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* T h e p le a s u r e o f u s e fo r m a ti o n a n d in fo r m a ti o n c e n te r in h u m a c v il la g e report 2006 p o li te c n ic o d i m il a n o fa c o lt à d i a r c h it e tt u r a e s o c ie tà e d it o r w it h la y o u t s te fa n ia b r u n e ll i s te fa n ia b r u n e ll i li v ia m in o ja fr a n c e s c a v a r g iu g e n n a r o p o s ti g li o n e lo r e n z o b in i fr a n c e s c a m u r ia ld o Richard Long | A line made by walking | 1967
Citation preview
*The pleasure of use
formation and inform
ation center in humac village
report 2006
lab3_06
3rd year design coursecorsodi studi in scienze dell’architettura
facoltà di architettura e societàpolitecnico di m
ilano
editor
with
layoutstefania brunelli
stefania brunellilivia m
inojafrancesca vargiu
gennaro postiglionelorenzo binifrancesca m
urialdo
Richard Long | A line m
ade by walking |1967
*The pleasure of use
formation and inform
ation center in humac village
index
1_introduction
1.1_the pleasure of useby gennaro postiglione
1.2_location hvar
1.3_location humac
2_relief
2.1_describe
2.2_catalogue
2.3_analyse
2.4_deepen
2.5_measure
2.6_investigate3_the human heritage and
sustainableturismby gennaro postiglione
4_functional programm
e
4.1_studentes’ residences
4.2_responsabiles’ residences
4.3_reading rooms
4.4_working room
s
4.5_multifunctional space/foyer
4.6_streets/breakspaces
4.7_ kitchen
4.8_bar
5_masterplan
5.1_to think over humac
5.2_to choose
5.3_to move
5.4_to meet
5.5_to withdraw
5.6_to live
6_manipulation
6.1_students’ residences
6.2_responsables’ residences
6.3_reading rooms/w
orking rooms
6.4_multifunctional space/foyer
6.5_kitchen/streets/break point
6.6_bar
"the pleasure of use": centro di form
azione e informazione a hum
ac, per riscoprire l'arte di abitare
programm
a guida
caro Ivo,sono alla scuola di A
rchitettura di O
slo e nell'attesa che arrivino gli am
ici da cui sono ospite, provo a scriverti del laboratorio del prossim
o anno.
La prima idea era di lavorare
sull'housing all'interno di strutture industriali dism
esse; poi, parlandone con alessia e lorenzo, sono passato all'idea di lavorare sui vuoti urbani di M
ilano, proponendo delle "temporary
residences" per studenti, amici,
anziani, ecc.A
lla fine però l'idea di lavorare tra paesaggio, natura e architettura ha
preso il sopravvento (mea culpa):
così mi è tornato alla m
ente il villaggio abbandonato di H
umac, sulla
“tua” isola.Il tem
a potrebbe essere quello sem
plice della "piccola dimora",
intesa però come parte di un insiem
e più am
pio – il villaggio - che ha funzione di “C
entro di formazione e
informazione per riscoprire l’arte di
abitare”. L'idea principale resta quella di intervenire su un esistente m
olto caratterizzato e in una situazione paesaggistica m
ozzafiato che va intesa com
e ulteriore elemento di
progetto e da progettare. Una
condizione tipica di tanta architettura m
editerranea (all'Elba m
i sono poi innam
orato definitivamente della
"macchia m
editerranea": non ho mai
fotografato tante piante in vita mia!).
Vorrei che si lavorasse con gesti progettuali sem
plici, misurati, oserei
dire quasi "quotidiani e archetipi" insiem
e, intorno al tema dell'abitare. Il
corso potrebbe avere come slogan il
titolo di un testo degli Sm
ithsons, "the pleasure of use". Vorrei, infatti, cam
biare il modo di abitare per
recuperare e riscoprire ciò che un tem
po era “l'arte di abitare”, rendendo l’architettura della casa più vera, più schietta, liberandola da stilem
i mode
vezzi tendenze, per farla tornare a essere una attività legata ai gesti, agli
affetti, alle abitudini, alle cose che di cui ci circondiam
o e all’ambiente nella
quale si inserisce.C
osa servirebbe (da te):organizzare una settim
ana (a fine settem
bre, primi di ottobre) tra
Spalato (la storia ha e deve
continuare ad avere la sua parte!) e l'isola, in m
odo che gli studenti possano fare rilievi grafici e
fotografici, rendersi conto del paesaggio e respirare l'area del luogo; m
agari potremm
o anche incontrare qualcuno che ci racconti
dell'isola e della storia di Hum
ac, della sua nascita e del suo declino.
Pensavo che si potrebbe stare in
una di quelle mega-strutture
"socialiste" (insomm
a, quegli edifici “koolhaasiani” ante litteram
su cui tanto ci siam
o confrontati), dove non m
ancheranno sicuramente
spazi per riunirsi, lavorare e discutere.S
trutture, inoltre, in netta contrapposizione con le tipologie sulle quali andiam
o a lavorare: un confronto che dovrebbe rivelarsi non privo di stim
oli e riflessioni per tutti.P
er concludere - gli amici orm
ai sono qui che m
i aspettano - attraverso "l'isola di K
var", e paradigm
aticamente attraverso
Hum
ac, vorrei che gli studenti si innam
orassero dell'architettura rurale, dell'arte del costruire, della sapienza insediativa, della bellezza della natura, delle qualità espressive dei m
ateriali, della sem
plicità che possono avere i gesti progettuali, dell'appropriatezza tra spazi vita e luoghi, sm
ettendola una buona volta di "giocare" - nel m
igliore dei casi - a fare gli architetti alla m
oda.P
er questo ho pensato che ad un m
ese dalla fine del corso, si potrebbe andare tutti insiem
e in un luogo in cui ritirasi a progettare, full im
mersion, m
agari anche tornando all’isola. A
nche se mi rendo conto
che un simile am
bizioso program
ma prevede degli studenti
fortemente m
otivati e disposti a lavorare duro senza risparm
iarsi, ben determ
inati ad imparare e a
esperire (Per chi è pronto a iniziare,
perché si inizia sempre prim
a di com
inciare, c’è già il sito dove prendere visione di m
ateriali e program
ma e iscriversi al viaggio di
sopralluogo: http://king.rett.polimi.it/
?postigli/didattica)C
iao, Gennaro
ps: dimenticavo le letture.
Naturalm
ente framm
enti dagli scritti degli S
mithson, per la loro abilità
pop nel comporre e costruire luoghi
dal nulla e con nulla; e poi estratti da “La form
a costruita” di S
chmitthenner e “O
sservazioni elem
entari sul costruire” di Tessenow
, “Architettura senza
architetti” di Rudofsky e “A P
attern Language” di A
lexander, e altre piccole “lam
pade dell’architettura” che con attenzione sceglierò insiem
e ai collaboratori.
pps: e di certo ci saranno “i casi-studio”, presentati assegnati scelti; m
i vengono in mente il
Cabanon di Le C
orbusier, il Solar
Pavilion degli S
mithson, le case a
Stintino di U
mberto R
iva, il cottage a P
ortør di Knutsen, le ville al m
are di P
onti… e poi dovrei dirti dei
contributi degli integratori… m
a non c’è tem
po.
1.2_location hvar
Humac
1.3_location humac
L’esperienza del percorso è rappresentata dalle sole direzioni del vento incontrate lungo il cammino, senza supporto cartografico. Il vento non soffia solo in alcune direzioni prevalenti, ma riflette anche la forma del territorio. Quando cammini su un crinale il vento viene dalle due opposte direzioni, perché viene come succhiato su, oltre la cresta. Altre volte, quando vai dietro un masso o una torre, il vento viene riflesso in altre direzioni. Il vento può soffiare in tutte le diverse direzioni per diverse ragioni che hanno a che fare con la forma del territorio. Mi piaceva molto questa idea che in un certo modo una linea del vento poteva riflettere la forma del territorio.
Richard Long, Walking in circles, 1991
2.1_describe
_hva
r
_hum
ac
_sez
ione
1
Lavanda
Piccoli
Arbusti
Abeti
Arbusti
Arbusti
Arbusti
Arbusti
Arbusti
Piccoli
Piccoli
Arbusti
Piccoli
Piccoli
Piccoli
Piccoli
Muretti
Muretti
Muretti
Muretti
Muretti
Muretti
Muretti
Muretti
Muretti
Muretti
Muretti
Lavanda
Lavanda
Lavanda
Lavanda
Lavanda
Lavanda
Lavanda
Lavanda
Lavanda
Lavanda
Lavanda
_sez
ione
2
Muretti
Muretti
Muretti
Muretti
Areadisosta
Lavanda
Lavanda
Lavanda
Boscaglia
Boscaglia
Scavo
_sez
ione
3
Lavanda
Piccoli
Arbusti
Lavanda
Piccoli
Arbusti
Lavanda
Piccoli
Arbusti
Muretti
Muretti
Muretti
Muretti
Muretti
Muretti
Lavanda
Piccoli
Arbusti
Pini
Masi
Arbusti
Strada
Sterrata
MURO DI PIETR A M URO DI PIETRA MU
STRADA STERRATA STRAD
AST
ERR
ATA
STRA
DA
STER
RATA
STR
AD
AST
ERRATA
ST
RADA STERRARTASTRA
DAD
STRERRATASTRA
DA
S TERRATASTR
STRADADSTERRATA STRADA STERRATA STR
STRAD
A STE
STRADA STERRATA
STRA
DA STERRATA STRADA ST
ERRATA
ST RADA STERRA TAST
RA
D
A STERR
muretto dipie
tra
m uretto dimuretto di
muretto di pietra muretto di pi
muretto
dip
ietr
muretto di pietra murett
muret to di pietmure
murettodi p
ietr
am
ure
tto
di pietram
uretmuretto
muretto
mu
rem
u
to
muretto di pietra muretto
muretto di pietra murett
muretto di pietr
muretto di piet
muretto
di pie
mu
rettod
i pi
mmm
mu
mu
mu
mu
mu
mur
e
mure
tmuretto
dimu
muretto di pietra muretto di pietra
mu
rett
o di pietro murettod
ipietra
muretto
dip
ietram
u
muretto di pietra muretto di pietr
mu
rett
od
i pie
muretto di pi
mu
mu
muretto di pietra
muretto di pietramuretto di pietramuretto di pietra muretto di pietra
muretto di pietra muretto di pietra
muretto di pietra muretto di pietramurett
murettmurett
muretto
muret
todip
ietra
muretto
dip
ie
mu
rm
ure
tto
di
mur
etto
di p
i etr
am
uret
to
1
2
3
_sez
ione
1
_sez
ione
2_s
ezio
ne 3
2.2_catalogue
_cos
truito
_rud
eri
_vuo
ti
_ te
rraz
ze/c
iste
rne
_ pe
rcor
si_
corti
2.3_analyse
_1 p
iano
/1un
ità 2
pia
ni/1
uni
tà_1
pia
no/1
unità
_1 p
iano
/2 u
nità
_2 p
iani
/1un
ità_2
pia
ni/2
unità
2.4_deepen
2.6_measure
a c
b
_pia
nta
pian
o te
rra
_pia
nta
prim
o pi
ano
_pia
nta
cope
rtura
_pro
spet
to c
c’
_pro
spet
to a
a’
_pro
spet
to b
b’
2.7_to investigate
Cultural landscape and rural heritage Landscape can be considered the cultural identity of a territory. In fact, each physical transformation of a territory, caused by new social instances, produces a modification of its identity and of the system of self representing. The landscape, as cognitive and cultural system of representation of a territory, is the medium to understand and to reveal more quickly the possibilities that are inherent in the characteristics of a places. Moving in a heritage context, this ability becomes even more important: a local community (like the one settled down in the village of Humac), uses the territorial context to settle down languages, common experiences and identity, and to facilitate the
subject keep on debating on: this subject is certainly the one of the author, but also the one of the reader. Therefore the theory of the text provoke the valorisation of a new epistemological item: the reading […]. The theory infinitely widens the freedom of the reading, and, more than this, strongly underlines the (proficient) equality of writing and reading […], - where – true reading is when the reader is the one who wants to write” .
metaphors, useful to express the complex situations in which the territorial elements are located in the reality. One of the metaphors is the use of the concept of layers, to distinguish the stratifications that lay down in a territory and are melted by the time: for instance the landscape and the territory inhabited by men.Others rules of a spatial syntax that refers to aggregative systems can be adopted, according to Paola Viganò (1999) like the puzzle
transformation that represent possibilities inherent a specific context: talking about the territory as heritage, “the concept of vision is tight related to the one of vocation” (Mollica, 2006). In this case in fact, this approach is addressed to facilitate conscious processes of re-discovering and re-appropriation of the place by the local community and the visitors, in order to find out the real opportunities to focus on and strengthen to project a reviving action and a sustainable re-use.
3_rural heritage and soustainable tourismby gennaro postiglione
knowledge sharing between the people who is building the meaning of the place. In fact, if the man permanent inhabitation builds the significance of a places and establishes his primary belongings defining the name, the language, the alimentary and garments habits, the religious and political context, it is the landscape that makes sense of single portions of world, fixing relations, functions and orientations.This capacity to coherently understand and socialize the cultural values of a place, makes the landscape a privileged place to investigate looking for opportunities of transformations and valorisation of the local identity and history. Placed in a panoramic position in the centre of the island of Hvar, the ancient and small seasonal village of Humac, today semi-abandoned, has been singled out as a typical Croatian rural culture of living and inhabit the territory, and therefore a meaningful form of cultural landscape patrimony, that needs a strategic and synergic system of rediscovering, divulgation and valorisation.
A descriptive methodology of valorisationCorresponding to the theories of the descriptive geography (Dematteis, 1995), a metaphorical mediation of the physical and spatial meanings of the places has been adopted, and a descriptive approach has been used as methodology of work. Aproject is descriptive if is directed to generate models of
The theory of the text of Roland Barthes assumes the act of reading as an interpretation and re-writing of the sense of the text operated by the reader. Borrowing this model and applying it to the comprehension of the territory, it means to adopt an active process of knowledge enabling the production of a new significance of the place.
“Considering the territory as a text, it means, before all, to look for its oppositions. Texts are complex structures carrying excesses of sense and they can produce memory only through difference (Deridda, 1971), using their skill of combining systems of expressive opposition to create contents”
A text has a meaning because some of its characteristics are agreed as different. In fact, the “indistinct” reduce a text as object without sense. The textual reading instead, as observation praxis able to interpret and signify different elements, allows to represent the specific aspects of a place in a model suitable of interventions. The application of the textual reading method in the Humac context has led to develop exploration and survey exercises like walks, sketches, photo reports, and to activities of activities of interpretation of the data in order to rebuild sequences, rhythms, repetitions and to specify a territorial syntax. According to Giuseppe Dematteis, the territorial syntax can be usually explained by conceptual
system, that organises elements corresponding to a stated plan, and to a project, or the dominoes, that like the game, works with the approach of the elements margins with the others.A spontaneous process of shaping of the territory by continuous modifications, can be described, with this system, according to Paola Berenstein Jaques (2001) starting from fragments that aggregate with others in form of labyrinth and rhizome, developing a specific and particular structure. In this sense the ancient rural village of Humac responds to a cultural complexity different from the one of a formal and planned city, but owns a specific aesthetic.
Syntactic maps represents this information as the cultural elements of the process of rediscovering and valorisation of the site, providing two different forms of communication: a descriptive form, textual and iconic, of the context features, and a narrative one, more focused on the production of new significance of those characteristics, like the creation and the staging of the imaginary of the place in a tourist perspective.The process of exploration and reading of Humac produced various analytic representations of the place and clarified the cultural and social values of the architecture and the manufactured elements of the village in relation with the surrounding landscape that would have been considered as the essential factors of the genius loci and basic bonds forthe exploitation projects.
Consequently, the actions of analysing, describing and representing the site, the architecture typologies and their relations with the natural context, are considered as a powerful experience-led approach, necessary for the comprehension and definition of the already existing and exploitable intangible and tangible values of the village. In this process, the descriptions, using conceptual categories that over pass the traditional ones of the cartography, became maps of the experience of the space, produced by subjective practices, like the exploration . These descriptions try to represent routes and relations of the places through the narrative structure typical of a text and may enable a more contemporary and dynamic concept of Cultural Heritage, where the valorisation actions are directed to allow an active culture fruition and experience by individuals.
A direct experience of reading and representing Humac heritage
“Every meaningful activity can generate text: painting, composing music, filming, etc..[…] If the theory of the text tends to abolish the separation between the different art disciplines it is because their artworks are not anymore considered as simple ‘messages’ […] but as perpetual products, statements, which the
preferred places far away from the quotidian life of the guests.The necessity of changing scenery and context, together with the intuition of the intense and evocative impact supplied by places full of history and culture, have decreed the fortune of sites that were outside of the tourist routes.These places have become the highlights of a global tourist system, and have been equipped to guest in the best conditions similar meetings. The increasing of the communication and transportation systems, especially by water or by plane, helped those places to free themselves from other heavy systems like the roads and the railways. Secluded and wild localities have suddenly become little but essential knots of
The significance produces by these representation is basically direct (physical and spatial) or mediate (relations), depending on the kind of information included :1. enumerative if is related to the physical location of single things at different scales;2. syntactic, if is related to the relationships among the categories of objects, like relations, configurations, patterns. This level selects and arranges the information of the previous one;3. symbolic, if makes explicit and culturally legitimate the whole sense of the representation, assigning objective meaning to abstract forms and transforming the space as container for real facts.Some examples will show these different qualities and scales of observation analysed in the site. The surveys related to the landscape privileged an evocative and narrative language, as shown by the sketches and the maps.
As stated before, the intervention is based upon simple remarks derived by the context knowledge gained by the reading practice. The recovery interventions of the integral buildings and the voids have been projected privileging the respect of the existent situation and the necessity to distinguish the new structures from the old ones by materials and aspect. The new structures are autonomous in perimeter and roof and “inserted” in the old ones, to maintain the actual visual impact. The new roofs projected for the voids are pitch shaped, to be similar to the others. Not all the voids have been closed by the roof: many of them have been reused keeping the perceptive relations of a hortus conclusus, a closed garden or a room under the sky.
Corresponding to this approach, the possibilities of reuse have been selected within activities characterised by temporary presences, substituting the seasonal use with another one. The village is transformed in an International Information and Education Centre; a place where private companies, public institutions can arrange intensive meetings or workshops, for short times, far away from the stress of the contemporary city. This use will fulfil the calendar of the activities for the whole year, but with different groups of individuals for each period, allowing people to experience the seasonal memory of the place.
the global system that involves the whole world. In ha same way, the small village of Humac, located in as isolated place in the island of Hvar, will lose its marginal condition and become one of the possible destination of this cultural tourism. A tourism different, directed not to escape from the stress of the work and urban life but to find betterand stimulating contexts in order to improve the creativity and effectiveness of the same work.In this vision, the development of some infrastructures, still missing in the island, but under discussion within the public institutions, like a national airport, will connect Humac with the global relations net. The island is moreover easily reachable by the sea, from the main harbours of Italy, Greece, Croatia and Turkey. This position in the barycentre of the Adriatic sea will transform the island in destination of new important commercial flows. In this case, however, persons and their intelligences and culture will travel, and not products, improving the awareness of the strategic importance of Cultural Heritage within the Soft Economy, based on knowledge, innovation, creativity and quality: “an economy that connects social cohesion and competitiveness, and able to learn from communities and territories” (Cianciullo, Realacci , 2005). As an international cross-road, Humac, will provide its International Information and Education Centre, and the adequate hospitality infrastructures, attracting groups from all over the world. The process will get the points of improving cultural heritage fruition providing the tools, infrastructures and services, and increasing an innovative competitiveness in the global system based on relations and cultural differences preservation (Trimarchi, 2005; Semprini, 2005).This ancient village in fact could offer the opportunity of a different nomadic life, more conscious and well educated than the one which shaped its existence. A“chic nomadic life”, according to the famous architecture critic Banahm, able to change the future of this rural Heritage in the middle of the Adriatic sea, on the top of the ridge dividing the island of Hvar.
At the urbane scale, the representations try to find out the syntax of the place collocating in different layers all the elements of the village: the buildings still existing (dividing them by the number of the floors), the ruins, the empty areas, the courts and the public spaces, the pathways. At a more detailed scale one single building is described using the conventional drawings. A functional typology according to the identity of the placeHumac Village, like many others rural villages, was destined to be occupied only seasonally, during the time connected with the cultivating activities: olive trees, and more recently, lavender. For this reason the building typologies and the structure of the village present characteristics that are more simple that the ones typical of a permanent inhabited rural architecture. It is missing an idea of urban shape and the village is more or less the “petrifying” of a nomadic camp: the settling choices are guided by contingent opportunities and correspond to the character of temporary inhabitation of these places. The village in fact derives its historical and cultural identity from these peculiarities, and the research of a new functional typology has been developed according to the same elements, in order to guarantee an ideal continuity between past heritage and future uses. This precise introductive statement of the project specifies our cultural and methodological approach directed to the sustainable recovery and transformation of the Rural Heritage (dismissed, abandoned or not fully active). Refusing the theory and the technique aimed exclusively to stylistic questions (the maintenance of the status quo ) or economic ones (the maximum commercial exploitation), the project developed for the village of Humac is based on the awareness that the knowledge of the places, its history and manufactured elements ( a knowledge as it is before showed not only philological but also phenomenological), should lead to a project able to interpret the identity and interrogate the memory of the site. That is a project capable to propose new uses respecting the cultural continuity.
These places satisfy the ambiguous situation of entering in a space that maintains the memory of the previous building without any covering. To underlinethis perceptive relation, all the voids not used as new buildings, are projected as relax areas in the village: entering in these places we are introduced in a sort of Eden garden, delimitated by the perimeter in dry stone, the luxurious vegetation and the coloured sky. The ruins, semi destroyed buildings pointed out by few stones, are projected with the same approach:in this way the interventions on the ruins rebuild the empty areas with the same typologies of the village. For the new building instead, the use of the pitch roof resulted impossible, and it has been chosen to insert these new constructions trying to locate them simulating the natural process of stratification of the village, and creating a debate in order to make more actual the old structures.The organisers residences, have been considered as a natural expansion of the village, according with its making: they are integrated in the landscape and with the system of dry stones walls, and define a new building typology, more horizontal and close to the ground. Finally, the multi purpose space has been conceived as the only occasion for an autonomous architectonic element, but it still operates a negotiation with the presence of a meaningful walkble wall. With the same concept is characterisedthe Church of the village, the only structure with a different functional destination, that is far away, located at the margins of the village.
A cultural project of sustainable tourism and developmentAlways more frequently, small and big enterprises, educational institution like schools and Universities, organise moments of training that last from few days to weeks, that is a time never too much long in order to make them not difficult. Whether they would be training courses or intense workshops or international and national meetings, the organisers, following the indications of psychologists or sociologists and experts of educations, have
The morphological aspects and the master plan for the interventionThe morphological fragmentation of the village, arranged in independent units in different state of maintenance ( there are preserved building as well as ruins), the presence in the site of a system of dry-stone walls (that suggests a sort of matrix of the settling down), and the availability of further enlargements (as in the history of the village), constituted the elements of negotiation of the project and delimitated four areas in the site.Expecting a maximum amount of 100 contemporary presences (that correspond with the measurement of the disposability offered by the existent buildings), the project was developed undergoing the following guidelines:
1. the residences for the guests are located in the buildings actually still integral;2. the organisers residences are located in new buildings places in the western area of the village, individuated by a slight slope and low dry-stone walls;3. the halls for the meetings and the workshops are foreseen as independent new buildings aside the unroofed existent ones; these voids are used to provide the necessary services for the working rooms; 4. reading halls, common living rooms and kitchens are located in the same voids, but with the condition to keep free at least a part of the existent situation, saving the hybrid nature of “interior area under the sky”;5. Beside the kitchens are located the dining rooms, projected like further enlargements of the buildings, in order to increase with new structures the density of the edification;6. all the volumes of the voids that are not used for different scopes, are destined to become gardens and equipped relax areas, enabling the experience “to be inside being open air”;7. Finally in a more isolated context, in the eastern part of the village, close to some evocative traces, the place for a multi purpose hall ( exhibitions, parties etc.) has been chosen.
2_functional program
4.1_students’ residence
collo
cazi
one
cost
ruito
nucl
ei
serv
izi
vinc
oli d
i pro
getto
4.2_responsabiles’ residence
supe
rfici
e es
tern
aco
lloca
zion
edi
men
sion
amen
to
4.3_reading rooms
collo
cazi
one
supe
rfici
e es
tern
avi
ncol
i di p
roge
tto
4.4_working rooms
collo
cazi
one
hard
war
e +
ampl
iam
ento
vinc
olid
di p
roge
tto
4.5_multifunctional space/foyer
collo
cazi
one
o m
ultif
unzi
onal
e
4.6_streets/break spaces
luog
hi d
i sos
ta in
tern
ilu
oghi
di s
osta
est
erni
4.7_kitchen
collo
cazi
one
vinc
oli d
i pro
getto
dim
ensi
onam
ento
4.8_bar
collo
cazi
one
belv
eder
evi
ncol
i di p
roge
tto
5_masterplan
5.1_to think over humac
exterior street
interior street
building
5.2_to choose
bar
restaurant
expositive/conference room
responsabiles/students’ residence
kitchens
working/reading’s rooms
principal streets
trasversal streets
external users street + parking
5.3_to move
pricipal streets
trsversal streets
external users streets + parking
5.4_to meet
working rooms
reading rooms
exposition/conference room
kitchens
bar
retaurant
5.5_to withdraw
responsabiles’ residences
students’ residences
5.6_to live
bar
restaurant
expositive/conference room
responsabiles/students’ residence
kitchens
working/reading’s rooms
principal streets
trasversal streets
external users street + parking
6_manipulation
Elisabetta Buffa di Perrero_Francesco Maria Giulini_Andrea Milesi
Alessio Casiraghi_Alessio Cavenati
Alfonso Lacamara_Livia Minoja
Marco Valvassori
6.3_reading rooms/working rooms
Julia Hutzler
Cinzia Martinoni
Maria Soo-Ran Accorsi_Arianna Rossella
6.5_multifunctional space/foyer
Stefania Brunelli_Francesca Vargiu
tocc
are
espl
orar
e
cont
empl
are
vede
re sost
are
amm
irare
scru
tare
arre
star
si
perc
epire
avve
rtire
ferm
arsi
sfio
rare
cogl
iere
tratte
ners
i
avvi
cina
rsi
esam
inar
e
riman
ere
sent
ire cont
empl
are
pass
eggi
are
ralle
ntar
e
amm
irare
man
eggi
are
tast
are
0.00
3.80
-1.20
_sez
ione
bb'
275
326
0.00
3.80
-1.20
_sez
ione
aa'
_pla
nivo
lum
etric
o
a'
a
_bookshop
_det
tagl
io li
brer
ia
a'
_pla
nivo
lum
etric
o
a
_sez
ione
aa'
_coffee shop
_sez
ione
a'a
_pla
nivo
lum
etric
o_s
ezio
neaa
'
_sal
a co
nfer
enze
_sal
a es
posi
tiva
_gia
rdin
o d
ei s
ogni
_conference/exposition hall
_sed
uta
_rip
iano
esp
ositi
vo
45
90
_sez
ione
_bathroom
Sigrun Sumarlindadottir
6.5_kitchen/streets/break point
Mirko Garavaglia_Cinzia Marescotti
6.6_bar
Marco Giovinazzo_Francesca Guarascio
Annamaria Renis
accorsi maria sooran
ambrosini cristiano
borgogna carlottabrunelli stefania
buffa di perrero elisabettacasiraghi alessiocavenati alessio
di filippo annagaravaglia m
irko
giovinazzo marco
giulini francesco maria
guarascio francescahutlzer julia
marescotti cinzia m
aria
minoja livia
ormonova vessela
ozzolins karlis
renis annamariarossella arianna
lacamara alfonso
martinoni cinzia
milesi andrea
vargiu francescaveronesi giovanni
perego francesca
salsi michele
sigrun sumarlindadottir
taiocchi tamara
tatti marco
valvassori marco