outcrops (which is the title of a monographic magazine's "Gomorrah") is a better word because interrelations two lines of thought.
The first is related to the flows, to overflowing, the limazioni (ie the threshold moving water) and then, ultimately, market liquidity, which is one of the key research themes, not only architectural and recent years. The second aspect is linked to the concept of stratification, since it was used by Peter Eisenman in 1978 with plans to Cannaregio, (and later by Bernard Tschumi, Rem Koolhaas and many others), has become a crucial weapon to think about designing urban. It is, as is well known, to design the coexistence of different systems (the green, paths, buildings and weaknesses, technological networks, etc.) in which each layer, or layer, is how to separate and on the other conspiring with others to create the complexity of the urban landscape.
Now the beauty of the word is surfacing in suggesting a process of revelation "to the contrary." As if the project should be through some layers, but instead a way through "top down" with a mode from the "bottom up". As a set of layers that normally surface, to emerge.
The difference is not trivial because it involves the replacement of a thought "mechanical", evocative of the artificial world of the industrial object, with an inspiration that looks at the complexities of anti-romantic (difficult and complex) of the contemporary landscape.
trying to make sense. Look at the famous draft Tschumi at La Villette in Paris. In that case the ground is a tray on which overlapping layers of buildings-points, routes, zones use and so on. Each system is independent and is created by layering the interest of the composition and space. It is an outcrop, but in fact a stratification mechanism where a layer is literally placed above the other.
Apparently our meaning is closer to the building at Check Point Charlie in Berlin. Eisenman described it as "stratigraphic section" of a mineral originated from a rippling of the earth's surface. This land-based re-emergence, however, is alien to the sense of the word cream.
The center of the concept as a tool for thinking about architectural choices, in my opinion, should focus on two components which we have mentioned and perhaps now clarified. On the one hand it is essential to the use of formative principles of the fluids, the other is the concept of "propagation of the zero quota". I mean, if we work for outcrops, there can be a tray, a single set of project plan from which to emerge masses telluric or where mechanical layering, but rather many layers, many units that just eat and fringed, shaped wound , gets a feeling of "surfacing" coexisting with each other.
I am convinced that the renewal of architecture that we are experiencing today is not just a matter of taste, new fashion, language but that it is motivated by at least three major themes, which are on one side crisis relocation of design culture and the other transformation engine.
The first (and the only mention I can do) is a new knowledge of the fragmentation of the urban landscape, which is both opportunity and reason of many projects today. The "brown areas" or brownfield sites are one of the fundamental opportunities of recent years and it is not surprising that there is a consistent aesthetic to them and consequences. A search that is based on the characteristics of fragmentation, remote location and viability of these new contemporary sites. That transforms them, as it always has the true architecture, new aesthetic feel. Now the area Ostiense in Rome is one that is historically in the past been characterized by a more industrial and is now almost at the same time the symbol of the need for conversion of new urban opportunities, new research on the city.
course, if the application of the concept of gravity outcrop rather than deal with large areas of former industrial zone on the Gasometer gravitating from one side and the old factory Mirala other hand, attention may concentrate in the area "between", which corresponds just as the redesign of the banks of the Tiber.
What are the main issues affecting this redesign? We proceed by points. The first is the goal of compensation. It is clear that the opportunities that have brownfield sites more if immediately adjacent to a watercourse, it may not lead to a strong injection of natural, green, and areas with different ratio of preserving environmental protection starts from the "total "to those used for sport and leisure. In any case, with very low density precisely to compensate the city and the citizens who live in neighborhoods, like that of Viale Marconi, produced by the well known "hand over the city" of the fifties-sixties.
A key point is that although the issue of compensation and the injection of naturalness, it is not under any circumstances to make a "park", but, in fact "new tracks from the city." The old industrial city had as a means necessary and appropriate to its production methods, the zoning . That is the division for homogeneous groups (in this industry, the residence here, hence the service sector and office, here, in fact, the park). The contemporary city, because the production model is based on information rather than on manufacturing, is increasingly a multi-functional and integrated city where the functions overlap and are combined to form songs that antizoning cities tend to live 24 to 24. Besides, this is the strategy proposed for the most important urban works of these years in Potsdamer Platz in Berlin.
This means that from the perspective of the functions of this new city track will feature a mix of productive activities of the company information that are both entertaining, commercial, service and communication. And that really work can only be technologically highly innervated. Wiring networks that carry both the traditional ones and to those information systems, lighting, access control, production of sound pictures and messages. Increasingly today, the nature and the natural back into play through hybridization with technology. Toyo Ito teaches.
Now, in a case like this, what better concept for dell'affioramento guide the choices of the project? The banks of the Tiber in this case live from the bottom up "as if surfacing." This creates precisely the propagation of zero, the crossing multiple layers of different morphologies and geometries and design of soil and artifacts from the different degree of permanence and rigidity. The strategy dell'affioramento, to preside over the formative project, has a component of all practice because it becomes natural to think of these terraces in relation to share the risk of growth in the level of the river water. The technique comes from planning and geography in the technical cultures indicate various levels of value and cost to vary the risk of flooding.
The image and the overall evocative of an intervention of this kind seems to me you can come closer to the Mara Memos in his paper Liquide thresholds ("Gomorrah", No. 2, 1998) evoked "The waterfront of the contemporary city landscapes are (...) of intense brightness formed by the reflection of mega screens, from the signs, the lights in the offices of the skyscrapers, the glass facades that reflect the clear night." The project, as summarized Ilaria Benassi to explain the proposal, which is shown here-comes from the need to return the river to the city through a critical analysis of the traditional system of levees that are the primary source of detachment of the city from the water. The board becomes the space for dialogue, it becomes a waterfront that breaks down fences and limits contamination of the surrounding objects and it is contaminated. The system designer touches the shores of the fragments of industrial areas, encompassing the surrounding area, is wedged in soil and vegetation, dig and stretches up to touch the water, work on multiple levels by multiplying the share of banks: it appears as a metropolitan hypertext.
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