Posts tagged with "Italy":
YAC – Young Architects Competitions – and the Foundation Fashion Research Italy – in cooperation with the Cineteca di Bologna - launch “Seduction Pavilion”, an architectural competition to design and realize an installation that will became a real landmark of an exhibition that the Foundation is going to dedicate to the endless beauty of aspiring female celebrities and pin-ups. A cash prize of € 10,000 + realization of the 1st prize project will be awarded to winners selected by a well-renowned jury made of, among the others, Patricia Urquiola (Studio Urquiola), Fabio Novembre (Studio Fabio Novembre), Ippolito Pestellini Laparelli (OMA), Claudio Silvestrin (Claudio Silvestrin Architects)
Refinery, elegance and seduction. The female universe has always been a sacred horizon, a mysterious threshold that has been inspiring a wide range of expressions of human culture. For women the first simulacra were sculpted by human hands, for women the Caryatids of the Acropolis of Athens were created. The sensuality captured by the ancient oral tradition of the Aeneid and the Old Testament is the female sensuality.
The characters of the woman are countless. They have been dotting the history of humankind in the enduring pursuit of an ever-changing beauty. Cinema and fashion have been celebrating such a bewitching and generating power for decades in an ongoing story of seduction and elegance.
Therefore, the Foundation Fashion Research Italy and the Cineteca di Bolognaaim at paying tribute to this female horizon, to this story of beauty and deep dignity. They will do so, by creating an architectural installation. Through a selection of rare photographs, it will describe the forgotten world of failed female stars: enchanting beauties that have almost been part of the Hollywood and Italian star system but never achieved fame.
How to represent the world of aspiring female celebrities and pin-ups? How to express- through architecture- the seducing power of the female universe?
By answering these questions, designers will have the opportunity to pay tribute to the seducing fascination of nameless female stars. They will have the chance to create their own museum installation, which will be in the world a symbol and expression of style and femininity. Moreover, it will redeem the celebrity dream of stars that never achieved fame.
It will be located at the entrance of the Foundation Fashion Research Italy. It will be displayed to the world during the first edition of the Fashion Film Festival curated by the Cineteca di Bologna. The installation will welcome visitors with a story of sensuality and beauty able to connect them to a fragment of one of the most stunning and mysterious mosaics of history: the woman.
- Patricia Urquiola(Studio Urquiola)
- Ippolito Pestellini Laparelli (Oma)
- Fabio Novembre (Studio Fabio Novembre)
- Claudio Silvestrin (Claudio Silvestrin Architects)
- Alberto Masotti (Fashion Research Italy)
- Gian Luca Farinelli (Cineteca di Bologna)
- Flaviano Celaschi (University of Bologna)
- Carlotta Zucchini (The Plan)
1st PRIZE 5.000 € + REALIZATION
2nd PRIZE 3.000 €
3rd PRIZE 1.000 €
2 GOLD MENTIONS 500 € each
10 HONORABLE MENTIONS
11/06/2018 “early bird” registration – start
08/07/2018 (h 11.59 pm GMT) “early bird” registration – end
09/07/2018 “standard” registration – start
05/08/2018 (h 11.59 pm GMT) “standard” registration – end
06/08/2018 “late” registration – start
09/09/2018 (h 11.59 pm GMT) “late” registration – end
12/09/2018 (h 12.00 pm – midday - GMT) material submission deadline
More information on: www.youngarchitectscompetitions.com
Contact us at: firstname.lastname@example.org
Remembering James Sloss Ackerman (1919–2016), the preeminent American scholar of Italian Renaissance architecture
Bjarke Ingels Group (BIG) has won the commission to design a bottling plant in Bergamo, northern Italy. Sound innocuous? Don't be ridiculous, this is Bjarke Ingels after all. The Danish Designer saw off competition from Dutch firm MVRDV with a proposal that takes cues from Italian Classicism and Rationalism.
The $95 million plant will span 4.3 acres and become the flagship factory for Italian beverage company San Pellegrino. The company, known for its mineral water, has been based in San Pellegrino Terme, Bergamo since 1899. Touching on the company's history in the area, BIG's scheme takes on the classical element of the archway, allowing this to dominate certain aspects of the design. Rationalist inflections can also be found as repeating elements, including the archway, comprise other areas of the plant. Subsequently, certain spaces are encapsulated by wide, sweeping curves from above, while on a smaller scale, archways guide both footsteps and the eye, curating corridors of circulation and framing views onto the mountainside.
Running through the site is the Brembo river, which separates the factory from the San Pellegrino village. A new bridge will cross the water, offering pedestrian and vehicular access to the plant. Trees will then line the water's edge on one side, shielding the infrastructure, while also offering scenic views for those looking out from the factory.
On the other side of the factory, along highway 470 will be "La Pergola"—a series of concrete arches, trees, and foliage that intend to bridge a connection between the factory and the adjacent village. A public plaza, meanwhile, will act as a more explicit gateway between the public and industrial realms of the site, acting as a space for visitors. In the center of the plaza will be a rock obelisk-like pillar. The core sample will comprise claystone, dolostone, chalk, and sandstone and is meant to reflect the journey San Pellegrino's water.“Rather than imposing a new identity on the existing complex, we propose to grow it out of the complex. Like the mineral water itself—the new S.Pellegrino Factory and Experience Lab will seem to spring from its natural source," said Bjarke Ingels in a press release. "We propose to wash away the traditional segregation between front and back of house, and to create a seamless continuity between the environment of production and consumption, and preparation and enjoyment." Local architects Studio Verticale will work on the project with BIG over the next four years. Groundbreaking is slated to take place next year.
The small but provocative exhibition Re-constructivist Architecture at the Ierimonti Gallery on 57th Street forecasts a major shift in the way emerging architects are thinking about architecture today. Curators Jacopo Costanzo, Giovanni Cozzani, and Giulia Leone, in conjunction with the Casa dell’Architettura in Rome, have selected the work of 13 young architectural groups whose members were born in the 1980s to develop proposals for a residence in the Roman countryside. The projects fill three walls of the gallery and are intended to challenge the previous generation of older venerables. To that end, posted on the wall directly across are three projects by deconstructivist “starchitects”: Peter Eisenman’s Yenikapi archaeology museum, Coop Himmelb(l)au’s Art Museum in Strongoli, and Bernard Tschumi’s rendering done specifically for the show, A house like a city, a city like a house.
While the winner has yet to be determined, the exhibition does highlight several important new trends.
It is intended more as a battle than a debate. That the younger architects feel entitled to challenge the Goliaths of the field signifies a fresh and audacious confidence. This new generation intends to offer alternative modes of thinking that signal a change in focus within the field, and eventually to question the premises, concerns, and lavish extravagance of the previous one. Interestingly, they do so by reaching back to the architects of the 1960s, who were devoted to exploring the language of architecture itself. This reversion to an older source would seem to be a conservative move, a kind of retro or revivalist approach. However, these young architects, who certainly acknowledge the “bravura” of the deconstructivists, are instead revisiting the values and cultural concerns of such groups as GRAU, Superstudio, and even Archigram. The theme of the show itself seems reminiscent of architectural exercises at universities where these 30-year-olds studied, especially the projects for the classes of the late Alessandro Anselmi, whose exquisite drawing appears on the announcement for the show as an homage. Importantly, the proposals avoid grand utopian visions and eschew extravagant megastructures. Instead, the theme requires them to confine their efforts to developing plans for a simple structure, and to exploring how to generate a simple home responsive to its natural setting. The projects, then, reexamine basic notions of place and how to design for living on a truly “human” scale.
Secondly, while there are three models in the exhibition, the proposals are primarily graphic. Like architects of the 1960s, these emerging architects deploy drawing to convey their concepts, with each group presenting only a plan and small rendering of their project accompanied by a more-or-less helpful description. Interestingly, the projects vary enormously among themselves in the way in which they are rendered. For example, the group AM3 from Palermo, Italy, elected to represent its solution in the form of two small etchings, executed in a loose, traditional crosshatch technique. AM3 chose to situate its villa on Lake Nemi, a design inspired by the legend that the Emperor Caligula had two gigantic ships built there as floating palaces. Of particular beauty are the drawings by the Portuguese group fala atelier. While the rendering is elegant and clear, the description verges on the poetic crypto-theoretical. It anthropomorphizes the site, stating that the house is “sequential and schizophrenic” with the central void defined by the surrounding wall that “competes with the landscape” and is both “attracted and repulsed by its site.”
Particularly suggestive is the project by the Warehouse of Architecture and Research. The point of departure is a ruin—a kind of palimpsest ubiquitous in the urban and natural settings of the region. The ruin is then animated by a visitor, the so-called “colonialist” seen in the drawing. This subject adds Venturi-esque elements to the site with ironic verve, as if cataloging the various forms in the contemporary architectural vocabulary. What results is an improbable composite in which the various styles and elements elide into a fantastical yet cozy home, a kind of faux-picturesque pastiche. The group Fosbury Architecture based in Milan has produced a dramatic solution: From the square plan rises a kind of cone-shaped thatched tower punctuated by a single enormous column at the center. The hollow column is penetrated by a winding staircase that ascends to an area, one assumes, for contemplation, similar to the solitary towers pictured in Walter Pichler’s drawings. Significantly, the descriptions all share a contemporary ironic undertone that is without a trace of nostalgia or sentimentality.
An essential modus operandi is the use of collage as a way of conjoining past and present, as it allows the connections among the pieces to remain hypothetical and to function as propositions capable of triggering discussion. In fact, the exhibition is only a part of a larger project. The plan is to use the show as a springboard for a series of conferences in Rome that address the significant issues uncovered by it. Beyond the evident visual eloquence and high level of craft, what the show reveals is that the two generations are speaking about distinctly different realms of architecture, and what the new generation is advocating is the retrieval of certain classical, historical values as part of the conversation.
Re-constructivist Architecture Ierimonti Gallery 24 West 57th Street, New York Through February 10
The Salerno Maritime Terminal in south west Italy has been inaugurated by the Italian prime minister Matteo Renzi. The building, which has been in the making for 16 years, is the first to be opened since Zaha Hadid's passing at the end of March earlier this year.As part of a city-wide regeneration plan initiated in 1993, the terminus won an international competition in 2000. Situated on a public quay that continues into the marina, the building aims to continue "the city’s relationship with the sea and establishes new links; connecting Salerno’s rich maritime traditions with its historic urban fabric and beyond to the hills that frame the city."
Bearing the resemblance of an oyster, an asymmetric shell forms the roof and offers a much needed shaded area during the summer months. Come nightfall, the terminal is illuminated via an accent-lit concrete soffit running around the building's perimeter.
Underneath, administration offices for national border controls and shipping lines, as well as a restaurant and passenger waiting areas, are housed. Interior orientation ensures the swift circulation of passengers through waiting lounges, check-in, passport, security and customs controls to their ship.
As a result, 500,000 extra passengers will be able to pass through the port each year, meaning more ferry and cruise ships could dock. This, Zaha Hadid Architects (ZHA) argues, "could create up to 2,000 new jobs in the city’s hospitality, services and retail sectors."
Due to its location, the terminal offers views of both sides of the famed Amalfi Coast, the Gulf of Salerno, and Cilento World Heritage Site. ZHA also hopes it "will act as a lighthouse to the port, welcoming visitors to the city."
When opening the terminal, Italian Prime Minister Matteo Renzi paid tribute to the late Zaha Hadid. “This extraordinary work adds to everything Salerno is doing to transform itself and I think it is marvelous,” Renzi said. “It is also a way of remembering the great architect that Zaha Hadid was.”