BODØ – REINVENTIØN

BODØ – REINVENTIØN

International urban planning and architecture competition.
Waterfront masterplan and concept design of a music centre.
Program: Concert hall, rhythmic Centre, library, waterfront.
Total built area: 21.600 sqm.
Location: Bodø, Norway.
Design: 2008.

 

博德城市更新 | BODØ – REINVENTIØN

综合体
城市空间综合发展策划,以及围绕滨水空间更新而展开的音乐厅、艺术中心、图书馆概念设计。总建筑面积21609平方米。
国际规划与建筑竞赛。
博德,挪威,2008

BARI – STONE BEACH – SUBMERGED CITY

XX Venice Architecture Biennale 2006. “Stone City” section.
Data: Oecumenical church for Catholic and Orthodox religions.
Multifunctional program: Church, congress centre, theology faculty, cloister, guestrooms, hotel, retail, info point.
Total built area: 22.000 sqm
Location: Bari, Italy.
Design: 2006.

Our project has the goal of reevaluating the coast of the historical Bari, Italy, devastated by abusiveness and political indifference.
It foresees the realization of a tourist welcome centre for visitors of the city of St. Nicholas, Catholic saint and one of the main figures of the Orthodox tradition.
The functional program combines a flexible liturgical space, able to host at the same time Catholic and Orthodox liturgies (with annex faculty of religion, cloister for monks), hotel, retail and a congress centre.
How to combine tourism with religion? How to combine the religious vocation of an historical city with the contemporary reality of money and consumerism? How can we drive the economical wishes of a brave local government and developers in a direction capable to respect and make use of the potentials of this area?
How to develop a design ethic for a religious program? Is it really true that pilgrimage and holy places don’t get to any compromise between our “God”, and money, the “Capitalists’ God”? Fatima, San Giovanni Rotondo, Lourdes, Medjugorie: places of pain and hope, or business temples? Which is the social and economical impact of religion and media on the urban structure of those places?
On this bases, NAUTA developed a project strongly based on the combination of sacral and profane in order to establish a critical research platform on the future of tourism.
Our strategy makes use of the stone, on base of two concepts: the “excavation”, memory of constructive tradition of tuff quarries from the south of Italy; the stone used as a “surface”, capable to adapt itself to the folds of the costal landscape. Emergences from the underground sign the great stone beach : patios and ramps to the underground world make the place a sort of contemporary archeological site, memento of many places of «Magna Grecia» that deeply influenced the history of Puglia.

MADRID – NAVE TORROJA

International architecture competition “Nave Torroja”
FINALIST
Data: Renovation and extension of warehouse.
Program: Temporary and permanent expo space, educational centre.
Location: Madrid, Spain.
Design: 2006.

NAUTA rises like a technological fog, which ‘ascends’ and leans on the Nave Torroja. It formulates a contemporary clone of the existing building, generating at the same time a hybrid public space, not a square, nor an exhibition space, but both. The replication of the structure and the ˆnave˜ scheme offers a great flexibility to the changing program, allowing wide configurations of temporary and permanent exhibition. NAUTA is rises from the floor, moving the experience of the nave on a higher level. The connection side of new and old buildings becomes the “educational zip”, a moving platform where the flexibility is granted by whole floors moving vertically, providing the real connection grip between the nave and its extension, commercial and educational program.
The Nave Torroja plays with the light through the openings on its roof. It follows a rhythm dictated by the structure. NAUTA plays with the light as well, but in a different way. It is a permeable fog, continually crossed by light, making the mixture of space and light, mass. NAUTA is a narrative slides sequence, where layers of glass articulate the spaces like in a filmic plot. All spaces make the whole but they still live an autonomous life according to the exhibition program. The square below, an open field of alternation between natural and artificial light, becomes a platform to witness the happenings inside and outside the building. It is the projection of the upper slide, where commercial or educational images are displayed according to the cultural plan of the complex.
“Box in box” materialization, and the use of perforated stainless steel make NAUTA even more dissolving, expanding the perception on the building as immaterial, mediatic.