jellyfish House is an avant-garde expression of luxurious liv- ing; as most of its façades can be opened, and as its staircases are mainly outdoor, the house’s ever shifting boundaries between inside and outside are curiously blurred.

    Wiel Arets Architects — Jellyfish House

    Wiel Arets Architects — Jellyfish House

    Wiel Arets Architects — Jellyfish House

    Wiel Arets Architects — Jellyfish House

    Wiel Arets Architects — Jellyfish House

    Wiel Arets Architects — Jellyfish House

    Wiel Arets Architects — Jellyfish House

    Wiel Arets Architects — Jellyfish House

    Wiel Arets Architects — Jellyfish House

    Wiel Arets Architects — Jellyfish House

    Wiel Arets Architects — Jellyfish House

    Wiel Arets Architects — Jellyfish House

    Wiel Arets Architects — Jellyfish House

    Wiel Arets Architects — Jellyfish House

    Wiel Arets Architects — Jellyfish House

    Wiel Arets Architects — Jellyfish House


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    Il progetto, selezionato al Premio di Architettura Costruire il Trentino 2009-2012, è frutto di un tavolo di lavoro avviato congiuntamente nel 2008 (su volere della PAT) dalle amministrazioni di Isera, Nogaredo, Villa Lagarina, Pomarolo e Nomi che ha portato all’individuazione di un comune percorso di sviluppo e valorizzazione del patrimonio naturale, agrario, storico ed architettonico delle singole comunità. Partendo dalla constatazione del progressivo abbandono dell’attività agricola nell’area collinare con il conseguente degrado dei manufatti esistenti (strade poderali, muri di sostegno, edifici rurali tradizionali, ecc.) il progetto si è posto come obiettivo primario il recupero e la valorizzazione del paesaggio agricolo attraverso la riqualificazione di tutti i percorsi di accesso ai poderi con i relativi manufatti di contenimento, nonché la valorizzazione paesaggistica di quegli elementi di pregio storico o ambientale presenti nell’area di interesse (alberi monumentali come lo storico Bagolaro de Val, siti archeologici, biotopi naturali).

    Leoni & Leoni — PERCORSO COLLINARE NOMI - VAL - SERVIS

    Padiglione panoramico

    Nello specifico il progetto sull’area collinare compresa nel comune di Nomi, attraverso un percorso che si snoda da sopra l’abitato fino alla località Servis per una lunghezza complessiva di circa 3 km, si è composto sia di interventi di carattere ordinario che straordinario. A seconda delle condizioni dell’esistente tracciato stradale sono state eseguite operazioni di rettifica ed allargamento dei tratti a maggiore pericolosità, di rigeometrizzazione delle rampe a monte e a valle, di ridisegno e messa in sicurezza dei tornanti, pulizia e ripristino dei muri in sassi a secco e costruzione di nuovi muri di contenimento dove crollati, riconfigurazione dei sistemi di scolo delle acque meteoriche, nonché del fondo e del manto stradale. Particolare attenzione è stata rivolta, sia in fase di progetto che di cantiere, alle lavorazioni riguardanti i muri in sassi a secco tramite lo studio accurato della loro tecnica costruttiva e la formazione delle maestranze di cantiere. La scelta dei materiali – tutti legati alla tradizione rurale locale e per quanto possibile recuperati direttamente in loco e quindi a km 0 – nonchè delle tecniche costruttive è stata condotta nell’ottica della minore invasività e del massimo rispetto per la natura, che è qui la vera padrona del luogo.

    Leoni & Leoni — PERCORSO COLLINARE NOMI - VAL - SERVIS

    Scorcio sulla valle dell'Adige dal padiglione panoramico

    In località Val, in un punto caratterizzato da una particolare veduta sulla valle dell’Adige, è stato realizzato un nuovo padiglione panoramico in legno con il 3° recupero delle tavole di larice massiccio di un esistente manufatto abusivo. La sua forma prismatica divergente apre la vista sull’intorno spaziando da Castel Beseno fino a Savignano attraverso la rocca di Calliano, Castel Noarna, le rovine del Castello di Nomi e tutti gli abitati della Destra Adige Vallagarina. Il terrazzo circolare panoramico sottostante, è in acciaio verniciato finitura corten con le sedute in legno di frassino. Nelle piazzole di sosta potenziate lungo il tracciato gli elementi d’arredo e le nuove alberature creano dei coni visivi da cui poter godere del fascino del paesaggio naturale circostante.

    Leoni & Leoni — PERCORSO COLLINARE NOMI - VAL - SERVIS

    Leoni & Leoni — PERCORSO COLLINARE NOMI - VAL - SERVIS

    Leoni & Leoni — PERCORSO COLLINARE NOMI - VAL - SERVIS

    Particolare muri a secco

    Leoni & Leoni — PERCORSO COLLINARE NOMI - VAL - SERVIS


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