Facoltà di Economia “Federico Caffè”

Via Silvio D’Amico, 77, 00145 Roma

The Facoltà di Economia “Federico Caffè” is a university complex, in Rome. It is composed of three joined constructions: The classrooms and library building; the laboratory, workshops and studios building, and the general management. It is also connected with the urban life with the ability for the public to access different communal spaces: the cafeteria, the parking and many other public areas inside the complex.

The building plan is a projection of the three functions: education, research and administration. Theses are divided in three buildings, that are formally independent and with their own identities, but in a clearly interlocked manner. Their is a functional and environmental compatibility of users, tasks and planned building.

The morphological and spatial expression of the building complex reflect the general articulation of the activities hosted by it. The large central atrium welcomes the autonomous and spontaneous activities of students, it also allows the organization and the management of extraordinary events.

Auditorium Parco della Musica

Via Pietro de Coubertin, 30, Roma, Italy

The Parco della Musica is a multipurpose complex to host musical and cultural events situated between the Olympic Village, the Stadio Flamioni and the Pariol Quarter. In 1993, the City of Rome launched a limited competition for it’s design and construction. The original competition did not stipulate three separate concert halls, however, in order to guarantee maximum flexibility of use and the best possible acoustics, Renzo Piano Building Workshop introduced this new concept to the project.

The Parco della Musica is composed of three separate giant bug-like halls. They are conceived as giant individual musical instruments, ‘resonating chambers’, sitting in a landscape. The three halls are grouped in a semi-circle, their positions to some extent determined by the discovery, during early excavations, of a roman villa on the site and the wish to incorporate its display within the music centre. Each concert hall differs from the other in terms of dimension and functions, but they are all characterized by an extreme flexibility and versatility of the space. By these means, space can be regulated and adjusted to the nature of performance, where floor and ceiling can be moved to adjust the acoustic properties of the wall. The interiors are entirely made of cherry-wood, which best resolved acoustic problems.

This layout results in a fourth space in the centre which became an outdoor amphitheatre known as the ‘Cavea’, with a capacity of almost 3000, an element which gives particular public and urban dimensions to the site. The halls look like three enormous ‘music boxes’, whose colours and materials recall those of the domes dotting the urban landscape of Rome.

Ponte Della Musica Bridge

Ponte della Musica Armando Trovajoli, Roma, Italy

The Ponte Della Musica bridge has been designed to serve as an open public space that can be used for festivals, exhibitions and fairs and also has the future facility to operate as a tram and bus route. It is the first public footbridge to cross the Tiber since Roman times.

The new 200m long bridge has a clear span of 130m between springing points. Two leaning steel arches support a steel deck. The arch springing points in concrete incorporate staircases providing access from the river bank to deck level. The surrounding areas on either side have also been developed to create a public space.

Buro Happold Chief Bridge Engineer Davood Liaghat says: “We have successfully worked in collaboration with the architect and our local engineering partners over 11 years on a project that has demanded a balance of passion, flair and creativity and best-in-class robust engineering skills. The Ponte della Musica links Rome’s most significant cultural institutions and provides ease of access for residents and visitors to enjoy the city fully.”

The bridge is the successful outcome of an 11-year creative and professional partnership between Buro Happold‘s Chief Bridge Engineer, Davood Liaghat and London based architect Kit Powell-Williams working with Rome based engineering firm C. Lotti e Associati. It also marks 10 years since the establishment of the Buro Happold dedicated bridges team set up to develop the Ponte della Musica when Buro Happold won the 2000 Commune di Roma international design competition to design the bridge.

Cino Zucchi’s Five housing blocks in Venice

la Giudecca, venice, Italy

On the island of Giudecca, the abandoned industrial area of the Junghans factory has been turned into a residential neighborhood. The complex of buildings, in part already occupied and that can today be visited, is the outcome of a competition by invitation announced in 1995 by a private enterprise in collaboration with the City of Venezia. The winner was Cino Zucchi. A general plan for the whole area (an urban improvement scheme) was developed from the competition project. Later, the design of the various buildings was commissioned to Cino Zucchi, Boris Podrecca, Bernard Huet / Lombardi-De Carlo, Giorgio Bellavitis and the Archè group. Part of the new housing is earmarked for semi-subsidised housing, some of it is for university dormitories, and another part of it for sale.

The new complex is situated at the centre of the island. To the north the plan takes up the pattern of the existing fabric, in an intelligent micro-town-planning surgery. The presence of the new buildings is diluted in the network of existing routes, extending and reinforcing it through new openings and connections. Some of the industrial buildings have thus been maintained, cut, and transformed, or substituted by other buildings insisting on the same foundations.

Zaha Hadid exhibition at the Palazzo Franchetti 2016

Campo S. Stefano, 2847, Venice, Italy.

In celebration of zaha hadid’s career in architecture and design, fondazione berengo has opened a retrospective exhibition of her work at the 16th century palazzo franchetti on venice’s grand canal. The exhibition coincides with the 2016 venice architectural biennale. It conveys her architectural projects in a variety of media by showcasing many of her seminal paintings, drawings and models, and including photography and film. Through the designs — built, under-construction, in development and unrealized — the display presents the pioneering research and investigation that instigates and defines the late architect’s work.

Early in her career Hadid had particular interest in the russian avant-garde, exploring the composition techniques of fragmentation, layering, and porosity that went on to underpin all her projects. Hadid describes her process, stating “my paintings really evolved thirty years ago because I thought the architectural drawings required a much greater degree of distortion and fragmentation to assist our research – but eventually it affected the work of course. in the early days of our office the method we used to construct a drawing or painting or model led to new, exciting discoveries. we sometimes did not know what the research would lead to – but we knew there would be something, and that all the experiments had to lead to perfecting the project.”

The ongoing work of Zaha Hadid Architects is also exhibited, including projects set to be completed in the coming year. “Visitors to the exhibition will have a greater understanding of Zaha Hadid’s pioneering vision that redefined architecture and design for the 21st century and captured imaginations across the globe,” says Adriano Berengo, president of fondazione berengo. He continues to state that “although (he) works in the art world and Zaha Hadid’s excellence was architecture, her work is also imbued with art, that patina that makes everything eternal, including the creator herself.”

La Biennale di Venezia di Architettura 2016 – Padiglione STATI BALTICI

Castello 2132, Calle S. Biagio, Venice, Italy

34. Baltic PavilionStates (ESTONIA, LATVIA, LITHUANIA)

Commissioner Estonia: Raul Järg. Commissioner Latvia: Janis Dripe (Ministry of Culture of the Republic of Latvia). Commissioners Lithuania: Ona Lozuraité, Jonas Žukauskas. Curators: Karlis Berzinš, Jurga Daubaraite, Petras Išora, Ona Lozuraityte, Niklavs Paegle, Dagnija Smilga, Johan Tali, Laila Zarina, Jonas Žukauskas. Exhibitors: Architekturos Fondas, Eesti Arhitektuurikeskus.

Venue: Palasport G.B. Gianquinto, Castello, Calle S. Biagio

The Baltic Pavilion project is an attempt to be inside many definitions tracing different kinds of ways infrastructure relates (to) resources. The exhibition brings all concerns and ideas together, without the establishment of a finished text, but just showing the relationships between ideas and things; objects, artifacts and brought together in one place and viewed as material presences. At the same time distilling what kind of spatial practice would be appropriate for the Baltics.

The Palasport, the location of the Baltic Pavilion, is a pure example of Brutalist architecture. The building is named after Giobatta Gianquinto, a Venetian, a member of the Italian Communist Party and Mayor of Venice from 1946 to 1951. Its Brutalist, cast in-situ bare concrete form carried the ethical program at the time it was built in 1977. Architecture then, was concerned with communicating the development of building technology with social purposes. Palasport exemplifies the kind of statements or architectural brief issued at that time: to formulate and provide spaces for the society that were previously unavailable. In the context of the historic city, the “Palace of Sports” had a new purpose that it still carries. It is used intensively for sporting activities and communal events. The process of using the space is complex and intertwined not only with its calendar, but also with its general function for celebrating activities by groups of people. Perhaps it is not an accident that the meaning of its ethical architectural form enhances the Baltic Pavilion installation enabling it to continue adapting and changing form through time.

La Biennale di Venezia di Architettura 2016 – EVENTI COLLATERALI Foster’s Droneport

Campo della Tana, 2169/S, Venice, Italy

33. Norman Foster vaulted Droneport prototype

Architecture: Foster + Partners. Collaborators: Block Research Group, Redline, MecoConcept, LafargeHolcim Foundation. Construction: Carlos Martín Jiménez, Sixto Cordero, Luisel Zaya, Segundo Victor Simba, Luis Alfonso Tituania Male.

Venue: Arsenale.

Foster + Partners has unveiled the first full-scale prototype of its Droneport concept at the Arsenale, which is designed to transport medical supplies to remote regions in Africa using unmanned flying vehicles. The structure is the inaugural project from the Norman Foster Foundation, set up by the British architect to anticipate technological advances in the field, respond to humanitarian needs and encourage a more “holistic” view of architecture.

The vaulted form is made up from two layers of a new type of compressed earth blocks called Durabric, developed by the Lafarge Holcim Foundation for sustainable construction with researchers at the Block Research Group from ETH in Zurich and MecoConcept in Toulouse.  The Norman Foster Foundation is also exploring how a solar-powered building material developed by artist Olafur Eliasson, called SolarBrick, could be 3D printed in future drone ports. The material has its roots in Eliasson’s design for a solar-power light named Little Sun, and would feature a solar panel on its outer surface to power an LED light on its inner surface. It could provide artificial lighting for drone ports in areas where electricity is scarce.

As explained by the architects “the Droneport project is about doing more with less, capitalising on the recent advancements in drone technology – something that is usually associated with war and hostilities – to make an immediate life-saving impact in Africa.”

La Biennale di Venezia di Architettura 2016 – EVENTI COLLATERALI Kunlé Adeyemi docks Makoko Floating School

Campo della Tana, 2169/S, Venice, Italy

32. Kunlé Adeyemi docks Makoko Floating School – Waterfront

Participant: Adeyemi and his studio NLÉ.

Venue: Arsenale.

Winner of the Golden Lion at the 2016 Venice Biennale

Nigerian architect Kunlé Adeyemi brought his floating school to the Venice Biennale, as part of his ongoing research into building for flood-prone regions. Adeyemi and his studio NLÉ developed an “improved, prefabricated and industrialised iteration” of the Makoko Floating School in Lagos, Nigeria, adapting its engineering to suit the Venetian climate conditions.

The Amsterdam and Lagos based studio originally created Makoko Floating School as a building prototype for coastal regions of Africa that have little permanent infrastructure because of unpredictable flooding. Like the original, MFS II is a pointed three-storey floating structure. It spans 220 square metres, over three floors that decrease in scale towards the building’s apex.

“Just as our first prototype sourced local intelligence from the Makoko waterfront community, MFS II is an improved iteration designed to suit Venetian conditions and a wider waterfront population,” said the studio. “Adapted for easy prefabrication and rapid assembly, it is more robustly engineered and affords a wide range of uses. It is mobile, deployable, and ready to be reassembled at its next waterfront.” MFS II was assembled for the Biennale by four builders in just 10 days – using one tonne of metal and 13.5 tonnes of wood for the structural framework, and 256 plastic barrels as a floatation device. It forms the venue for an exhibition titled Waterfront Atlas, which looks at developing coastal communities.

La Biennale di Venezia di Architettura 2016 – EVENTI COLLATERALI Alexander D’Hooghe in Belgium

Campo della Tana, 2169/S, Venice, Italy

31. An Immigrant market in belgium for permanent modernity

Participant: Alexander D’hooghe, Luk Peeters, Natalie Seys.

Venue: Arsenale.

In addressing the refugee crisis, the immediate assumption is the need to focus on how to accommodate such large numbers of people, and where: inside or outside the cities, in temporary camps or permanent housing, in existing buildings or newly purpose-built constructions. Other aspects on how to deal with the crisis are sometimes neglected: the relationship with existing communities, access to jobs and economic activity, or cultural integration.

D’Hooghe’s immigrant market in belgium takes a parallel and just as relevant approach, that is connected to the very nature of cities as places of production and exchange of goods. It addresses the question of what immigrants are going to do rather than where they are going to live. Simultaneously it addresses the issue of how to intervene in existing cities in europe, cities that may well already have degraded areas. D’Hooghe’s specific design contribution is the introduction of archetypical forms in prefabricated concrete elements, acknowledging that the cultural baggage of a building is just as important as its structural efficiency. This gives the building a civic character, transforming the market into an institution. It blends the functional aspects of efficient city renovation with the intangible of the cultural crossroads of massive migration.

La Biennale di Venezia di Architettura 2016 – EVENTI COLLATERALI Zumthor’s work

Campo della Tana, 2169/S, Venice, Italy

30. The work of Peter Zumthor from a small village in Switzerland

Architect: Peter Zumthor and Partners, Switzerland.

Venue: Arsenale.

Peter Zumthor has put his designs for the Los Angeles County Museum of Art (LACMA) on display for the professional community. Inside the Arsenale building, a model of the tar-pit-inspired building has been suspended to float within a curving display of textile artworks by Christina Kim, while a soundtrack by Walter De Maria – “Ocean Music,” written in 1968 – provides a rhythmic backdrop for the installation. Kim’s textile artwork consists of two curving rows of fabrics in a gradient of colors. The fabrics are picked up in the reflection of the model’s continuous glazed wall, where they serve as an abstraction of how LACMA’s collection of paintings and artworks will contrast with the museum’s dark gray concrete shell.

Kim is not a foreigner to LACMA, she has previously worked with both LACMA and architectural themes as a participant in Wear LACMA, in which Los Angeles-based designers were tapped by the museum to create pieces inspired by LACMA’s permanent collection. Kim’s label Dosa created a 10-piece collection inspired by paintings of Simon Rodia’s Watts Towers.

The Arsenale exhibit also contains a small set of site plans and architectural drawings of Zumthor’s design, as well as a calming presence in the form of a bamboo garden.