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REFERENCES

UNIT AND LEGGIBILE_Future City Business
Manuelle Gautrand won the competition for the construction of the City Administration, a program of 25,000 square feet of office , an underground car park with 400 seats and a restaurant business.


The whole idea is born and the structure of development process, which is a bit 'like a game of dominoes (and the patterns they reveal the original sense) use of opportunities elemental composition of a module to build a system. The horizontal dimension is the giving of preference to the continuum concept married, is to give the project the status of a signal unit and readable, is to give you the flexibility and the degrees of freedom needed to absorb trauma without the possible future developments.



The designer "put together" the various parts of the program and draws a large whole that is divided along the length lot. The dynamics governing the development dimension volume is generated from the fluidity of a gesture that draws space in a rational sequence of folds and openings reaching the ground through a low block and accessible to before recovering towards the 'up and give shape to large portals or projections projected above the ground.



Rhythm of these changes is underscored by treatment provided to areas that make up this continuum built. Four faces defining element base, three settled in the same way, glass, silver and transparent and a fourth of a bright yellow, bright and dull delegated to make visible and immediate logic of the fold.



Depending on whether it is used in vertical walls facing inwards, or horizontal parts, the choice of this color allows alternate the transparency of glass surfaces, to infuse a golden light to all spaces built on the meeting between "the silver and gold " a new story in the history of becoming entire neighborhood.





VERTICAL CAMPUS DE SHINJUKU_Tokyo 2004











The Dee and Charles Wyly THEATER_USA 2004
REX / OMA

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TETRIS

Nel cambiare l'area 20 con la 5 ho fatto un passo in avanti.
La semplice idea di una scatola contenitore poteva essere associata solo ad un'area abbastanza grande e senza vincoli, come la 20. Nel trovarmi a disposizione un'area come la 5: complessa, con presistenze e con un perimetro variabile, ho pensato di scomporre la scatola e di spargere le mie costruzioni su tutta l'area creando dei corpi ad un slivello ed altri, poggiati alle pareti cieche, più alti. Questi elementi saranno il risultato dell'accostamento e della sovrapposizione di tanti "pezzi" che seguono la logica del tetris!
Ho così trovato the "game" right that allows me to assemble and disassemble these buildings throughout the area.



Tetris is a game of logic and reasoning invented by Alexey Pažitnov in 1985, while working for the Academy of Sciences in Moscow, Russia. Pažitnov said that "pentominoes" I was her source of inspiration for this game.
(A pentomino is a polyomino composed of five square identical, connected to each other along the sides.
There are twelve different pentominoes, conventionally named with the letters that look similar.)



I vari pezzi del gioco di Tetris si chiamano tetramini, ciascuno composto da quattro blocchi, infatti il termine Tetris deriva da "tetra" che significa "quattro". I tetramini cadono giù uno alla volta e il compito del giocatore è ruotarli e/o muoverli in modo che creino una riga orizzontale di blocchi senza interruzioni. Quando la riga è stata creata, i mattoni spariscono e i pezzi sovrastanti (se ce ne sono) cadono a formare nuove linee.




Le sette possibili combinazioni in Tetris sono chiamate come le corrispondenti lettere dell'alfabeto che più si avvicinano alla forma del pezzo: I, T, O, L, J, S and Z. The shapes of tetrominoes are the result of all possible combinations that can be obtained by placing four squares, each of which has at least one side shared with at least one of the other three squares. All pieces are complete single or double rows, I, L, and J may also complete the triple lines, and only I can complete four lines simultaneously. This situation is called a "tetris."

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CHILDREN'S MUSEUM OF Gyeonggi Corea_Schiattarella

study Schiattarella always tries to escape from two extremes: the uncontrollable creativity that focuses on the gestures or striking sign of functionalism and naive that wants to make, without too much compromise, an abstract plan into an architectural project. The result is an activity in which forms and functions and interact at the same time, compete to create immersive environments and have added value of aesthetics, where beauty and 'that is to be taken literally to mean "perceptive."

Gyeonggi The Children's Museum of the functional requirements and the successful acquisition by children that respects their desire to look around freely without any constraints between the different fields of knowledge and at the same time, responds to the need to structure the concepts into themes in order to avoid exposure chaotic, formless and non-systematic. According Schiattarella knowledge necessary to organize the data as objects placed within a certain amount of boxes characterized by different colors (each color corresponds to a theme) to attract the curiosity of children that can open or close without following a fixed order.

Translated into spatial terms and, therefore, the system architecture of the boxes becomes a dozen environments, magic boxes, arranged in no particular order and each with its own color and a double skin: external and opaque una interna traslucida su cui lanciare immagini per mezzo di proiettori disposti nell’intercapedine tra le due. Fatto il primo passo, che va dalla funzione alla forma, ne segue uno che si muove in senso inverso. Solo così, infatti, quella che sarebbe una semplice “strategia dell’elenco” può tramutarsi in una coinvolgente organizzazione dello spazio. Viene in soccorso un’altra idea metaforica: il Pachincko, un gioco molto diffuso in oriente in cui alcune palline precipitano dall’alto per seguire un percorso di piani inclinati lungo il quale sono disposti dei buchi che le accolgono.

Torniamo all’architettura: se cerchiamo di appendere le magic boxes lungo un muro che le sostiene e pensiamo di collegare attraverso piani inclinati le porte che ad esse conducono, non e' difficile pensare al Children’s Museum come a un grande Pachincko in cui , come palline, i bambini di una scolaresca si dispongono sulla quota più alta e poi, di corsa lungo le rampe, giocosamente, si recano negli ambienti che più li attirano. Risultato: una configurazione spaziale eccitante che trasforma il gioco delle scatole in percorsi, in esperienze cromatiche, in un labirinto o, se vogliamo, in un hypertesto. Insomma: in una architettura che, come dicevamo all’inizio, e' ugualmente distante dalla creatività incontrollata e dal piatto funzionalismo.

The aim of the museum is to put the child in a position to elaborate in a personal way what we learned and to stimulate its ability to critique, to help him find an identity within their culture and their world. The focus is on learning of their children and strategies to facilitate the educational process. A children's museum should provide the tools to create a space that is conducive to learning through discovery, play, exploration, interaction with people, objects and structures, and that makes children feel at home them. The visitor passes in a fluid collection from the experience of an area characterized by compression surprising that large expansions of spaces with vertical slips into the architecture: shafts of light, patios, natural areas ..

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REVERSING VISIT

change in the ... ...
my idea of \u200b\u200bdesign is always based on the cultural center for children but I have replaced the area with 20 5. E ' a much more structured with a pre-existing in almost half blind and facades that surround much of the perimeter. My goal is to redevelop the heart of this block.

5. URBANVOIDS


Via cease-Spirits
Via Arrigo D'Avila



On 5 UrbanVoids is an interesting area of \u200b\u200bstudy between three blocks of multi-storey buildings and the viacina Via Appia. It has a C-shape and overlooks the street and stopped Spirits Via Arrigo Davila and occupies the entire area around a pre-existence: the "Inn of Blithe Spirit" linked to a curious legend 800.






A few meters after the inn is a spring of 1890 weblog SPQR, used, at the time when he was still working for watering the animals that passed along the road. Next the fountain there are other buildings: a house with two floors , a former foundry and a large barn. The entire complex is but total state of disrepair and in danger of collapse. In recent years, precisely in this area have been made of archaeological surveys that have found the remains of a probalili baths and aqueduct Antoninianus.



This area has always been subject to special interest by the Administration has proposed different uses in different prg: garden fountain emphasizing how historical memory, with the installation of public green public utility services' and is finally given the location of another car wash and related services. Despite the many projects today the area remains deserted and devoid of features.

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ALL'EXPLORA

The museum is designed like a small city on the child with its spaces, its functions e i suoi maestri; una città che mette in contatto i bambini con i fatti e le ratà quotidiane, dove tutto può essere oddervato, toccato, sperimentato.

Il padiglione espositivo è organizzato in 4 sezioni:

IO: i bambini scoprono i segreti del corpo umano




SOCIETA': i bambini possono far finta di lavorare , nella piazza si affacciano un supermercato, una pompa di benzina, un camion dei pompieri.








AMBIENTE: una casa speciale dove gli spazi sono trasparenti; una casa ecologica perché alimentata dall'impianto fotovoltaico e rispettosa dell'ambiente perchè ricicla i rifiuti che produce.








COMUNICAZIONE: alla scoperta della tecnologia e dei mass media, si sperimenta come e perché si comunica, come si "fa" la televisione, qual è il valore di una banconota, come viaggiano letters by air mail and the post office.














space recreational real








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