urban good practice

Transcript

urban good practice

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--------------------Urban Good Practice
---------------------
Gangcity documents the phenomenon of urban clusters, void of any form of control of legality, and ruled by
a growing multitude of violent non-state actors – gangs, mafias, terrorists – with the aim of activating processes for the reappropriation and securitization of public and private spaces.
-----------------------Urban Good Practice
------------------------
It is a selection of architectonical realizations that could be a model of good practice to redevelop decay
zones of the city. Projects are divided into three categories about small operations (MicroUrban), neighborhoods’ rennovation (Urban) and borderline areas or derelict industrial zones in outskirts (PeriUrban).
A cura di: Marco Cucuzza (Politecnico di Milano)
Con la collaborazioe di: Giulia Bonfanti, Simone Crippa , Aura Barilani
MicroUrban Project
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Urban Good Practice - Sommario
Micro Urban Project
FONDAZIONE PRADA
MERCATO DI SANTA CATERINA
STREETDOME
NEMAUSUS NIMES
MARKTHAL ROTTERDAM
EYE- NEW DUTCH FILM INSTITUTE
HKSAR-GOVERNMENT HEADQUARTERS
AMSTERDAM BORNEO KNSM THE WHALE
AMSTERDAM PIRAEUS
WINE BIKE CITY - TIME2LIVE
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Urban Project
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SESTO SAN GIOVANNI
PORTA NUOVA
PLACE DES DROITS DE L’HOMME
MILANOFIORI
PORTO ANTICO GENOVA
MASTERPLAN FOR MARSEILLE’S PORT
BAKER HOUSE
LIBRINO
LE LAVATRICI - PRA’
CORVIALE
PARQUE BIBLIOTECA ESPAÑA
PeriUrban Project
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HIGH LINE
RAMBLAS BARCELONA
RIO 2016- OLIMIPIC’S PARK
VIADUC DES ARTES
WEST BEACH
PROMENADE
LA CONFLUENCE
POTSDAMER PLATZ
PARCO AGRICOLO SUD BARRIERA MILANO
VIADOTTO DEIPRESIDENTI
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MicroUrban Project
---------------------------------------Micro Urban Project
---------------------------------------Urban operations to patch and mend small islands of territory.
The results can be ob-
served in interstitial, residual spaces, areas subjected to demolition processes or affected by a lack of planning schedules.
Areas that have been abandoned and marginal-
ized, and are now ready to be used to activate processes of urban and social regeneration.
Fondazione
Prada
/
Mercato
di
Santa
Caterina
/
Streetdome/Nemausus
Nimes
/
Markthal Rotterdam / Eye- New Dutch Film Institute / Hksar-Government Headquarters /
Amsterdam Borneo / Knsm The Whaleamsterdam Piraeus / Wine Bike City - Time2live
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FONDAZIONE PRADA
Localization:
Milan, Italy
--------------------------------------------Architectura Design:
OMA - Rem Koolhaas
--------------------------------------------Design Period:
2008-2015
--------------------------------------------Construction Period:
2015
--------------------------------------------Total Built Area:
18,900m2
--------------------------------------------Credits:
http://www.arketipomagazine.it/en/new-fondazione-prada-headquarters-studio-oma/
MicroUrban Project
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A project combining preservation of a historic structure with a
new architectural design, the new Fondazione Prada building
in Milan. The project, developed by studio OMA under the
direction of Rem Koolhaas, is based on an architectural
configuration combining seven existing buildings and three new
constructions: the Podium, the Cinema and the Tower, currently
undergoing completion.
The new permanent headquarters in Largo Isarco (in the south
of Milan) covers a total of 19,000 square metres and is the
result of conversion of an early twentieth-century distillery to
offer the city of Milan a space for contemporary art exhibitions
and a variety of different projects in the fields of architecture,
film and philosophy. Fondazione Prada has an open structure,
the planning of which is the result of discussion among the
Foundation’s department curators, coordinated by Astrid Welter,
Mario Mainetti and Alessia Salerno, with the Thought Council,
a group with a variable composition which originated with
Shumon Basar, Nicholas Cullinan and Cédric Libert, joined in
May by Elvira Dyangani Ose and Dieter Roelstraete, Presidents
Miuccia Prada and Patrizio Bertelli and Artistic and Scientific
Superintendent Germano Celant.
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Courtesy of Fondazione Prada. ©Bas PrincenFondazione Prada, 2015
. ©Laurian Ghinitoiu, 2015
The busy cafe terrace. ©Bas Princen- Fondazione
Prada, 2015
Fondazione Prada before the works.
Fondazione Prada, Nord. ©Bas Princen- Fondzione
Prada, 2015
Model of Fondazione Prada. Image courtesy of OMA
Existing warehouse buildings repurposed as diverse
gallery spaces, 2015
Fragile, flaking gold leaf on the Haunted House contrasts with the bizarre aluminium foam cladding a new
gallery. ©Bas Princen- Fondazione Prada, 2015
Haunted House before the works
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The spaces in Milan present three different exhibition projects
using the Prada Collection as a tool for study and research: “An
Introduction”, “In Part” and “Trittico”.
The South Gallery and part of the Deposit host “An Introduction”
(May 9 2015 – January 10 2016), an exhibition including
more than 70 works. Combining study with love of art, the
exhibition explores the curiosity, impulses and aspirations that
have helped give form to the collection, leading to the opening
of the Foundation. The exhibition itinerary begins with the art of
the ’60s, from New Dada to Minimal Art, with works by Walter
De Maria, Yves Klein, Piero Manzoni, Donald Judd and Barnett
Newman, as well as Pino Pascali and Edward Kienholz. In the
centre is a late 15th-century studio, presented as a symbol of
the continuity of knowledge and study. A picture gallery includes
works by a number of artists including William N. Copley, Lucio
Fontana, Mario Schifano, Gerhard Richter and Goshka Macuga.
The itinerary concludes with “artists’ vehicles”, including work
by Elmgreen & Dragset, Carsten Holler & Rosemarie Trockel,
Tobias Rehberger, Gianni Piacentino and Sarah Lucas,
immersing the visitor in a reality in which life is intertwined with
the artists’ contribution and works toward a more extensive
horizon, represented by the work of the Foundation.
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MERCATO DI
SANTA CATERINA
MicroUrban Project
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Localization:
Barcelona, Spain
Enric Miralles - Benedetta Tagliabue EMBT
--------------------------------------------Design Period:
1997
1998-2005
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--------------------------------------------Total Built Area:
3749m2
--------------------------------------------Credits:
http://www.bdonline.co.uk/alex-mowats-inspiration-santa-caterina-market-by-embt/5061579.
article
http://www.area-arch.it/it/miralles-tagliabue-il-valore-della-continuita/
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Santa Caterina Market in Barcelona’s historic quarter dated from
1844-8 and was badly in need of regeneration when EMBT
took on the job in 1997.
The brief was not just to revive the market but to incorporate two
blocks of social housing, a small museum and an underground
car park.
The scheme also embodies an integral system of rubbish chutes
and a waste processing centre, and creates two small public
spaces. The project was extensively delayed with the result
that, although the design predated the Scottish Parliament,
it completed after that building was finished — and after the
death of Miralles. The delay was due to an extraordinary series
of archaeological finds during construction, which unearthed the
remains of a Dominican monastery as well as of the first wholly
gothic church in the city, from the 13th century, plus the ruins
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Maine facade of Santa Caterina Market
Context’s view, ©EMBT
Detail of the curved roofs. ©Fiorella Rabellino, 2009
View towards the square. ©Jamison Wiesere, 2009
Santa Caterina Market before the works. ©EMBT work
in progress
Indoor Santa Caterina Market. ©Jamison Wiesere,
2009
Santa Caterina Market roof.
Drawing of the roof, ©EMBT
View of the East elevation, 2011
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without an adequate public reflection on its future having been
developed, and in the firm and indignant reaction of the city,
Miralles’ voice was one of the most respected and important
ones to recommend a different solution.
After the demolition the traces of the old monastic structure which
had occupied this large block came to light; in the meanwhile
EMBT, winner of the architecture competition, developed the
town plan for the patient and sensible reconstruction of this
delicate fragment of the old town.
of a late Roman necropolis.EMBT’s design retained just the
market’s facade and introduced a wave-like roof of 325,000
ceramic tiles supported on intertwining steel columns, created in
collaboration with artist Toni Comella.
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The market is much more than a simple, pretty architecture;
rather, it is a smiling question mark, a generous thought for the
city and its inhabitants, one of those works that have sought,
silently, to ferry our architecture from one period to another.
The market and its adjacent urban spaces tell you the story
of a traditional Barcelona, about familiar stories, materials and
colours, but at the same time about an absolutely contemporary
and new way to conceive and build collective places.
The story, the stories, regardless of what they are, from the
highest and most recognized to those fragments of obscure
memory that get stuck inside you, are mixed and digested in
the dense body of that system of arches, roofs, metal vaults,
wood, ceramic and concrete that embrace the market and the
life which incessantly passes through it.
The new market is above all a social and civil conquest, to which
the two architects have given a crucial contribution in terms of
debate and design; the old building was marked for demolition
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STREETDOME
MicroUrban Project
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Localization:
Haderslev, Denmark
CEBRA & Glifberg & Lykke
--------------------------------------------Design Period:
2011
2012-2014
--------------------------------------------Total Built Area:
1500 m2+4500m2 (skate park)
--------------------------------------------Credits:
http://www.thecoolist.com/streetdome-skatepark-denmark/
http://cebraarchitecture.dk/project/streetdome/
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StreetDome’s overall ambition is to set new standards for
urban arenas for unorganised sports. StreetDome is an open
playground and social meeting place for different ages, skill
levels and cultures. StreetDome is a vast and unique urban
landscape for activity and recreation including a 4.500 square
metre skate park, facilities street basket, parkour, boulder
climbing, canoe polo etc.
The StreetDome itself is based on CEBRA’s igloo hall concept.
To reduce running costs, the hall is unheated and lit primarily
through daylight while the building’s surface area has been
minimized through its dome shape.
The roof spans around 40 meters under which there is a large
open floor. This space is free of load-bearing structures and can
therefore be used for any kind of sporting arrangement, in this
case skateboarding.
The Igloo is adapted to both the site and the specific function
of skateboarding and street culture. On the outside, the dome
is an actual part of the skate park, growing out of the concrete
landscape like a mushroom.
The structure is designed as a functional part of the park to skate
on with banks, stairs and slopes along the rim. Inside, a series
of pools are scooped out of the floor next to a street basket
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General view of the building. © Mikkel Frost / CEBRA,
2014
2. Sketch of the dome by CEBRA
3. Indoor of the dome. © Mikkel Frost / CEBRA, 2014
4. Axonometric sketch by CEBRA
5. The different users . © Mikkel Frost / CEBRA, 2014
6. Top view of the entire complex. © Mikkel Frost /
CEBRA, 2014
7. View of the building across the water. © Mikkel Frost /
CEBRA, 2014
8. Relationship between indoor and outdoor. © Mikkel
Frost / CEBRA, 2014
9. Outside Climbing
10. The StreetDome by night. © Mikkel Frost / CEBRA,
2014
11. The skate park. © Mikkel Frost / CEBRA, 2014
12. Climbing inside the dome. © Mikkel Frost / CEBRA,
2014
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court and a central boulder structure containing a performance
platform, seating and bathrooms.
Wide gates open to the outside connecting the surrounding
skate park with the inside floor, creating a seamless flow through
the entire park.
StreetDome forms one continuous and varied spatial course,
which gives Scandinavia a modern street sport arena with
unique features and possibilities.
In the planning phase CEBRA has implemented the results from
the comprehensive dialogue with a wide range of the facility’s
future user groups. This process has been an essential element
right from project’s initial phases and has left a clear mark on
the final design.
The StreetDome wasn’t an inexpensive community project, but
it should pay dividends in use by local kids and teenagers. A
place with such a vibrant, eye-opening design sensibility is likely
to encourage plenty of use by the community.
It’s a smart investment and an even smarter design, and a great
example for what communities can do to enrich the lives of their
next generation.
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NEMAUSUS NIMES
MicroUrban Project
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Localization:
Nimes, France
Jean Nouvel
--------------------------------------------Design Period:
1984
1985-1987
--------------------------------------------Total Built Area:
10400m2
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--------------------------------------------Credits:
http://www.asianurbanepicenters.com/?p=3017
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Project Nemausus by Jean Nouvel was a radical housing
experiment that sought to apply industrial principles and
materials to social housing.
Nemausus was built in 1987 and is situated in an industrial zone
in the southwest part of Nòmes as part of a program to renovate
a decrepit district of 1960’s public housing.
By using industrialized construction technology and industrial
materials, the design team sought to reduce construction costs
and thereby providing larger, better and cheaper dwellings.
The application of such techniques also gave public housing
a new image and Nemausus was seen as an alternative model
of social housing that discarded the “usual limited, desolate
programs of rent-controlled, subsidized housing.”
Nemausus consists of two apartment blocks, each with sevenstorey, gallery-access slabs that are aligned east-west alongside
a row of trees that existed before the building was constructed.
Both blocks are raised up on pilotis to provide for covered
parking at a slightly depressed lower level.
Access galleries run alongside the northside of each block and
are connected to open metal staircases and elevator stacks that
are built within the frame. The frame consists of 5m x 12m
structural bays, with perforated PCV awnings that extend from
the roof and perforated metal balustrades that extend from
cantilevered balconies. These cantilevered balconies form
a continuous terrace on the south side of the blocks and by
opening the full height concertina doors, the balcony space
could be fully integrated with the living space, blurring the lines
between the inside and outside.
Industrial principles and materials were applied at every possible
part of the building. Corrugated aluminum panels, aluminum
windows and white-painted bi-fold doors enclose the concrete
structural frame and separating walls.
Perforated galvanized industrial grating is used for the tilted
panels of the balustrades and PVC agricultural louvers are used
for the roof louvers.Within Nemausus, lies a diverse mix of
flats, duplexes (two storey) and triplexes (three storey) that are
packed together within the seven storeys. There are 17 different
types of apartments with sizes ranging from one bedroom flats
to three bedroom triplexes. Some of the triplexes even have
top floor bedrooms that have their own separate entry door.
Every apartment has bifold metal doors and most of the multifloor dwellings have two story high volumes and some have two
storey high doors.
The industrial quality of the spaces even extends to the interiors
where the concrete is left unfinished and manufactured panels
and stairs are also used. In some of the flats the 5m bay has
been divided into smaller rooms, but in most of the apartments,
the full width of the structural bay is kept and the impression is
of very generous, open loft space.
Project Nemausus is a good example of how a rich layering
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General view of the building.
The site before the destruction of the warehouses. ©
Jean Pey
Cantilevered balconies.
Trasversal front.
Metal staircases
Sketch by Jean Nouvel.
View from the balconies.
View from the East, departure from the safe character.
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of spaces and lives can be accommodated within standard
structural bays without compromising on financial affordability
and quality of living space. Given that Singapore’s rental housing
community also comprises of a diverse range of household
types, similar principles of spatial planning can be applied to
achieve a greater degree of sensitivity to their varying needs
and household uses.
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MARKTHAL
ROTTERDAM
MicroUrban Project
Localization:
Rotterdam, Netherlands
MVRDV
--------------------------------------------Design Period:
2004-2009
2009-2014
--------------------------------------------Total Built Area:
95000m2
--------------------------------------------Credits:
http://www.theplan.it/eng/webzine/international-architecture/
markhal-rotterdam#sthash.m5tI0xht.dpbs
http://www.e-architect.co.uk/rotterdam/market-hall-in-rotterdam
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Markthal Rotterdam, a project by developer Provast, is the first
covered food market of the Netherlands.
The roof of the market hall is an arch accommodating 228
apartments, underneath the hall are 1,200 parking spaces and
a supermarket.
The combination of market hall and housing is a new typology
and, located in Rotterdam’s city center, is expected to attract
4,5 to 7 million visitors each year. The construction of Markthal,
took five years to be completed.
Markthal was a success already before being realised: it is a
new and fresh icon which already has attracted large quantities
of international press and visitors. It is located in the city center
of Rotterdam, in the historic Laurenskwartier, which is currently
being redeveloped. The project is part of the ambition of the
city council to turn the Laurenskwartier into a lively and bustling
area. Markthal comprises 96 fresh food stalls and shop
units, ranging from Rotterdam based businesses and market
vendors to established local heroes.The ground and first floor
accommodate 20 retail units, restaurants and cafés. All shops
are food-related and include a crockery- and a wine shop.
A supermarket is located on the first underground level allowing
the shoppers to complete their shopping under one roof.
In order to attract a large number of visitors, the building is
designed with an open character. The open sides had to be
closed to prevent rain and cold from entering, but kept as
transparent as possible by opting for a single glazed cable
net façade. Comparable to a tennis racket, pre-stressed steel
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Markthal Rotterdam, on the outside a flat clad in
Rotterdams street stones, inside a colorful market. ©
Ossip van Duivenbode, 2014
2. Fresh food stalls.
3. View of the square from the inside of the market.
4. The market by Plaatjesmarkr. Chris, 2014
5. Indoor of Markethal. ©Nico Saieh, 2014
6. The daily fresh food.
7. Gallery of Markethal.
8. View of the main facade. © Daria Scagliola+Stijn
Brakkee, 2014
9. Longitudinal view . ©Nico Saieh, 2014
10. The mural which covers the vaulted interior. ©Nico
Saieh, 2014
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cables create a suspended net in-between the glass panes are
hung. Markthal’s cable net façade is the largest of its kind in
Europe and flexible to withstand heavy storms.
The exterior facade is clad in grey natural stone; the same is
used for the market floor and the surrounding public space, in
this way the emphasis lays on the colourful interior.
The large mural which covers the vaulted interior, ‘Cornucopia’
by artists Arno Coenen and Iris Roskam has a total surface
of 11.000 m² making it one of the largest artwork of the
Netherlands. ‘Cornucopia’ shows oversized images of market
produce, which can be bought at the market, while the flowers
and insects refer to the work of Dutch still life masters from the
17th century. In order to achieve the required sharpness, the
image was rendered by Pixar software.
It was printed onto perforated aluminium panels, then attached
to acoustic panels for noise control.
The print resolution of the artwork is comparable to a glossy
magazine. Markthal makes Rotterdam home of a new urban
typology, a hybrid of market and housing.
Markthal means an important impulse to its surrounding area
which is a strong contribution to the urban economy. Markthal
with its daily fresh food market, shops and apartments, creates
coherence and connections in the neighbourhood which will
reach a new centrality.
The building is a new statement in the urban structure of
Rotterdam with its high diversity of icons from the days of
reconstruction and urban renewal, but also some new buildings
that have been realised over the last years.
It is in line with the city’s ambition to house more people in the
centre and to raise the life quality in post-industrial Rotterdam
through a series of large scale projects and countless bottomup projects.
The combination of styles of architecture forms an excellent
environment for the spectacular design of Markthal.
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EYE- NEW DUTCH FILM
INSTITUTE
MicroUrban Project
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Localization:
Amsterdam, Netherlands
Delugan Meissl Associated Architects
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--------------------------------------------Design Period:
2005-2007
2008-2012
--------------------------------------------Total Built Area:
6300 m2
--------------------------------------------Credits:
http://www.archdaily.com/223973/
eye-new-dutch-film-institute-delugan-meissl-associated-architects
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Both the Eye Film Institute’s concept and urban implementation
are based on an overlay of two creative disciplines which have
at their core reality and fiction, illusion and real experience.
The building concept becomes the story board, the architecture
the scenography.By delivering a dynamic interplay, the building’s
assigned role oscillates between acting as the urban scenery’s
protagonist and as a dramaturgical element placed in front of a
heterogeneous landscape setting.On the interface between land
and water, between historic centre and modern development
area, the building adopts many faces from each viewpoint, thus
finding itself in a constant dialogue with its surroundings.
Its radiance overcomes the city’s natural divide and historic
lifeline, the IJ river, and is defined by its interaction with the
surroundings, its positioning, and geometry.
The area’s distinctive communicative effect goes beyond the
confines of the building, thus transforming the visit to the Film
Institute into a sustained encounter between urban reality and
cinematographic fiction.
As a multi finctional meeting point, the building’s architectural
formulation complies in multiple ways with the responsibility
held by a cultural institution of the highest functionality and
sustainability. Situated in the privileged riverside area in the heart
of Amsterdam, the Film Institute represents the visual landmark
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Eye night view . © Iwan Baan, 2012
Sketch by Delugan Meissl Associated Architects
Exterior facade and terrace. © Iwan Baan, 2012
Relationship of the museum to the city center. © Iwan
Baan, 2012
Museum in its context. Aura Barilani, 2015
Terrace with a view of the bar. © Iwan Baan, 2012
Outward view from the arena. © Iwan Baan, 2012
The interior stairs. © Iwan Baan, 2012
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of the new Amstrdam Noord quarter. This development area
extends over to the former Shell Terrain on the opposite side
of the river to the Centraal Station, Amsterdam’s train station.
As the international oil company’s former research centre, this
area which is situated close to the city centre and along the the
busy urban water vein held a sensitive function. It used to be an
isolated wasteland, hermetically secured and not accessible to
the public. Since the transfer of Delugan Meissl Associated to its
new headquarters in the north, this stretch of land has developed
into a vital expansion area. Apartments, office buildings, and a
functionally disposed infrastructure are supposed to act as a
bridge towards the lively quarter on the south bank.
The Overhoeks Tower is the only architectural relic that reminds
of the area’s former use. This distinctive landmark has been
integrated into the Film Institute’s conceptual design idea
through formal referencing.
The new building generates several urban and interior situations
which through their communicative orientation contribute to the
urban and social surplus value.
Consequently, the Film Institute’s striking and impressive
appearance complements the city’s highly qualitative cultural
offer and underlines Amsterdam’s role as a world-renowned
top- class cultural site.
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HKSAR-GOVERNMENT
HEADQUARTERS
MicroUrban Project
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Localization:
Admiralty, Hong Kong
Rocco Design Architects
--------------------------------------------Design Period:
2005
2008-2011
--------------------------------------------Total Built Area:
12200m2
--------------------------------------------Credits:
http://www.theplan.it/eng/webzine/architettura-internazionale/uffici-governativi-di-hong-kong-#sthash.pXdigrcC.dpbs
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HKSAR Government Headquarters is located at the historical
site of Tamar, a former naval dockyard.
It is an intricately composed Government Complex, integrating
three principal facilities: the HKSAR Government Offices, the
Chief Executive’s Office and the Legislative Council Complex.
The design projects a unifying composition, while each facility
maintains its identity and expression befitting to its function. The
two wings of Government Offices are joined together at the
upper level, creating the visual metaphor of an opening door.
The Legislative Council Complex and the Chief Executive’s
Office flanking the Civic Park project forward on either side,
signifying their independence as well as their dialogue across
the landscape.
The landscaped Civic Park, or “Green Carpet”, penetrates the
heart of the project linking the city with the waterfront, gives
Tamar back to the citizens and brings them right through the
heart of Government.
- Land Always Green: on a human scale the Complex is a
civic icon, where greenery takes centre-stage and architecture
assumes a supporting role. The Door gives way to nature and
lush landscape.
The “Green Carpet” that connects the Harbour through the Door
leads to a multitude of people-friendly venues, including a sculpture Court, the Legislative Council Garden, an amphitheatre, a
floating deck, the Legislative Council Square and the Tamar
Corner, all for the enjoyment of the public.
The design concept of the Project embodies four themes.
- Door Always Open: With a grand gesture of opening up the
site from the city to the Victoria Harbour, the project is a visual
icon projecting the spirit of Hong Kong: a city always open and
receptive to new ideas and diverse cultures. The Open Door also
symbolizes a city which is justifiably proud of its openness and
transparency of governance.
- Sky will be Blue: HKSAR Government Headquarters demonstrates a passionate commitment to embrace a cleaner future,
with emphasis on sustainable design contributing to a concerted
effort to bring back the blue sky.
Disposition of the blocks allows the prevailing wind to penetrate
the inner city providing ventilation through the Open Door passage, it also allows solar access to the site from the south, while
the stepped heights of the buildings allow airflow mixing and
recirculation, channeling wind from higher elevations to enhance
air ventilation at pedestrian level.
Besides, innovative façade design systems are adopted to
achieve sustainability for the development.
- People will be Connected: the essence of the design for
people is on connectivity, dialogue and communication.
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Hong Kong’s government headquarters, situated at the
edge of Victoria Harbour.
2. View from above.
3. The Chief Executive’s Office. ©Rocco Design
Architects,2014
4. Land Always Green. ©Rocco Design Architects,2014
5. Public open space. © Marcel Lam,2014
6. Bottom view of Central government Office . ©Rocco
Design Architects,2014
7. Study model.
8. An aerial shot of the park adjoining government
headquarters.
9. Indoor of LegCo Complex Low block. ©Rocco Design
Architects,2014
10. Land Always Green. ©Rocco Design Architects,2014
11. The interior form of the Chamber. ©Rocco Design
Architects,2014
12. The Low Block and Central government Office. ©
Marcel Lam,2014
On a physical level, the design starts with a macro-view of
the urban form adopting a strategy that brings on a seamless
connection of urban green nodes, from Hong Kong Park to
Admiralty Gardens to the future waterfront promenade, making
the place and the waterfront accessible to the public with ease
and fluidity.
To enhance this connectivity, the Legislative Council Complex
and The Chief Executive’s Office are located one on each side
of the site, on the same axes as the Central Government Offices
East Wing and West Wing, flanking the central park area and
angled towards the Waterfront to create unity for the whole
development, being set in more than two hectares of open,
green and freely accessible areas for the public.
On a symbolic level, the design is an iconic gesture to unite
the diverse functions of Government, the unfolding architectonic
planes symbolizing the desire to make a better city where
diversity flourishes with effective communication between
people and Government.
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AMSTERDAM BORNEO
KNSM THE WHALE
MicroUrban Project
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Localization:
Frits van Dongen - CIE Arkitecten
--------------------------------------------Design Period:
1995
1998-2000
--------------------------------------------Total Built Area:
35800m2
--------------------------------------------Credits:
http://en.cie.nl/projects/39#
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Borneo-Sporenburg, a former harbour area along the shores
of the IJ near Amsterdam’s inner city is intended to resemble
in its density the Jordaan, a lively Amsterdam inner city quarter.
Adriaan Geuze of West 8 introduced a fresh typology: inspired
by the surrounding water, he created a sea of low-rise buildings,
given rhythm by the variation of blocks and open spaces.
This rhythm recurs on a larger scale in the tapestry of land
and water characterizing the whole area. The sea of low-rise
buildings is interrupted by three enormous ‘meteorites’, both
to throw into relief the low-rise landscape and to achieve the
inner-city density.
The inner city character is reflected in yet another way: the
3.5 m high ground floors of the low-rise buildings create a
programmatic flexibility that allows for both living and working.
The Whale is one of the three meteorites that mark the area.
Within the same footprint as a ‘Berlage block’ (50 x 100 m)
in Amsterdam South, a programme twice as large has been
realized. By elevating the building on two sides - the line of
the roof corresponding to the movement of the sun - the lower
floors receive sunlight coming in from under the actual building.
Accordingly, light and space have free access into the heart
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The Whale in its context. © René de Wit courtesy of
de Architekten Cie, 2009
The exterior stairs. Aura Barilani,2015
The courtyard. Aura Barilani, 2015
Interior facade. Aura Barilani, 2015
Exterior facade. Aura Barilani,2015
The arrangement of the windows. Aura Barilani,2015
General view of the building across the water. Aura
Barilani,2015
The access stairs. Aura Barilani, 2015
From the top floor courtyard. © René de Wit courtesy
of de Architekten Cie, 2009
of the building. The result is a redefinition of the closed block:
the inner area transforms thetraditionally private domain into an
almost public city garden.The elegant, elevated form conceals
the enormous programme: 214 apartments with business
areas underneath and an underground car park on a plot as
large as a football field. As a consequence of its extraordinary
design, The Whale consistently affords different views of the
environment from various positions generating at the same time
an enormous diversity of housing types, in the lower and upper
edges of the building in particular. Conservatories provide a wide
view of Amsterdam’s inner city and across the expansive waters
of the river IJ.
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AMSTERDAM PIRAEUS
Localization:
Architectura Design:
Hans Kollhoff & Christian Rapp
Design Period:
1989-1991
Construction Period:
1991-1994
Total Built Area:
10550m2
Credits:
https://highdensityliving.wordpress.
com/2014/02/17/piraeus/
http://housingprototypes.org/project?File_
No=NETH003
MicroUrban Project
Piraeus is a mixed-use housing block on KNSM Eiland in the
former docklands of Amsterdam.
The “islands” are (this being the Netherlands) artificial quays that
were formed in the 18th century and named after significant
places in Holland’s trading empire. KNSM Eiland is about 15
minutes from Amsterdam Central Station by bicycle and is
also served by a tramline. Piraeus comprises 304 apartments,
eighteen shops and an underground parking garage. A major
sculpture is incorporated into the southern courtyard. It is built
at the scale of a huge dockside warehouse and is visible from
far away; “a sort of gentle giant relaxing by the dockside.” It
occupies a block 170 metres by 60 metres wide. Its megablock
form is moulded and broken in plan and manipulated in height
permitting an internal street through the block and providing
the setting for a 19th century dock building. It is modelled from
nine to four storeys to suit both street and dockside terrace and
improve solar access to courtyards and apartments.
Piraeus is built to the boundary and there are no street or side
setbacks. Courtyards are not accessible from the street. All
building entrances are clearly marked by deep recesses or flush
timber and glass lobbies. Major entrances are double height
in size and lobbies are generous in size. The harbour is the
landscape. The main street has a regular avenue of trees.
The southern courtyard is not used as occupiable open space;
instead it provides separation and a green aspect. The block is
sculpted to improve solar access. The buildings to the dockside
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Internal street . Aura Barilani, 2015
Courtyard looking at the high portico at the western
end of the complex.
View from the south. Aura Barilani, 2015
General view of the building on KNSM island across
the water.
The high portico. Aura Barilani, 2015
Street facade along the interior of KNSM island.
Dockside facade.
Suspended stairs. Aura Barilani, 2015
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are lower and roofs are angled allowing further solar access
to the courtyard facade of the tall street block. The southern
courtyard is open to the west and lowered to the east to permit
further solar access. All apartments are dual aspect and no more
than twelve metres deep, permitting cross ventilation. Apartment
balconies can be closed with bi-fold glazed windows providing
an outdoor space adaptable for windy and wintry conditions.
The building typology required in the master plan may be of
questionable value here. Even though the width of the island
was such that a single row of buildings along each waterfront
would have left too much undeveloped space on the interior
of the island, the perimeter block kind of building implies an
equality of surface and an emphasis upon the interior courtyards
that seems almost to defy the strong single orientation of the
waterfront situation. While Kollhoff/Rapp skillfully adapted the
block to a one-sided situation, the waterfront elevations are far
more successful that the north facade along the interior street.
Monolith that it is, Piraeus is not large compared to other linear
buildings and it is tempting to imagine that the folded and
tapered south wall of Piraeus should be the prototypical image
of how to build along the water. Compared to the more stringent
programmatic requirement of most modernist housing models,
Piraeus offers an exceptionally varied selection of dwelling
types and one of the compelling ideas of this huge residential
warehouse is that the dwelling program comes much closer
to offering a match between dwelling tastes and opportunities.
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WINE BIKE CITY TIME2LIVE
MicroUrban Project
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Localization:
Vienna, Austria
Königlarch architekten
--------------------------------------------Design Period:
2004-2007
2006-2008
--------------------------------------------Total Built Area:
9200m2
--------------------------------------------Credits:
http://www.nextroom.at/building.php?id=31188
http://www.koeniglarch.at/time2live.html
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Residential building of its sports, relaxing by his side: On the
grounds of the former North Station was first built Vienna “Bike
City”, which is tailored to the needs of biking contemporaries.
Following the example of functioning topics settlements such as
the “car-free model housing” by Cornelia Schindler and Rudolf
Szedenik in Vienna-Floridsdorf it made sense to pay also the
often neglected population group of cyclists in the concept of
a residential building respect. Rudolf Schicker and Christoph
Chorherr were for a long time looking for a suitable location
for a themed residential project with a focus on “Wheel and
Wellness” - on the bordering the new Rudolf Bednar Park in
Vienna-Leopoldstadt area, for the autumn 2003 urban ideas
competition had been announced with the theme “Living by
the Park,” she finally struck gold. For the right to park opposite
component PPAG emerged as the winner, for the plot next to
the front yard /corner Walcherstraße königlarch architects. The
Gesiba as developers found at the Bike City Idea pleased, and
so a new space program has been defined and incorporated
into the planning. “In spring 2005, the project was presented to
the public under the title of Bike City Councillor Schicker” says
architect königlarch recall the history of the project.
The ground floor area of the “Bike City” and located at the FannyMintz-Grasse component “time2live” was entirely devoted to the
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View from seventh floor. © Rupert Steiner, 2008
West facade. © Rupert Steiner, 2008
The galleries.
View from the Fanny-Mintz-Gasse. © Guillaume Pelé
View from the West. © Rupert Steiner, 2008
The relation with the buildings. © Rupert Steiner, 2008
The larch wood sliding shutters outside not only serve
as sun and privacy protection, but also to hide the
individual “Terms of turbulence” in the loggias. ©
Rupert Steiner, 2008
General view of the building. © Rupert Steiner, 2008
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subject wheel and wellness and kept free from a residential use.
In addition to a fitness room with sauna with Kneipp area,
solarium and relaxation area residents of about 99 apartments
a hotel room with adjoining playground and youth area. Large
bicycle rooms, free parking benützbare work with compressed
air and water supply outdoors are also part of the concept as
a focal point for car sharing. Extra large transport lifts allow
convenient bicycle transportation to the apartments, which
generously sized and accessible trained circulation routes are
equipped with bicycle parking spaces directly at the apartment
entrances, in the basement there for more expensive companion
additional special lockable individual boxes. Of course, also
underground parking spaces obligate part of the Bike City,
but the pitch regulative of 50% put a large portion of those
resources, which benefited the theme “wheel and Wellness” and
flowed as in the quality exterior design.The L-shaped building
along the front yard / corner Walcherstraße, combined with the
small exempted line, defines a semi-public residential courtyard,
open park side and to the south. The floor by floor overlay with
duplexes reduced the proportion of access areas. Clear and
especially naturally lit corridors and staircases provide a friendly
atmosphere. In addition, light vents and skylight fields lead the
natural light down into the garage. All apartments are oriented to
the southwest -with the exception of the corner apartments in
the Walcherstraße that point to the southeast.
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MicroUrban Project
---------------------------------------Urban Project
---------------------------------------Operations of urban regeneration involving entire areas or districts, with plans for new settlements
using the basic idea of modification. Ground roots projects that focus on some sensitive aspects of
the existing context, interpreting a new vision and changing the intrinsic personality of the locations.
Ex-Area Falk / Porta Nuova / Place Des Droits De L’homme / Milanofiori /Porto Antico Genova /
Marseille’s Port Masterplan / Baker House / Librino / Le Lavatrici - Pra’ / Corviale / Parque Biblioteca España
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SESTO SAN GIOVANNI
Urban Project
28
Localization:
Milan, Italy
RPBW - Renzo Piano
--------------------------------------------Design Period:
2010
2013-in progress
--------------------------------------------Total Built Area:
1,400,000 m²
--------------------------------------------Credits:
http://www.ordinearchitetti.mi.it/it/mappe/milanochecambia/
area/100-sesto-san-giovanni-_-aree-ex-falck-e-scalo-ferroviario/scheda
http://www.designboom.com/architecture/renzo-piano-masterplan-for-the-ex-falck-area/
http://www.bizzipartners.com/it/projects/milanosesto.html
http://www.rpbw.com/project/77/masterplan-for-the-ex-falckarea/
http://www.crespidadda.it/archeologia-industriale-in-italia/progetto-area-falck-sesto-san-giovanni
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1.
The redevelopment of the former Falck steel factory site called
for a masterplan that would reunite the divided city of Sesto. The
densely populated historical Sesto and the ‘Sesto of the Factories’, formerly the site of large scale industry, a once proud area
of collective memory which today lies abandoned and empty.
The Sesto San Giovanni brownfield site has great potential for
renewed urban life. The redevelopment project has an open and
clear layout based on the symbolic and predominant green areas which will give it its structure, alongside the existing industrial
buildings slated for reuse. The site will reconnect with its surroundings with a new active urban fabric and it is to be the new
home for the Città della Salute e della Ricerca, a new complex
housing the Besta Neurological Institute and the Tumor Institute.
The area of the former Falck steel factories (1,400,000 sqm)
occupies one eighth of the Sesto San Giovanni site. This figure
alone points to the importance and vastness of the project’s
intervention on a local and metropolitan scale and on its relationship with the city of Milan, only six miles away, and benefiting
from direct links on public transport. Two distinct barriers act as
boundaries to the old industrial area: the railway that separates it
from Sesto to the west, and the major bypass road to the north.
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Area ex-Falck © Gianni Berengo Gardin
Current state of the ex-falck area © renzo piano
building workshop
© renzo piano building workshop
Street view visualization, rendering by frédéric terreaux
Street view visualization of commercial and residential
buildings, rendering by frédéric terreaux © renzo piano
building workshop
Masterplam, rendering by stefano goldberg © renzo
piano building workshop
Masterplan, © renzo piano building workshop
6.
The plan is based on three fundamental principles:
Firstly, the sensitive redevelopment of the site’s great ‘temples
of labour’. These icons of industrial archaeology are being
conserved as guardians of the history of the site. Although it
could perhaps be argued that they be left as picturesque ruins,
evocative of the former Falck site, they will be sympathetically
redeveloped as spaces with new uses.
Secondly, these industrial buildings will play a part in establishing
the urban grid called for by the masterplan. Without changing
their fundamental structure, their renovation will include the insertion of new functional volumes, making the buildings attractive to future tenants.
Thirdly, the essential re-linking of the two Sestos, the historic
city and the former industrial site. This will be accomplished
by removing the ‘Falck walls’, the fences that surrounded and
defined the old industrial area, physical barriers that separate
the factory site from its immediate surroundings. The railway
will be crossed by a new intermodal station with a bridge and
underpass that, together, will reconnect the zone with the centre
of Sesto. The main east-west axis goes from the station through
the entire area.
The renewal of this part of the city will be comprehensive, thanks
to the park with its 10,000 trees, a vast and structured permeable public area that acted as a backdrop for the existing industrial zone and will now be what connects it to the new buildings.
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PORTA NUOVA
Urban Project
30
Porta Nuova pours new life into one of the hearts of Milan, involving extraordinary energies that will contribute to the quiet
industriousness of a city and a region that have always shown
how they can excel on the European stage. Porta Nuova has
accepted a challenge: reclaiming an abandoned area that had
fallen prey to decay. The surrounding neighbourhoods have
been an inspiration, spurring a dialogue that can now restore
the harmony and the sense of balance of the existing architecture, integrating it with projects for the three neighbourhoods:
Garibaldi, Varesine and Isola. The history of Porta Nuova is made
of paths and communication. Already in the 19th century, when
Milan’s Central Station were located in Piazza della Repubblica,
the railway lines that crisscrossed Lombardy went through the
Garibaldi, Varesine, and Isola areas. In the first decades of the
20th century, the new Central Station was built in its current
location, leaving room for the Porta Nuova station in the Varesine area. In the Sixties, when the Porta Garibaldi station was
built, the functions of the Varesine area were shifted, leaving an
empty lot: the fate of an area that was strategic for Milan was left
hanging for more than forty years. A wound in the urban texture
was generated in this way, causing the wider neighbourhood to
“disconnect” not only from the city as a whole, but even from
the areas in the immediate vicinity. In 2007, at long last, the
tiles of the city’s mosaic are being put together in the area of
Porta Nuova.
Localization:
Milan, Italy
--------------------------------------------Architectural Design:
Antonio Citterio and Partners, Boeri Studio,
Inside Outside, Lucien Lagrange Architects
Michele De Lucchi, Cino Zucchi Architetti
--------------------------------------------Landscape architect:
Land, EDAW, Gehl Architects
--------------------------------------------Planting designer:
Boeri Studio, Kohn Pedersen Fox Architects,
Pelli Clarke Pelli Architects
2005-in progress
--------------------------------------------Total Built Area:
290,000 m²
1.
--------------------------------------------Credits:
http://www.arch2o.com/unicredit-pavilion-michele-de-lucchi/
http://www.ingenio-web.it/Notizia/3506/
Smart_City:_a_Milano_in_partenza_14_progetti_per_una_citta_sempre_piu_sostenibile__interattiva....html
http://www.porta-nuova.com/area/progetti/
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View of Portanuova. ©Marco Garofalo
View of Portanuova. ©Marco Garofalo
View of Portanuova by night
Unicredit Pavillion. ©Michele de Lucchi
Offices by Kohn Pedersen Fox Architects
High Line in activity. 1955
Unicredit Pavillion. ©Michele de Lucchi
Masterplano of Portanuova
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Through the reconstruction of the three districts, Garibaldi, Varesine and Isola, it covers a total of over 290,000 m² and is a
perfect combination of local identity and European vision.
The project includes a continuous pedestrian system, characterized by green areas, squares, bridges and a large park that
guarantees a safe and easy connection between the different
districts. All the projects assign special destinations within distinct areas: housing, offices and showrooms, exhibition and cultural
spaces , new retail space and also parks and pedestrian paths
dedicated to adults and children.
Here arise the “Casa della Memoria”, civic center dedicated
to the Isola district; the “Riccardo Catella’s Foundation”, which
promotes and studies the practices of excellence in the development of the territory; The “Incubatore per l’Arte”, an experimental place that continues the cultural and artistic experiences
consolidated in the Isola district.
Porta Nuova is crossed by a single pedestrian level of over
160,000 m², with 2 km of walking paths and 5 km of cycle
paths wich connect the “Biblioteca degli Alberi” public park to
the rest of the three districts.
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PLACE DES DROITS DE
L’HOMME
Urban Project
32
Localization:
Tremblay-en-France, France
B+C Architectes
2011-2012
--------------------------------------------Total Built Area:
4000 m²
--------------------------------------------Credits:
http://divisare.com/projects/183929-b-c-architectes-risistemazione-della-place-des-droits-del-homme
http://www.bcarchitectes.com/place-droits-homme-tremblay/
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The “Place Des Droits de l’Homme” is a typical example of
“planning slab.”
“Pièce maitresse” of a new district built in the early 80s and
including the town hall, a cultural and housing center, this square
is also the cover of underground parking on two levels. The problem was to successfully combine two different designs, even
opposite the square:
- the “dynamic” of a through space, crossing, true “crossroads”
different paths;
- the “static” of a place closed at certain times and transformed
into “town square”.
Beyond the technical, the redevelopment of the site includes:
- Redevelopment of the access from the “Garden of Cultures”
with the creation of a monumental staircase. This widely used
today access is still very confidential. The intervention B + C is
to give it a new visibility from the Garden of Cultures;
- Redevelopment of the ramp from the City Hall Boulevard. It
was visually extend the urban park beyond City Hall Boulevard
to the foot of the place of human rights by signing the new
ramp inside the reinforced existing vegetation in the project. The
access road to the parking under slab and refurbished, loses its
urban character abandoned;
- Redevelopment of stairs and railing from the Nelson Mandela
Avenue. Here the accumulation of even anecdotal point elements (ramp wall, shrines, bearings, etc.) morcelaient public space
by removing fluidity and readability.
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View from the place. ©Michel Denancé
©B+C architectes
©Michel Denancé
©Michel Denancé
©B+C architectes
Masterplan. ©B+C architects
©Michel Denancé
©Michel Denancé
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the redevelopment of the site must incorporate three fundamental problems:
- urban; through a work on “interfaces”, it is “open up” the place
fade fringes in their giving a “naturalness” that the unfortunate
planning slab denied in the past;
- multifunctionality; the redevelopment should be avoided in any
future use. The project must live with the place, “react” and interact in time with its many faces, “forum” civic day, “square” urban
night, marketplace, court in public or theatrical.
- the taking up the paving - it is not to use the plant to “do good”
by giving it the role of urban cosmetic makeup but to “tear up”
re-implant of biomass in the city.
The main frame of the square (a square mesh of 3.50m x
3.50m) is the “backbone” main of the book. It includes LED
lighting systems and water recovery systems (gutters slotted
or perforated). In response to the stress of 350kg / m², the
concrete skeleton frame is army to distribute loads and enable
timely positioning plantations bins.
The plant is introduced on this site in the form of micro-gardens.
These small spaces greet passersby and the public theater of
the planters built benches.
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MILANOFIORI
Urban Project
Localization:
Milan, Italy
Cino Zucchi Architetti, Park Associati, ASA Studio
Albanese, ABDA, 5+1AA, Open Building Research.
(EEA) Erick Van Egeraat associated architects
--------------------------------------------Design Period:
2005
2010-in progress
--------------------------------------------Total Built Area:
34
Milanofiori initially was divided into two parts - Milanofiori South
and North. South is still in the planning stage. North and is very
close to completion. Because of the crisis, it was decided not to
start simultaneously both areas, so as not to leave unfinished.
The project has the objective to achieve an high quality environment where architecture and landscape are closely related.
In addition to complying with the sustainability criteria in terms
of composition, technology and materials (green building, solar
panels), the project focuses on the enhancement of existing
forests and the preservation of biodiversity. The development
area, owned by Milanofiori 2000 Ltd. (a subsidiary of Brioschi Sviluppo Immobiliare spa), covering a total area of over
360,000 square meters.
The realization of an internal viability system guarantees complete accessibility to all the structures in the project, and permits,
together with main perimeter viability, completion of the local
road system.
The area has an high-level infrastructure, including the subway
stop “Milanofiori Nord”, an extension in the surface of the line
2 of the Milan Metro. The station MM2 “Milanofiori Nord”, in
a central position, ensuring fast connections between the new
settlement and the city center, with direct access to the three
main train stations (Cadorna, Garibaldi and Central).
1.
360,000 m²
--------------------------------------------Credits:
http://www.artribune.com/2012/01/se-milanofiori-rifiorisce/
http://divisare.com/projects/164217-amber-masterplan-milanofiori-nord-landscaping
http://divisare.com/projects/164225-amber-masterplan-milanofiori-nord-luogo-di-innesto
http://www.milanofiorinord.it/home.php?lingua=2
2.
http://www.archea.it/milanofiori-2000/
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View from the top.
View fromthe Street.
View from the top.
View from the top.
View from the top.
Residential ©Cino Zucchi architetti
View from the top.
Masterplan. ©(EEA) Erick Van Egeraat associated
architects
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The masterplan was developed in 2005 by the Dutch firm Erick
van Egeraat Associated Architects (EEA). Over the last few years under the influence of market needs and the plan ‘slightly
changed understand itself additional services, however,’ the idea
of the project remained - the integration of architecture and
landscape with the construction of 218,000 square meters,
with functions directional, commercial, residential and services.
The line buildings, arranged along the highway, forming visual
and audio filter between the busy street and the heart of the
project. A series of walkways that cross the territory, help to feel
better the surrounding landscape, its tranquility and calm. The
first residence, look on the central park, which protects from the
work area. In the central place converge all pedestrian routes,
including the one from the nearby metro station. It is a large
open space, dedicated to meetings and events organized, onto
which the different services for leisure: multiplex cinema, fitness
center, several restaurants and cafes. Milanofiori North and ‘a
new neighborhood, where the architects have tried to combine
all aspects of modern man’s active life, and to offer him the
right to choose.
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PORTO ANTICO GENOVA
Urban Project
36
Localization:
Genova, Italy
Renzo Piano Building Workshop, architects
--------------------------------------------Design Period:
1985–2001
--------------------------------------------Credits:
2.
http://www.rpbw.com/project/34/porto-antico/
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A vast exhibition project that became an urban renewal plan.
The 1992 Columbus Celebrations presented itself as a great
opportunity to reconnect the long broken ties between the historical centre of Genoa and its old harbour, the Porto Antico.
The regeneration project for Piazza Caricamento and the docks
comprised a series of plans to renovate several historic port
buildings and to build new structures too. These included the
Bigo and the Aquarium, which soon become popular landmark
destinations bringing visitors to this part of the city.
It was of the utmost importance to the city of Genoa to heal the
fractures separating the city from its harbour. The natural relationship between the two adjacent areas had, over time, been
broken by a progressive build-up of physical barriers, creating
a seemingly insurmountable rift between the city and the sea:
from the thick barrier of customs offices and warehouses that
had been built in the 1800s to the unsightly pylons holding up
the cement ribbon of the motorway built in 1965, that remains
an unresolved eyesore looming over the lively Genoa waterfront
today.
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View from the top Porto Antico Genova
Porto Antico Genova. ©RPBW
Bigo. ©RPBW
View from the top Porto Antico Genova. ©RPBW
Aquarium. ©RPBW
Sketch from Renzo Piano. ©RPBW
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A partial burying of roads underground for the Columbus Celebrations was a major first step in reinstating an expansive
esplanade facing the sea on Piazza Caricamento, a bustling hub
where tourists and locals converge. It opens up to the old harbour and the docks. The immediate aim of the project was to
set up the installations for the Columbus anniversary exhibition,
but it also included a longer-term urban renewal plan, intended
to return the area to the citizens of Genoa for them to enjoy.
With this in mind, the planners identified several existing buildings that could undergo varying degrees of renovation: these
went from the low-key restoration of the historic buildings, to
the redesign and reuse of some of the large scale and interesting but less prestigious areas, thinking about the way in people
moved through the site and the visual relationships between its
various parts. A worthy compromise was agreed which would
intertwine the old and the new, memories and innovation, in
keeping with the city’s growth. The area proved very flexible
and later additions and changes were welcomed: the renovated
and reconverted spaces of the old Cotton Warehouse, the Millo
and the Customs Warehouse were part and parcel of the conversion of this area into a huge recreation and exhibition space
together with the new structures – the Bigo and the Aquarium.
Although the latter were highly contemporary constructions, they
nonetheless fit in with the atmosphere of the harbour’s setting.
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MASTERPLAN FOR
MARSEILLE’S PORT
Localization:
Marseille, France
Foster + Partners
2012-2013
--------------------------------------------Total Built Area:
100,000 m²
--------------------------------------------Credits:
http://www.archdaily.com/216305/masterplanfor-marseille%25e2%2580%2599s-vieux-portfoster-partners
Urban Project
38
Work has begun on the Old Port of Marseille as part of a series
of regeneration projects to be completed in time for the city’s
inauguration as European Capital of Culture in 2013.
Reclaiming the quaysides as civic space and reconnecting the
port with the city, the boat houses and technical installations that
previously lined the quays have been moved to new platforms
and clubhouses over the water.
The pedestrian area around the harbour has been enlarged
and traffic will be gradually reduced over the coming years to
provide a safe, pedestrianised environment that extends to the
water’s edge.
The landscape design, which was developed with Michel Desvigne, includes a new pale granite surface, in the same shade
as the original limestone cobbles. The simple, hard-wearing,
roughly textured materials are appropriate to the port setting,
and to improve accessibility for all, kerbs and level changes
have been eliminated.
Materials used are hard-wearing with a rough texture, appropriate for the port setting. Furthermore, the design eliminates
curbs and changes in level to improve accessibility, as well as
using removable cast iron bollards to maximize flexibility.
1.
http://www.fosterandpartners.com/projects/marseille-vieux-port/
http://www.dezeen.com/2013/03/06/vieux-portpavilion-by-foster-partners/
http://www.arcspace.com/features/norman-foster--partners/vieux-port-pavilion/
http://divisare.com/projects/225043-foster-partners-nigel-young-marseille-vieux-port-pavilion
3.
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View from the top. ©Foster + Partners
©Nigel Young
Comparison. ©Foster + Partners
Comparison. ©Foster + Partners
©Nigel Young
©Nigel Young
©Nigel Young
Masterplan ©Foster + Partners
©Foster + Partners
5.
The transformation of Marseille’s World Heritage-listed harbour
was officially inaugurated on Saturday during a ceremony attended by Eugène Caselli, President of Marseille Provence Métropole and Jean-Claude Gaudin, the Mayor of Marseille. The event
marked the completion of the new ‘club nautique’ pavilions and
a new sheltered events space on the Quai de la Fraternité at the
eastern edge of the port, built to commemorate the city’s year
as ‘European Capital of Culture’.
At Quai des Belges, the prominent eastern edge of the harbor,
a dramatic blade of reflective stainless steel will shelter a flexible
new events pavilion. Open on all sides, its 46 by 22 meter canopy is supported by slender pillars. The canopy’s polished, mirrored surfa ce reflects the surrounding port and tapers towards
the edges, minimizing its profile and reducing the structure’s
visual impact.
Lord Foster stated, “I know the harbor at Marseille well and it is a
truly grand space. This project is a great opportunity to enhance
it using very simple means, to improve it with small, discreet pavilions for events, for markets, for special occasions. Our
approach has been to work with the climate, to create shade,
but at the same time to respect the space of the harbor – just
making it better.”
6.
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BAKER HOUSE
Urban Project
40
Localization:
Cambridge, MA, USA
Alvar Aalto
1946-1948
--------------------------------------------Credits:
http://www.archdaily.com/61752/ad-classics-mit-baker-house-dormitory-alvar-aalto
https://listart.mit.edu/public-art-map/baker-house
http://housesfor.tumblr.com/post/23627269882/
baker-house-dormitories-mit-19471948-alvar
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Alvar Aalto designed the Baker House in 1946 while he was a
professor at the Massachussets Institute of Technology, where
the dormitory is located. It received its name in 1950, after the
MIT’s Dean of Students Everett Moore Baker was killed in an
airplane crash that year.
The dormitory is a curving snake slithering on its site and
reflects many of Aalto’s ideas of formal strategy, making it a
dormitory that is both inhabited and studied by students from
all over the world.
The site runs along the north side of the Charles River and from
the very start Aalto’s plans seek to find ways of maximizing the
view of the river for every student. Early sketches show clusters
of rooms facing south and, because a simple single-sided slab
would not contain sufficient rooms, several ways of increasing
the density: by parallel blocks in echelon, by fan-shaped ends,
and by the “giant gentle polygon” resolving itself into a sinuous
curve, that was finally adopted.” The building’s undulating form
also does not subject the views of the rooms to be oriented at right angles towards the busy street. The form established a wide
variety of room shapes, creating 43 rooms and 22 different
room shapes per floor that although similar, still required distinct
designs for the placement of built-in furniture.
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Historical view of the campus. ©MIT
Panoramic view of the campus. ©MIT
Panoramic view of the campus. ©MIT
Architectural plan. ©MIT
View from the campus. ©Wikimedia - dDxc
©Wikimedia - dDxc
5.
The plan is composed around a single-loaded corridor. Aalto
refused to design north-facing rooms since he wanted most
rooms to have a view of the river from the east or west, and
thus proposed enlarging the rooms on the western end into
large double and triple rooms that receive both northern and
western light.
Instead of rooms, a stairway systems is housed on the north side
of the building with an unobstructed view of its surroundings.
Built with dark red rustic bricks, the modular pieces come together to create sweeping curves that juxtapose the solid limestone of the attached rectilinear common room. The common
room is a calm static space in comparison to the movement
of the dormitories. The lower floor is lit with circular lights and
the upper floor has views of the river. Structural columns are
covered in plastered on the lower floor and as they rise up
towards the second level, timber cladding allows them to form a
relationship with the trees. The Baker House went through four
major renovations since it was completed in 1948, including a
replacement of all the windows, making the building wheelchair
accessible, a renovation of the mechanical systems, and a restoration of birch furnishings.
However, despite these renovations, the attention to detail in the
Baker House dormitory brought the essence and formality of
Aalto’s work into America.
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LIBRINO
Urban Project
Localization:
Catania, Italy
Renzo Piano Building Workshop, architects G124
--------------------------------------------Design Period:
2013-in progress
--------------------------------------------Credits:
http://renzopianog124.com/post/130605888418/
la-rinascita-di-librino
http://renzopianog124.com/post/130605888418/
la-rinascita-di-librino
Diario del rammendo delle nostre città, report of
G124 group
Librino in Catania represents the fulfillment of an ambition of the
seventies to build a New Town. It was a dream tied to a historical
moment of great development and a utopia that saw modernity
in the ransom for a better future.
The historical centers at that time were besieged by the desire
for change and were seen as places of a past to be erased.
The battle of many intellectuals, historians and architects for the
defense of our identity has safeguarded the extraordinary legacy
that today let’s see how our roots. In addition to being the most
beautiful image of Italy. The New Town operation was ambitious
and had perhaps too much trust in a modernity not ready. The
neighborhood represents the city Librino failure of this utopia.
More than 70 thousand people live in an area without the necessary quality of public space, without essential services, built
close to town but, in reality, far away. Far not in space but in
the minds of the people, who considers this a remote place. A
large urban mending and even before the social: a walkway that
unions planned projects by the administration with the needs
and wishes of those living in the neighborhood. A path through
which the high part Librino, the most problematic, becomes the
backbone of a network of public spaces today inexistent. Finally
an educational “sustainable” path, both from a social point of
view and from that environment.
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Il Palazzo di Cemento. ©G124 group of work
View from the top of Librino
Draw of project. ©G124 group of work
Masterplan of the opportunities. ©G124 group of work
©G124 group of work
Masterplan of San Teodoro. ©G124 group of work
4.
The primary school and Fontanarossa institution may represent
the cornerstones from which the physical path part and winds
through Librino. The project can increase the areas to be allocated to horticulture teaching, thinking of an integrated management of associations and schools, and helping the interaction
between the different educational levels. The redevelopment of
the sports of San Teodoro and the rethinking of the gyms. Large
oversized roads appear as elements that divide, real barriers.
Resize the road section, slowing the flow of vehicles and encouraging pedestrian zones, would serve to build a system of
continuous and safe public spaces that is really enjoyed by the
citizens. Structures such as the bridge that crosses the avenue
Moncada or stairs system (achieved and abandoned) which
would grant access to street Moncada stadium (never realized) and street furniture. Small interventions like these, perhaps
made in self with residents, can become “beauty generators”
and at the same time increase citizens’ sense of belonging and
protection to the spaces common.
Entertainment spaces for children who, having not available,
are now forced to play in places unsafe. Supporting the project
structure, large spaces for gardens and never realized are an
opportunity to exponentially increase the quality of life in the
neighborhood, socially and environmentally. A careful design of
the green to these aspects is essential for the success of the
intervention.
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LE LAVATRICI - PRA’
Localization:
Genova, Italy
Architectural Design:
R2city
SIBILLASSOCIATI S.r.l.
Design Period:
2010-in progress
Total Built Area:
56,000 m²
Credits:
http://www.archimagazine.com/aperi.htm
http://www.mondoallarovescia.com/le-lavatrici-di-genova-da-ecomostro-a-modello-di-sviluppo-urbano/
http://www.sibillassociati.it/node/31
Urban Project
44
In Genoa, the neighborhood r2City involved in the project
is that of “Lavatrici”, over 500 social housing dwellings built
between 1980 and 1990 in which live mostly low-income
seniors. It was the latest site to join the project and the stage of
energy audit is not yet completed.
At present, among the solutions to be adopted, they are considering the roof insulation and walls, replacement of windows
and balconies are equipped with “glass greenhouse”, which
cause increased heat.
The district is divided in four main blocks and each of them is
composed by three different buildings: a high block, a lower
block, and a centre clock of apartments that span a large
change in elevation called “the steps.”
The complex is diverse in ownership (some public some
private), energy infrastructure (some renovated some not), and
population (some private, some public, young, and old). The
complex has one common area, ample parking, and is served
by a public bus line.
The purpose of the R2CITIES project is to develop and demonstrate replicable strategies for designing, constructing and
managing large scale district renovation projects for achieving
nearly zero energy cities. These results will open the way for
new refurbishments on a European scale within the framework
of new urban energy planning strategies.
1.
http://www.ovaerdi.com/OfficinaeVerdiBlog/
genova-r2cities-risparmio-energetico/
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View of the “Lavatrici”
Panoramic view of Pra’ district
View of the building
Render. ©SIBILLASSOCIATI S.r.l.
©SIBILLASSOCIATI S.r.l.
Place. ©SIBILLASSOCIATI S.r.l.
Masterplan. ©SIBILLASSOCIATI S.r.l.
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The project is part of a wider system of projects to carry out
a complete renovation and rebuilding of relations between the
historic town of Pra and the areas of the so-called “Fascia di
rispetto” placed in the sea side of Via Aurelia.
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The project defines the roadway axis, pedestrian and vehicular,
around which are organized a series of interventions of general
upgrading and integration between the different parts of the
urban fabric of a major portion of the city of Genoa.
The works are part of a wider program of interventions defined
as “Integrated Project Pra Marina” which has been recognized
eligible for co-financing from the European Regional Development Fund (ERDF 2007-2013) relatively Objective “Regional
Competitiveness and Employment”
The goals of the project can be summarized in the following
two points:
- Improve access to service infrastructure, ensuring easy access to modern and effective services, with particular attention
to a deprived urban area;
- Carry out redevelopment and conversion of abandoned areas
and renovation of public spaces, in order to avoid the loss of
the blank areas still residual.
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CORVIALE
Urban Project
46
Localization:
West Side Line, New York City, USA
Laura Peretti architect
Laura Peretti architect
--------------------------------------------Design Period:
2015
Credits:
http://www.studioinsito.com/project/rigenerare-corviale/
http://rigenerarecorviale.aterroma.it/rtp-laura-pedretti/
http://www.professionearchitetto.it/news/notizie/21879/E-Laura-Peretti-l-architetto-che-si-occupera-della-rigenerazione-del-Corviale
http://www.archiportale.com/news/2015/12/
architettura/il-gruppo-di-laura-peretti-cambiapelle-al-serpentone-del-corviale_49566_3.html
http://rigenerarecorviale.aterroma.it/concorso/
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Corviale form a unique model of high population density. It was
conceived as an autonomous and self-sufficient project to protect the surrounding area against the indiscriminate use of land,
typical of urban sprawl. Despite this quality and despite its being
a piece of iconic architecture and ideal, the decay of the buildings, incompleteness of the complex and a general condition of
disorientation and alienation linked to some typological matters
hasn’t made possible, over the years, the development of meaningful relationships with the direct surroundings and with that
more extended. On the other hand the very rich and specific
condition of Corviale offer great opportunities for transformation
without obscuring the essence, the symbolic connotations and
its ability to be city.
The proposed project aims to reconstitute, at various scales, a
clear system of relationships between public spaces and circulation – “from the territory to the landing” – recovering the
original intention of setting up a “piece of the city”, especially at
the intermediate scale of city.
In this sense, a geographical condition is reconstituted in which
the whole of Corviale appears as a built condensation that interpret, in the ground floor, the original topography of an area where the altitude changes progressively and continuously, without
tears, with fluid and articulated paths – as in the processes of
forming historic cities that metabolized naturally and economically each corrugation of the soil.
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Panoramic view of Corviale
View from the street
View from the street
©Studioinsito Laura Peretti architect
Masterplan. ©Studioinsito Laura Peretti architect
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The project interprets a systematic sequence of cross-sections
over the ridge, to consider the thickness of the intervention that
varies between 70 and 200 meters (and therefore not only the
37 meters of the mere ground floor of Corviale. This “territorial
scanner” identifies the main crossings in the punctual permeability along the kilometer.
A “low” crossing of the main building at the altitude +51.50,
approximately in correspondence with the building D: elimination of functions at the ground floor, including the demolition of
the supermarket behind the main building, connects Corviale to
the countryside
One crossing of the intermediate portion, altitude +55.50, that
intercept the current change of altitude of 6 meters between the
blocks D and E, changing from “fracture” in “zipper” with the bridging building intended for a Center for Biodiversity Research.
One “high” crossing, at +61.58, corresponding to the Node EF,
links also to the path onto which the shops overlook.
The rigid layout of vehicular routes, that today cages Corviale
segmenting it into longitudinal strips separated from each other,
is thought through to fit also pedestrians; It proposes a sequence of approaches, crossing the building that makes finally able
to filter, sort, orient and re-open to other perspectives.
The project also provides for a participatory planning regarding
the establishment and management of the public spaces, an
overall intervention lighting and the realization of a sustainable
district in line with the smart building and smart city approaches.
47
PARQUE BIBLIOTECA
ESPAÑA
Urban Project
48
Localization:
Santo Domingo Savio, Medellin, Colombia
El Equipo Mazzanti
--------------------------------------------Design Period:
2005
2006-2007
--------------------------------------------Total Built Area:
3,727 m2 build area, 14,265 m2 public space
--------------------------------------------Credits:
http://www.elequipomazzanti.com/en
http://www.archdaily.com/2565/espana-library-giancarlo-mazzanti
http://www.archdaily.com/18235/giancarlo-mazzanti-gives-a-lecture-in-university-of-southern-california
http://www.stabilityjournal.org/articles/10.5334/
sta.cz/
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The project is located in one of the hillsides most affected by the
violence in the eighties because of drug trafficking in the city of
Medellin and is part of the social inclusion agenda of the Mayor
to provide equal opportunities in social and economic development to the population. In fact It is named after the country
of Spain, whose government helped fund the project through
the Spanish Agency for International Development Cooperation.
The competition program called for a multi-building (library, training rooms, exhibition hall, auditorium and administration) in a
single volume, the proposal seek to divide the program into
three groups: the library, classrooms and offices training, and
the audience composed of a lower platform, allowing us greater flexibility and autonomy in their use, making the community
more participative.
Rather than a building El Equipo Mazzanti propose an operational geography that is part of the valley, as a mechanism for
organizing the program and the area, making the hidden and
irregular contours of the mountain to stand out, not as a metaphor, but as a way of organizing the space in the area, a folded
and clipped building similar to the hills. The Project is organized
in two structures: the first one is the building - landscape (rocks)
and the second one is a platform that integrates and transforms
the cover into a square that looks into the valley; this way, the
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Medellin’s view. ©Iwan Baan, 2007
Biblioteca España. 2007
Biblioteca España. ©Sergio Gomez, 2007
Biblioteca España. 2007
Biblioteca España. ©Sergio Gomez, 2007
View of Biblioteca España and the suburbs. ©Iwan
Baan, 2007
Interior of Biblioteca España. ©Sergio Gomez, 2007
Interior of Biblioteca España. ©Diana Moreno, 2008
View of Biblioteca España from the suburbs. ©Iwan
Baan, 2008
4.
building is empowered as a meeting place, multiplying the connections and letting it develop as a reference point. The building
like an icon.The place is made by small brick houses, product
of auto construction; and residue of green areas as a result of
the impossibility of construction on it. This organization produces a uniform texture of the city like a building - landscape,
like an icon, keeping the tension that already exists. Geography
as an element of hierarchy; and architecture as the epitome of
texture. Additionally to make an icon building, the first premise
was to develop a construction that, through its interior design,
could descontextualize the individual from the poverty that is
experienced in the outside creating a warm atmosphere based
on natural light, allowing a great ambient of study and lecture.
This is the reason why the building takes a timid look into the city
trough the small windows that show the relation with the valley,
letting the illumination go into the top of the building.
The Biblioteca España, designed by Giancarlo Mazzanti, is a
library park built to serve two traditionally marginalized comunas
(neighborhoods) of Medellín. As such, it is a prime example of
a public policy intervention that focuses on social inclusion, the
provision of services, and quality of life. citizens of comunas
Popular and Santa Cruz perceive their situation to be improving
at a faster rate than those of the city in general. The broader
lesson for other countries and cities facing similar challenges is
that leadership and reforms do have the potential to improve the
quality of life, even in the most troubled areas.
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MicroUrban Project
---------------------------------------PeriUrban Project
---------------------------------------Operations to requalify rural and coastal landscapes against a backdrop of marginal, frayed,
out-of- control, unsafe urban fabric. Fringe areas attached to an urban context can support active processes of urban agriculture and environmental regeneration, that will lead
to social aggregation and cohesion through the active participation of responsible citizens.
High Line / Ramblas Barcelona / Rio 2016 Olimipic’s Park / Viaduc Des Arts / West Beach Promenade /
La Confluence / Potsdamer Platz / Parco Agricolo Sud Milano / Barriera Milano / Viadotto dei Presidenti
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HIGH LINE
PeriUrban Project
52
Localization:
West Side Line, New York City, USA
Corner Field Operations e Diller Scofidio + Renfro
James Corner Field Operations
--------------------------------------------Planting designer:
Piet Oudolf
--------------------------------------------Design Period:
2000-2002
2006-2015
--------------------------------------------Total Built Area:
2.33 km
--------------------------------------------Credits:
http://www.domusweb.it/it/architettura/2011/06/10/osservare-muoversi-e-riunirsi-le-funzioni-dell-high-line.html
http://www.roomore.it/buoncompleannohighline/
http://www.urban-reuse.eu/?pageID=casi_internazionali&cID=highline
http://www.archdaily.com/24362/the-new-york-high-lineofficially-open
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1.
The High Line, built in 1929-34, was an industrial railway to
connect West Side’s storages and shops. which, was the former
West Side industrial railway. It is a 1.45 mile-long elevated,
steel structure built in the 1930s for freight trains, the last train
ran on it in 1980. Stretching across the west side of the city, it
runs from Gansevoort Street, in the Meatpacking District, through the West Chelsea gallery neighborhood, and ends at 34th
Street, next to the Jacob Javits Convention Center. In 2001 was
approved the demolition but the association “Friends of High
Line” proposed a project of reuse. Public opinion liked this, so
in 2003 an open competition was held to convert the existing
infrastructure into a public park. Diller Scofidio + Renfro & Field
Operations winned and in 2006 started the transformation that
had three steps: Gansevoort Street-20th street (2009), 20th30th street (2011) and the last one about 30th-40th street
(2015).
Next to the line the requalification took also buildings around:
the residential building HL23 by Neil Denari, The IAC Building
by Frank Ghery, the Standard Hotel by Todd Schliemann and the
end with the Withney Museum of American Art by Renzo Piano
like terminal in Gansevoort Street.
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Rails reused like garden. ©Iwan Baan, 2011
View from 30th Street ovest. ©Iwan Baan, 2011
Joshua David e Robert Hammond protested against
the High Line Demolition and found Friends of High
Line in 1999
First step opened in 2009 at Gansevoort. ©Iwan Baan,
2011
High Line in activity. 1955
South view from 25th Street with HL23, residential
tower by Neil Denari. ©Iwan Baan, 2011
Inspired by the wild seeded landscape left after the line had
been abandoned, the team created a paving system that encourages natural growth which creates a ‘pathless’ landscape.
”Through a strategy of agri-tecture - part agriculture, part architecture – the High Line surface is digitized into discrete units of
paving and planting which are assembled along the 1.5 miles
into a variety of gradients from 100% paving to 100% soft,
richly vegetated biotopes,” explained DS + Renfro. This undefined and unobtrusive environment allows the public to meander
and experience the park as they wish.
or the vast garden, soil was delivered and distributed to specific
areas and more than one hundred different species of plants,
selected from nurseries along the East Coast, were planted by a
team of horticulturists to match the plans created by landscape
architects James Corner Field Operations and planting designer
Piet Oudolf. Nowaday is under the jurisdiction of the Department
of Parks & Recreation.
6.
Friends of the High Line gives to the High Line a public value
and avoid that criminal activity grows in a risk area. The increase of the green spaces, the pedestrians only use, the historical
symbolic value for the neighborhood contributed to make it like
a square, a place where people meet each other and socialize. There are a lot of activity like Historical Tour, Stargazing, Art
Tour, Garden Tour, Design Tour, Theatre, Cabaret, laboratories for
childreen, Meditation and Tai Chi or Gym Activity also for aged.
Thanks to the activity of the association today this project is
a model for urban and social renewal where cooperation and
citizen involvment saved an peripheral area.
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RAMBLAS BARCELONA
PeriUrban Project
54
Las Ramblas stretches about 1.5 kilometers long, running
through the middle of the city on a former riverbed, and divides
the Gothic area from El Raval, a working class district. The word
rambla comes from raml (sand) and designates , as in other
Spanish cities, a road made from a dry stream, buried or covered. In fact until the beginning of the 18th century, Las Ramblas
was a path along this stream, running between convents on one
side and old city walls on the other. In the 1700s, houses were
beginning to be put up at the site of some of the old city wills
and trees began to be planted. In 1775, the old city walls by
the Drassanes medieval shipyard were demolished, and by the
end of the 18th century, the street began to be systematically
developed into a kind of tree-lined avenue; it began to closely
resemble the promenade there today, except for the last stretch
that has been endeded in 1994.
Localization:
Barcellona, Spain
Design Period:
18th Century-1992
Construction Period:
18th Century-1994
Total Built Area:
1.5 km
Credits:
https://courses.washington.edu/gehlstud/gehl-studio/wp-content/themes/gehl-studio/downloads/Winter2010/LasRamblas.pdf
Nowdays Las Ramblas is often considered the most famous
street in Barcelona and well known around the world, exemplifying Barcelona’s success in having public spaces for people to
meet and socialize, as well as walk their daily lives. The success
of Las Ramblas comes from the combination of factors.
1.
http://urbanwaterfront.blogspot.it/2011/01/barcelona-new-life-at-old-port.html
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Barcelona’s orthophotos. ©GoogleMaps. 2016
View from the Culumbus’ Monuments. ©Thinkstock,
2015
People walking in Las Ramblas. ©Marika Pinto, 2012
People walking in La Rambla de Mar. ©Barcelona
Photoblog, 2007
View of Rambla de Mar. ©Mena Santoro, 2012
View of Joan Mirò’s Mosaic in Rambla Caputxins. 2014
View of Culumbus’ Monuments in Rambla de Santa
Monica. 2015
View of Rambla de les Flors. 2014
View of Canalete fountain Mosaic in Rambla de
Canaletes. 2009
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Its availability of eateries, shops, markets, and cultural institutions
along the artful street create an attractive and diverse experience for pedestrians. The street is full of history and character, dating back hundreds of years. It is also physically well connected
to key areas of Barcelona. The buildings, paths, vegetation, and
details are proportioned so that pedestrians have pleasant spaces to interact in. Because of its social quality, some would call
it the “emotional hub” of the city.
Las Ramblas is a street that has six sections, each with a different name. From suoth to north, these sections are:
-La Rambla de Mar is the newest rambla and was added as part
of Barcelona’s reform to open the city to the sea.
-La Rambla de Santa Monica acts as the threshold to the port,
and it preserves some of its old buildings.
-La Rambla dels Caputxins is the home of the Gran Theatre del
Liceu and continues to the Plaça Reial, a lively square
-La Rambla de les Flors is named for its many flower stalls.
-La Rambla dels Estudis is named after the 16th century university that was originally sited here (the building was demolished
in 1984).
-La Rambla de Canaletes is named for the 19th century Canaleta fountain at this location.
The Ramblas “is a street clearly designed for people to be on,
to walk, to meet, to talk,” writes Allan Jacobs, an expert on
urban design and former San Francisco city planner, in his book
“Great Streets” (1995, MIT Press). “The Ramblas ... succeeds
so well that it would stand out anywhere.” Anyway Las Rambla
has some problem, in fact, some locals have recently moved
out of the area because the prostitution and crimanality problem
has become out of control.
55
RIO 2016
OLIMIPIC’S PARK
PeriUrban Project
56
AECOM won the international competition held for the master
plan design of Rio 2016 Olympic Park. The jury chose the
winning project by AECOM with chief architect Bill Hanway and
Brazilian project author Daniel Gusmão, because of its unique
concept of operation, separate access for athletes and the audience, logistics for the transport system, the viability of implementation and access for parking. In the legacy that the project
will leave to the city, the highlights were environmental preservation and the viability of maintaining and preserving the lagoon.
Localization:
Barra de Tijuca, Rio de Janeiro, Brasil
AECOM, Bill Hanway & Daniel Gusmão
--------------------------------------------Design Period:
2011
2012-in progress
--------------------------------------------Total Built Area:
1,18milion m2
--------------------------------------------Credits:
http://www.e-architect.co.uk/brazil/rio-2016olympic-park-masterplan
1.
http://www.aecom.com/solutions/planning-consulting/pedestrian-modelling/
Two scenarios were considered: the Olympic Games mode,
which would ensure the best conditions for the performance of
the sporting competitions, and the Legacy mode, which would
ensure the viability of installing new, sustainable enterprises after
the Olympics. The Olympic Park has an area of 1,18 million
square meters and will host 15 Olympic and 11 Paralympics
sports contests. In addition to the existing equipment, such as
the Maria Lenk Aquatic Park, the Rio Arena and the Cycle Track,
the project includes the construction of temporary facilities (such
as the hockey center, the tennis courts and the sponsors villa),
permanent equipment (science and sports laboratory, athletic
track, Olympic hall, media center and hotel, residential, commercial and leisure enterprises), and the preservation of the
green areas system.
“The Olympic Park will be an urban development of international
http://www.archdaily.com/162510/aecom-winsinternational-competition-for-master-plan-of-rio2016-olympic-park/
http://www.archdaily.com/214726/rio-de-janeiros-favelas-the-cost-of-the-2016-olympicgames
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View of Olympic Park. ©AECOM. 2011
View of the Olympic’s area. 2015
Night view of Olympic Park. ©AECOM. 2011
Masterplan of Olympic Park/2016 Games. ©AECOM.
2011
View of the top of the Olympic Park. ©AECOM. 2014
Masterplan of Olympic Park/2030 Legacy. ©AECOM.
2011
standard, which not only promotes the best in design, technology, sports and culture, but also satisfies intrinsic urgent and
vital needs to its residents, businesses and the environment.
Using our experience, we want to ensure that the investment
and energy focused on the Barra neighborhood will promote
the greatest possible benefit in the long term, “says Bill Hanway
“Reconciling the needs of staging a global sporting event and
of a successful and lasting new urban structure is a challenge
that our three Master Plans propose to resolve by overcoming
the large and small complexities of the Games, allowing a clear
and practical approach for the project implementation. Our proposal is an Olympic park of international standard comprising
permanent and temporary structures on which the new network
of streets and squares of the future city will be located, “added
the winner.
Since October 2009, when it won its bid to hold the Olympics,
Rio has unveiled a host of projects that will build modern arenas and museums, as well as metro and bus lines, improved
housing and a revitalized port area in the geographically spectacular but socially troubled city. The most unexpected changes,
however, are taking place in its favelas, the almost 1,000 hillside
slums that for decades were plagued by the stray bullets and
bloody turf wars that often spilled out into the city below. Over
the past few years, authorities, spurred on by progressive Mayor
Eduardo Paes, have retaken control of several high-profile favelas, sending in battalions of special-operations police to remove
the traffickers and then installing a community-based presence
called Pacifying Police Units, or UPPs by their Portuguese initials. The success of the UPPs, if not the city’s future, depends
on whether pacified favelas can be transformed even further
into regular neighborhoods with the same security, commerce, services and leisure as the rest of the city. “The process
is only sustainable if you are capable of reducing poverty and
inequality,” says André Urani, executive director of the Institute
for Studies on Work and Society in Rio. “It’s still fragile. But we’re
on the right track.”
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VIADUC DES ARTES
Localization:
Avenue Daumesnil, Paris, France
Patrick Berger
Jacques Vergely & Philippe Mathieux
--------------------------------------------Design Period:
1987-1988
1992-1997
--------------------------------------------Total Built Area:
PeriUrban Project
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The Viaduc des Arts is located in Avenue Daumesnil 1-129,
in the 12th arrondissement of Paris, France. It’s a rehabilitation
of the former “Viaduc de Bastille” carrying the railways of the
Paris-Bastille-Vincennes train line. By the end of the 1980s, lots
of neighborhoods in European and American cities had entered
their post-industrial phase that left a bounty of vacant factory
and warehouse buildings to be reclaimed and repurposed. The
historic preservation movement, by now a vital force in most of
these cities, encouraged the view that these old buildings constituted urban civilization’s most valuable under-utilized resource,
and it became chic to renovate an old warehouse or factory
as new living space, shops, or better still, as “live-work” space.
After the factories and warehouses, urbanists began to eye
some of the other abandoned infrastructure, such as railroad
bridges and viaducts, and began to create schemes for using
these to create new links between neighborhoods, and also
between different spatial levels of a neighborhood. The first
successful products of this search when in the neighborhood
of the Place de la Bastille, in 1997. The Viaduc des Arts and its
second level, the Promenade Plantee, repurpose an abandoned
1.
2.
1.5 km
--------------------------------------------Credits:
http://www.leviaducdesarts.com/fr/ateliers/
http://architectuul.com/architecture/promenade-plantee
http://www.boulderblueline.org/2011/06/08/
in-search-of-the-magic-city-making-pedestrianplaces-in-an-automotive-culture/
4.
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1.
Viaduc des Artes’ view from the street. ©Viaduc des
Artes, 2015
2. Viaduc des Artes’ view from the street. ©Viaduc des
Artes, 2015
3. Viaduc des Artes’ view from the street .©Viaduc des
Artes, 2015
4. View of Promenade Plantée, that is on top of Viaduc
des Artes. ©Paris Walking Tours, 2016
5. Viaduc des Artes’ historical photography. 1994
6. Le Bonheur des Dames shop in Viaduc des Arts. 2014
7. Start of the Viaduc des Artes. 2015
8. Promenade Plantée’s view from above. ©Apur, 2010
9. Viaduc des Artes’ view from the street. ©Viaduc des
Artes, 2015
10. View of Promenade Plantée. 2016
11. View of Viaduc des Artes. 2016
brick and stone railroad viaduct as a series of galleries, artisan
shops, cafes and restaurants, supporting (structurally and metaphorically) a linear 2nd level urban park with new housing and
pedestrian links to the surrounding neighborhoods, and both
culminate in a spectacular, green bowl-shaped park surrounded
by old and new apartments, shops and cafes. The architects
(Berger and Galliano for the Viaduct, Mathieux and Vergely for
the Promenade) had succeeded in transforming a forgotten corner of the city into a magnetic attraction.
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The Promenade is connected to the Viaduct des Arts project,
the revitalization of a viaduct on which the tracks .The original
64 red brick arches of the 1.5 kilometer viaduct have been restored, renovated and enclosed with glass. The mass of plant-life that borders and sometimes encroaches the already narrow
trail can give the impression of being momentarily lost on a
forest trail. Then, sporadically, there are breaks in the herbage,
offering views of the surrounding city. Among the plants that
are found along this walk are hundreds of rose bushes, hardy
shrubs, acanthus, triton, lavender, bamboo, ivies and vines and
wisteria and cherry trees, maples, lime trees and many other
varieties.
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WEST BEACH
PROMENADE
PeriUrban Project
Localization:
Benidorm, Spain
OAB (Carlos Ferrater & Xavier Martí Galí)
2.
OAB (Carlos Ferrater & Xavier Martí Galí)
--------------------------------------------Design Period:
2004-2005
2005-2009
--------------------------------------------Total Built Area:
18.000 m2 - 1,5 km
--------------------------------------------Credits:
http://wp.ferrater.com/?oab_proyecto=benidorm&idioma=_en#
3.
60
The promenade in Benidorm, a new transitional location between built city and the natural space of sea and beach.
This street is not understood as a frontier/borderline but as an
intermediary space rendering this transition permeable.
The promenade subsumes the longitudinal and transverse
flows of the different circulations and channels these, allowing
easy access to the beach. It eliminates architectural barriers,
permitting direct access from parking places.The promenade
is structured in different layers: a first structural layer creates
the perimeter line in white concrete; another textured layer with
paving in different colors; and a last layer of street furniture and
natural features like water and vegetation. The new Benidorm
promenade is put forward, then, as a new form, one integrating
the artificial (or built) and the natural. The beach partly invades
zones previously occupied by the former esplanade, increasing
the surface area of sand and reducing that of asphalt. All the
functional aspects are brought together: the promenade, rest
and relaxation area, vantage point, transition to the beach, architectural barriers, direct access to parking, rainwater collectors,
beach lighting, road communication, integration of street furniture, services infrastructure, and so on. A new landside frontage
is constructed, providing views of the Sea and the Beach from
the upper level of the promenade, and a new borderline established, integrating the different circulations in its undulations and
platforms, eliminating a barrier and constructing a place for people to be in.
http://www.archilovers.com/projects/77995/
west-beach-promenade-in-benidorm.html#images
http://www.archdaily.com/61529/benidorm-seafront-oab
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West Beach Promenade’s view. ©Alejo Bagué, 2013
West Beach Promenade’s view from the top. ©Alejo
Bagué, 2013
3. West Beach Promenade’s view. ©Alejo Bagué, 2013
4. West Beach Promenade’s view from the top. ©Alejo
Bagué, 2013
5. West Beach Promenade’s view from the beach ©Alejo
Bagué, 2013
6. West Beach Promenade’s nigth view from the beach
©Alejo Bagué, 2013
7. West Beach Promenade’s view from the top. ©Alejo
Bagué, 2013
8. Landscape view from West Beach Promenade. ©Alejo
Bagué, 2013
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6.
Benidorm is perhaps the one Spanish town the massive
industry of leisure and tourism has turned into a paradigm;
namely, that of an extremely high density concentrated in a
tiny territory. In the long run this model has shown itself to be
more efficient than others that posit the deterioration of huge
tracts of land, towns empty nine months of the year, almost
impossible to maintain. In the competition for the remodeling
of the Promenade of the 1.5-kilometer-long West Beach,
OAB propose a radical innovation in terms of what different
promenades the world over have hitherto been. Not only will
a borderline of protection, a hinge between town and sea, be
built, but the construction will be addressed of a public place
that is conducive to many different activities. The promenade,
understood as a place with a life of its own, with organic lines,
a reminder of natural wave forms, generates an ensemble
of honeycombed surfaces that juggle with light and shadow,
convexities and concavities that gradually construct a set of
platforms and levels which will make their use feasible as areas for play, meeting, leisure or contemplation.
The project has received several awards including first prize in
the 2006 ASPRIMA Prizes for the best tourist development,
first prize in the VIII Ceramics Awards for Architecture organized by ASCER, and special mention in the European Award of
Urban Public Space 2010.
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LA CONFLUENCE
PeriUrban Project
62
Localization:
Lyon, France
François Grether & Michel Desvigne (ZAC1)
Herzog & de Meuron (ZAC2)
Michel Desvigne (ZAC2)
--------------------------------------------Design Period:
1.
2000-2009
2003-work in progress
--------------------------------------------Total Built Area:
1,5 milion m2
--------------------------------------------Credits:
http://www.domusweb.it/it/architettura/2015/02/16/
il_nuovo_centro_di_lione.html
http://www.archdaily.com/180486/lyon-confluence-%25e2%2580%2593-ilot-p-mateo-arquitectura-dominique-perrault-arquitecture
2.
http://www.rinnovabili.it/smart-city/la-confluence-laltra-faccia-di-lione/
http://www.archdaily.com/469805/herzog-and-de-meuron-unveils-pedestrian-centric-city-center-for-lyon-confluence
http://www.lyon-confluence.fr/en/urban-project/
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Lyon’s new central station, with tracks running east-west, cut
the peninsula in two and became a firm watershed between
the “right and wrong sides” of the tracks: to the north, the modern city centre acquired wellbeing and structure; to the south,
beyond the dark station tunnels, it became a fluid and constantly changing space (thanks to the continuous redesign of the
docks) with port activities, warehouses, wholesale market, circus
and two prisons. The importance of the coal trade and chemical
industry influenced the area’s vitality for decades, before then
accompanying its decline and superfluousness. In 1997, the
city launched a consultation process on the potential future of
the confluence area. The first project (drawn up by Bohigas, Melot and Mosbach) convinced the Greater Lyon Authority in 1998
of the timeliness of a regeneration plan and it focused strongly
on a major objective: the possibility of duplicating the old city
centre and relaunching Lyon’s image on the international stage.
In 1999, a public-private company (SEM Lyon Confluence, subsequently become all public) was formed and given the task of
coordinating the regeneration project, starting with the acquisition and reclamation of the land which was then to be transferred or resold to private operators. In 2000, SEM asked François
Grether and Michel Desvigne to draw up a plan for the first
ZAC (Zone D’Aménagement Concerté) involving 41 hectares
of land along the River Saône. The first building was opened on
Place Nautique In 2007. In 2009, Herzog & de Meuron were
engaged to prepare a masterplan for the second phase (ZAC2),
with Michel Desvigne in charge of landscaping.
Grether and Desvigne’s masterplan proposed a strategy based
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Lyon Confluence’s view from the top. 2012
Lyon Conluence. ©Unibail Rodamco, 2010
Lyon Confluence’s residence design by Massimiliano
Fuksas (on the left) and MVRDV, P.Gautier, M.Gautrand,
ECDM e Erik van Egeraat, West 8 (on the right). 2010
Lyon Confluence Masterplan. ©Herzog & de Meuron,
2010
Residence on Place Nautique design by Massimiliano
Fuksas, Vincenzo Amantea, Clément Vergély e H.T.V.S
Architecture. ©Gulles Perreal, 2012
Block A3, West public transit. ©Herzog & de Meuron,
2010
The Orange Cube design by Jakob + Macfarlane
Architects ©Roland Halbe, 2011
La Sucrière, home of the Lyon Contemporary Art
Biennial, William Vassal. ©Fred Romero, 2015
Ilot P design by Kengo Kuma. 2011
on an evolving process and that positively exploited its fragmentation to introduce gardens, promenades and canals into an
urban fabric featuring a soft and minute geometry, well-suited
to a precise replacement process. This overall approach embraced intentionally exceptional buildings that would make the new
district a place of experimentation for contemporary architecture
with an innovative aesthetic that would appeal to companies,
inhabitants and visitors.By contrast, the next masterplan, centred
on the eastern section of the peninsula, divided the area into two
zones, each retaining its historical identity: a dense and varied
quarter for the former market area and a low-density green space for the tip of the peninsula. The project proposed retaining
30% of the old market constructions for the Market Quarter
while also introducing a mix of different types and, most importantly, heights: from the three-storey market to the six floors of
the 19th-century city and 16-storey tower blocks. Only low-rise
buildings will be constructed at Le Champ, immersed in a rich
system of vegetation, canals and water.
Overall, ZAC 1 and 2 will both create a new centre that is home
to a complex residential project (a residential mix: luxury 44%,
standard 33%, social housing 23%) plus offices, shopping malls and cultural, recreational and hospitality amenities.
Clearly the overall aim pursued by the city in recent years has
not only been to develop a new centre but a new identity, too
aquatic, ecological and innovative. Although the district is still
partially under construction, the recently opened Musée des
Confluences already represents the jewel in the crown of an
extraordinary cultural landscape in which past and future, art and
technology, business and local-area management converge in
an astonishing adventure.
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POTSDAMER PLATZ
PeriUrban Project
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Localization:
Berlin, Germany
RPBW, Richard Rogers, Lauber + Wöhr, Rafael
Moneo, Hans Kolhoff, Arata Isozaki & Helmut
Jahn
--------------------------------------------Masterplan Design:
1.
RPBW
--------------------------------------------Design Period:
1992-1993
1993-2000
--------------------------------------------Total Built Area:
68000 m2
--------------------------------------------Credits:
http://www.fondazionerenzopiano.org/project/94/
potsdamer-platz/genesis/
http://www.archdaily.com/173305/flashback-sony-center-berlin-murphy-jahn
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In the 1920s and 30s, Potsdamer Platz was the busiest and one
of the liveliest squares in Europe. It was a major public transport
hub and a popular entertainment district pulsating with life: the
area contained numerous bars, cafes and cinemas.
http://www.berlin.de/en/attractions-andsights/3560662-3104052-potsdamer-platz.
en.html
This all came to an abrupt end in 1943 when Potsdamer Platz
was reduced to ruins by allied bombing. After the Second World
War, the square was located between the American, British and
Russian sectors and became a no-man’s land. The area was
completely flattened with the construction of the Berlin Wall in
1961 when the remaining buildings on the east side of the wall
were pulled down.
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In 1992, Daimler-Benz held an international competition for the
development of a general plan for the Potsdamer Platz site in
the Tiergarten district, bordering on Mitte. The vast area had
just one road, Potsdamer Strasse, which was lined with trees
that had been protected since the 1950s, and was flanked by
Weinhaus Huth, the only surviving building. East Berlin was se-
Eventi Collaterali
4.
1.
Potsdamer Platz in ‘30s before wall constructions.
©Landesbildselle Berlin
2. Empty Potsdamer Platz during the Cold War. 1982
3. Potsdamer Platz Today with the most important
skyscraper (at the left the Renzo Piano’s Bulding, in the
middle Kollhoff-Tower and to the rigth the Bahn-Tower).
2012
4. Potsdamer Plaz’s view from the top. ©Gianni Berengo
Gardin, 2011
5. Business arcade. ©Vincent Mosch, 2008
6. Building design by RPBW. © Vincent Mosch, 2008
7. Berlin wall on Potsdamer Platz. 2012
8. Sony Center Berlin design by Murphy Jahn. ©Rainer
Viertlbock, 2011
9. Renzo Piano’s Tower in Potsdamer Platz. ©Martin Winz
10. Daimler Benz building design by Richard Rogers.
11. Potsdamer Platz’s view. ©Jen Koopman, 2014
5.
6.
parated from the square by a large expanse of no man’s land,
and the buildings to the west (including the Neue Staatsbibliothek, built in 1972 by Hans Scharoun) stood with their backs
to the site itself. The spirit of the square had to be revived, but
this would require an entire portion of the city to be rebuilt from
scratch within a short period of time. The RPBW project was
favoured by 20 of the 21 jurors and Daimler-Benz ultimately
commissioned the work to Renzo Piano and Kohlbecker. The
project aimed to apply a uniform character to all of the buildings,
the construction of which was assigned to RPBW, along with a
number of other architects selected during the second phase of
the competition: Arata Isozaki, Richard Rogers, Hans Kollhoff,
Lauber und Wöhr and Rafael Moneo. The project bestowed Potsdamerstrasse with new importance, with the roadway ending in
a new square overlooked by the Theatre and Casino, as well as
the pre-existing National Library. In this manner, Berlin would be
wholly reintegrated at a point in which it had once been divided
by the wall. The square was the fulcrum of the project, from the
standpoints of both form and urban function. It was there that all
of the major functions included within the plan would be located:
in addition to the Theatre and the Casino, there would also be
shops, residences, offices and restaurants.
7.
On 4 October 1998, Potsdamer Platz was “returned” to the city.
As of the objectives of the original project, the site is now characterized by an array of functions that animate it both day and
night. Berlin’s Potsdamer Platz is the most striking example of
the urban renewal that turned Berlin into the “New Berlin” in the
1990s although it is not, strictly-speaking, a square.This example can show how to transform a desolate sandy wasteland into
the new German capital’s city centre. What can be seen today
is believed to have resulted in a successful compromise - a
mixture of the American plaza feel at the Sony Centre and a
tree-lined European downtown around the Marlene Dietrich Platz producing a lively, buzzing atmosphere.
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PARCO AGRICOLO SUD
PeriUrban Project
66
Localization:
Milan + Milan’s Interland, Italy
--------------------------------------------Managing Institution:
Città metropolitana di Milano &
Regione Lombardia
--------------------------------------------Partner Associations:
Fondazione Cariplo, Parco Agricolo Sud Milano,
Provincia di Milano, FAI Fondo Ambiente Italiano
--------------------------------------------Total Park Area:
47000 ha
--------------------------------------------Credits:
http://parcosud.cittametropolitana.mi.it/parcosud/it/
http://www.assparcosud.org/
http://www.giornalemetropolitano.it/al-via-la-prima-edizione-di-%E2%80%9Cagricoltura-milano-festival%E2%80%9D/
http://www.agricity.it/paesaggio-agrario/
http://www.wikiwand.com/it/Parco_agricolo_Sud_Milano
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1.
The Parco Agricolo Sud Milano is for sure, among the regional
parks which are located on the territory of Milan, the one which
has for the longest period of time absorbed the major energies
of the provincial institution. The reason for this does not only
lie in the fact that the province, is the keeping body of the park
itself, but also in the complexity and extension of a project which
concerns more than the half of the provincial territory, as well as
61 towns. A Park that interlaces, and it is perhaps the only case
to an European extent, reasons of environmental safeguarding
and protection together with the defence of an economic activity, just like the agricultural one, which has characterized the
history of the economic development of this area. A Park that
must take into account a social demand that is wider and wider
and in search of new open spaces, available and rich in meaningful cultural values; all this is inserted in the context of a metropolitan area, among the most developed ones of the country.
in fact in a country that, from the Middle Ages on, has witnessed
a constant modification of its landscape. It is a sort of “constructed landscape”, as Cattaneo wrote, and you can see it from
the hydraulic works and the use of water, a resource in which
this province is particularly rich.
Men’s tenacious and constant work was aimed at regulating
2.
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2.
Agricultural Metropolis. 2013
South Milan Gratosolio street Dei Missaglia. ©Stefano
Topuntoli, 2015
3. Parco Agricolo Sud. ©Ginestrasudmilano, 2014
4. South-East Milan, Rogoredo and Tangenziale Est.
©Stefano Topuntoli, 2015
5. Parco Agricolo 2. 2011
6. Parco Agricolo Sud. ©Gallery Parco Agricolo Sud
Milano, 2012
7. Chiaravalle’s abbey. ©Creative Commons Attribution-Share Alike 3.0, 2006
8. Campazzo’s farmhouse in Ticino’s Park. ©Creative
Commons Attribution-Share Alike 3.0, 2010
9. Parco Agricolo Sud. ©AMF, 2013
10. View of the Milano’s suburb from the Parco Agricolo
Sud. ©Creative Commons Attribution-Share Alike 3.0,
2005
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9.
and shaping the water courses, so as to enhance their use for
military and agricultural purposes as trade and traffic networks.
During the centuries, the territory organised itself around this
primary resource. At first just abbeys were built (Chiaravalle, Mirasole, Viboldone), then castles began to appear (Rocca Brivio,
Melegnano, Bussero, Cusago), and later on villas and farmsteads (Villa Invernizzi, Villa Ca’ Resta, Cascina Grande). The last
century witnessed, instead, a “bad” and “disordered” housing,
besides a widespread pollution of waters and an urban decay of
huge areas all around the towns.The redemption as contemporary men has started from a long and contradictory path, which
brought in the sixty’s to the birth of an idea of park, then in the
seventy’s and eighty’s to its development from mere concept
to administrative – legislative instrument and, eventually in the
ninety’s, to its legislative affirmation. Consequently, being a park,
the first steps were taken to equip itself with the fundamental
managing instruments, necessary to work out initiatives aimed
to recover and enhance the territory.
The principal goal is managing the development, by respecting
criteria of environmental compatibility and its agricultural vocation, something impossible to put into practice before, since an
unitary instrument like the Parco itself was missing.The mission
of the Park is to be a place for the comunity that promote culture and the value of the nature. The general goal of the park
points is to make the public become aware of what the Park is,
with all its cultural, historical, agricultural, environmental and art
treasures.
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BARRIERA MILANO
PeriUrban Project
Localization:
Turin, Italy
--------------------------------------------Managing Institution:
Città di Torino
Urban Barriera, Fondazione ContradaTorino
Onlus, GAI
---------------------------------------------
1.
Street Artist:
Millo
--------------------------------------------Credits:
http://www.comune.torino.it/urbanbarriera/trasforma/index.shtml
http://arteinbarriera.com/online/it/milo-at-work/
Urban Barriera is an urban regeneration program aimed at triggering an overall redevelopment process involving Barriera di
Milano, an historical district of the northern part of Turin. Funded
by the City of Turin, the Piedmont Region and the European
Union, Urban Barriera deals with physical, economic, social
and territorial aspects encouraging cooperation and productive
interaction among all the actors and beneficiaries involved in
the renewal process. Urban Barriera is the latest born of the
urban regeneration programs implemented by the City of Turin
since the mid-nineties, capitalizing on a rich experience in local development and integrated approach. Urban Barriera is a
Local Development Integrated Program: the plan, which has a
total cost of 35 million Euro, was drawn up by the City of Turin
and financed with 20 million Euro by Piedmont Region through the European Funds, and through municipal funds or other
resources coming from additional agreements with Central and
Regional Government for the realization of specific interventions.
Urban Barriera started in the first quarter of 2011.The program
consists in 34 interventions, defined by a process lasted nearly
two years, which involved technical staff of the City and public and private subjects from the interested area, that through
the activity of Circoscrizione 6 forwarded its instances. Urban
Barriera acts through four intervention axes: physical-environ-
68
2.
http://www.lastampa.it/cronaca/quartieri/barriera-di-milano
http://blog.contemporarytorinopiemonte.it/
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Barriera di Milano’s Maps. ©B.Art
Montanaro 60’s Tag. ©Alice Massano, 2014
Vigevano 2 Before Tag.©Alice Massano, 2014
Vigevano 2’s Tag.©Alice Massano, 2014
Barriera Milano’s street view. ©RedazioneWeb, 2014
Martorelli 48’s Tag. ©Alice Massano, 2014
Brandizzo 98’s Tag. ©Alice Massano, 2014
Crescentino 34’s Tag. ©Alice Massano, 2014
Palermo 98’s Tag. ©Alice Massano, 2014
Bologna 77’s Tag. ©Alice Massano, 2014
Cruto 3’s Tag. ©Alice Massano, 2014
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mental, economic-employment, socio-cultural and through a
strong communication activity and social support.The area of
Barriera is characterized by a progressive physical deterioration
both in the private building heritage and in the public space;
several empty industrial areas, symbol of the labour tradition of
this part of the town; a shortage of squares, not seen as places
for socialization; a lack of green areas (the value of 1,64 sq.
m/inhabitant is extremely inferior to the city average of 20,13);
a total lack of biking and walking paths, which may promote
intra-district connection and the link with the central areas and
the surrounding green areas. From a socio-cultural perspective, Barriera di Milano is a borough characterized by a strong
social identity and counts about 50 “not for profit” associations
engaged for years in the care of the local community.This associations promote a lot of events and projects, but the most
significative is the B.Art project that call graphic designers and
architects around the world who will have the task of designing
a concept and creating it on 13 blank facades on public and
private buildings in the area of Barriera di Milano. Millo, an italian
street artist won this competition, and now the Barriera Milano
has the sign of his beatiful art. Barriera Milano is an example of
successful collaboration of people and pubblic institution.
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VIADOTTO DEI
PRESIDENTI
PeriUrban Project
70
Localization:
Rome, Italy
G124
Greenapsi
--------------------------------------------Collaborative Community:
Sotto il viadotto
2014-work in progress
--------------------------------------------Total Built Area:
1,5 km
--------------------------------------------Credits:
https://tranviaromaest.wordpress.com/tag/viadotto-dei-presidenti/
https://sottoilviadotto.wordpress.com/
http://renzopianog124.com/
http://co-roma.it/item/viadotto-dei-presidenti/
http://greenapsi.com/
1.
The Viaduct of Presidents wa built in the 90’s and it was born
as a branch of a road tha wuold connect the northern part of
the city (Saxa Rubra) to the South (Laurentina). Only a portion of
this work was constructed and arrange for passage of a light rail.
But by the times of its construction the space for the railroad has
been neglected and left abandoned. The accesses ar unfinished
and structures already made have been degraded and misused.
This abamdoned area made of cement and waste was left at
the mercy of the degradation and has become an unusual and
surreal scene that cuts every connection within the third Town
Hall: environmental, social and settlement. The Viaduct of Presidents seams to be an unusual and surreal scenario that cuts
any connection in the neighbourhood.
The feasibility study shows that such intervention can have a
susteinable cost to the government, and a profound impact on
the community if it is developed in phases. The steps so far
traced are mainly three: the first phase is the immediate reactivation of the viaduct recovering the existing structure and
its access through collaboration with citizens and associations
and their involvement in such activities; the second concerns
the construction of pedistrian path and the connection of this
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Viadotto dei Presidenti’s view. 2015
Viadotto dei Presidenti’s view from the top. ©HexaVideo, 2014
3. Concert in Viadotto dei Presidenti. ©Sotto il Viadotto,
2014
4. Renzo Piano and G124 at Viadotto dei Presidenti.
©G124, 2014
5. Viadotto dei Presidenti’s view before and after. ©G124,
2014
6. Viadotto dei Presidenti’s view. ©Sotto il Viadotto, 2014
7. People working at Viadotto dei Presidenti. ©Sotto il
Viadotto, 2014
8. Concert in Viadotto dei Presidenti. ©Sotto il Viadotto,
2014
9. Viadotto dei Presidenti’s view. ©Sotto il Viadotto, 2014
10. Viadotto dei Presidenti’s night view. ©Sotto il Viadotto,
2014
11. People meets under Viadotto dei Presidenti. ©Sotto il
Viadotto, 2014
12. Children plays under Viadotto dei Presidenti. ©Sotto il
Viadotto, 2014
path with the Park of the Sabine and the new road (including
path) provided in Via Renato Fucini throught the construction of
three pedestrian walkways and the reorganization of the environmental system of the park with its equipment; the third and
final phase, concerns the further reflections that will have as
their object the system of gentle mobility ecological people mover that will come in connection with future projects Metro B1
expected in 2020.
7.
8.
In october 2014, Greenapsi and G124 (the Renzo Piano’s
group for the suburbs and interazioni Urbane) recovery of part
of the viaduct and create the collaborative community Sotto il
Viadotto that have the task of handle the Viaduct and organize
some events. The G124’s architectural projects will start from
the desire and will power of the people expressed during the
first phase. An equipped path, will be developed and designed
with a specific environmental strategy, recovering soil and materials. Three routes are located inside: a bike path, a pedestrian
path with sports equipment and areas for parking and a space for the transport with poplemover. Achieving a sustainable
project means ensuring a greater protection of non renewable
resources throught the recovery materials, ensuring limited costs and a new value to the recycled material.
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71

urban good practice

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