If on one hand, the major infrastructures such as highways, railways and the canal has projected Pantin into modernity, on the other, they constituted the major obstacle for improvement. That is, our masterplan investigates three main principles: a compact and fair density, porosity and a recognizable identity.
Compactness optimizes the use of land, allows activities to be regrouped around the housing blocks liberating land in order to create small gardens fighting with the grey of concrete which commonly predominates in suburban contexts. The Second principle is Porosity, the fundamental characteristic of the adaptable and sustainable city. It is a principle that only manifests itself in time; an invisible infrastructure that adapts to every change of the city and which collects all the voids that make up the urban fabric. The third principle is recognizability, or the search for identity. It derives from porosity, and it starts from the idea that the image of a city is related to its form and proportions.
In order to achieve those goals, our project establishes an urban alphabet which defines the criteria of the adaptable city and which provide the greatest flexibility and reversibility to the architectural spaces. The alphabet contains measures and pieces that cohabit each other and which guarantee an almost infinite number of possibilities to the development of the city.
Thus, the project develops as a succession of atmospheres, views, lights, and successive modifications, which allow individuals to feel unique and, at the same time, part of a whole. This is possible thanks to our vision that looks at Pantin as a vast system of interdependent units.
The offices are organized around 5 double-height spaces that can take on different functions as needed: meeting rooms, exhibition spaces, private areas or places to relax.
These spaces are the real living places of the building. Visible from the inside and the outside, these spaces will be the showcase of the company’s activity.
During the day, on anodized aluminum facades, the reflections of the colors of the environment prevail over the perforations of the panels, defining the pure form of the building.
At night the game is reversed: the light of the trays makes the facade permeable and transparent. It reveals the inner life, as well as the organization and character of the architecture.
The urban environment is an ecosystem of memories and relationships, it may happen that such balance suddenly disappears and cities, built in thousands of years, suddenly change. With the demolition of the Hotel Giorgione, the system of public spaces has been enriched with a panoramic view revealing the surrounding valleys and the remains of the Norman Castle. The entire program is enclosed in a compact volume that elects the landscape as the fourth front for the creation of a new panoramic square.
The accesses to the core of the apartments are placed inside the courtyards; in this way, a physical interaction between the dwellers is encouraged. Communal terraces shared by the dwellers of a single block at the first floors promote a second scale of interactions. Reduced sizes of the courtyards, together with the increased number of facades and the presence of balconies for each apartment, make a continues visual interaction among the dwellers. This creates a sense of security and it is at the base for a first “get to know each other”.
The project proceeds by successive subtractions: defines the voids that generate the volumes and empties them inside until they become permeable.
The geometric design of the façade, marked only by structural elements and glass walls, contributes to lighten up the building mass.
A constant subtraction of the mass in order to reduce the obstruction towards the outside view of the surrounding territory.
The structure is conceived as a monocoque hull which recalls the tradition of shipbuilding. Like boats and submarines, the skin acts as a self-bearing system entirely made of steel. The material can be recycled and reused and thus we can consider the building as a temporary storage of material. In effect, following a circular economy strategy, the shell is composed of demountable pieces that can be easily transported and re-used after the end of building's life.
A large internal staircase connects the two levels of the city topography: Via d’Afflitto and Piazza San Francesco. conceiving the the hall of the school on two levels, a vertical promenade takes visitors up to the square and through the school until the panoramic roof.
The roof of the building will host a didactic green garden and will be the most beautiful panoramic terrace of Ariano.
Our project proposes an intervention in two phases. The first has purified the superfluous by exposing the structure. The successive phase remodels the spaces: a project of architecture and interior that promotes a new reading of the spaces and which recovers, in part, the old organization of the Roman baths.
In order to achieve a symbolic meaning for the whole community of Seoul, the project recalls some of the foundational concepts of Korean and Asian culture. Historically, eastern civilizations assign to the primal geometry of circle the power to balance opposite forces: nature vs. artifice, land vs. water, good vs bad. This philosophical meaning was then taken seriously and explored in order to verify the validity of its balancing quality within architecture. The circular shape was then studied to distribute the different programs and type of users in order to create a balance between the distribution of fluxes: fast commuting vs. chill strolling, leisure vs. work, Seoul vs. Han River.
The terminal by definition creates a border, our project challenges this notion by exploring the edge as a place of gathering rather than a linear division.
The Project nests at the edge of water and land, as the confluence of the park, river and the city.
Like the mixture of two different substances, work and leisure come together in a mutual embrace, forming spaces and terraces overlooking the park, the city and the river.
Yeoui-Naru will not be just a Ferry Terminal but a place where individuals can meet, connect and contemplate the landscape. The project does not only fulfill its role as a new infrastructure for the city but also offers to visitors a new involving experience of the Han River.
In the same way, the materialization makes it possible to find a unit, today scorned because of the modifications undergone; the 4 chosen materials, concrete, wood, glass and brass, are available in all rooms allowing a clear reading of the intervention. Particular attention is paid to details and implementation in order to meticulously emphasize the palimpsest that forges the identity of the building.
The urban fabric of Riccione is like a big mosaic where intermediate spaces host small portions of green areas, wherein the public buildings are located. The project includes a small city inside the city: three intermediate green courtyards are the bonding agent of the school activities. Connected by a safe inner-road the courtyards that bring light and quality to the indoor environment.
The of the school facades are entirely covered with bricks retrieved from demolished buildings and yards in the neighboring areas. The bricks of different origin will alternate with irregular horizontal strips symbolizing the stratification of the learning experience.
Every experience or moment of learning is unique, and all together, day after day, shape the character and personality of a person, Every brick represents a day of studying and acquiring knowledge.
The project is based on the question of urban integration in a rapidly changing neighborhood: on the one hand, the search for a dialogue with the existing buildings that dot the neighborhood; on the other hand, the will to draw an emblematic object, capable of giving a domestic scale by revealing the characteristic elements of the place.