Techniques such as quality management, performance management, procedure manuals and prescribed rituals can be seen as forms of disciplinary techniques reinforcing power within hospitals and clinics. A disciplining of the body by the clinical gaze excerpts its power even in the corners of a bed.
In a hospital, clinic, or other health-care environment, beds must sometimes be made while occupied by a patient. Specialised techniques are taught to healthcare staff to enable beds to be made efficiently with due care for the patient. Hospital corners, a bed-making technic developed by war nurses in the mid 19th century, in which overlapping folds tuck sheets neatly and securely under the mattress at the corners is made to exacting standards. Nurses registered the logics of efficiency into the surface of the bed.
Georges Teyssot, in his essay The Mutant Body Of Architecture, analyzes how the total medicalization of the human body, during the twentieth century, starts to inform art. In his interpretation of the work of D+S, he argues that within their activity they put into question the aesthetic conception of the human body as an ideal figure. “Architecture typically enters into a role of complicity, to sustain cultural conventions. However, architecture can be put into the role of the interrogator. Given the political re-configurations of the contemporary body, spatial conventions may be called into question. Architecture can be used as a kind of surgical instrument to operate on itself.”
The installation that results in this Fifth Scene of my thesis project, puts into question the parameters of the ideal woman borrowed from the nursing practice, a parameter spatialized in the form of “a hospital corner.”
It is true that nursing has become less gendered and that the discrete sites for cure and care are becoming less reliable on human labor, yet the conventions attributed to the woman ever since continue to scrutinise its body as if cleanliness, tidiness and nurture are a practice of theirs only.
THIS PROJECT WAS THE RESULT OF THE BERLAGE THESIS PROJECT EXHIBITION AT THE FACULTY OF ARCHITECTURE AND THE BUILT ENVIRONMENT OF DELFT'S TECHNICAL UNIVERSITY.
PROJECT BY: PIERGIANNA MAZZOCCA
The Most Immaculate of Intentions
Health is a guarantee of the good life. The vehicle for this healthy life has always been the body. And not just the literal body, flesh and bone, but the body as metaphor, the body politic, the civic body, the divine body and the artful body.
Indeed, in going beyond medieval superstition, the body—in all its artistic, religious, and medical depictions—found in the clinical a timeless universality. Shaped by constructed cultural narratives, the words we use to describe what we see build up the human body.
So, too, did the spaces built to contain it.
Since the eighteenth century, medical perception has dominated the observation and treatment of the human body. The rigour embedded in medical practice exposed the truth about it, the things that afflict it, the things that make it sick. Therefore the body, its treatment, was never questioned when framed through the medical gaze. The clinic, as the threshold between the two, embodied their encounter.
The project of modernity found in health as a universal value an enhanced interpretation of the good life by the assimilation of the clinical truth. As a consequence of the search for a sterile background that enabled an unaltered observation of diseases, an increasingly unadorned and austere vocabulary defined the interior space in which the history of illness could not escape medical examination. The aesthetics of anaesthetics granted modern architecture a language that was both rational and abstract. Rational and abstract enough to make speculations about illness, or its subjective reading, disappear.
Today, the privilege we still grant to the medical appears in the conception of a domestic space which, in harmony with modern tradition, is an artificial device intended to prevent diseases. What is different now is that any reference to the medical is disguised. Since hygienic qualities can now be found in any surface, new aesthetic qualities can be found inside the contemporary hospital and clinic. This is due to the fact that the distance between medical surveillance and bodies is reduced, and this responsibility is increasingly transferred to the individual instead of the institution. Patient narratives have—even if the medical still do—a regained importance.
The clinical, reduced to a collection of signs or signatures, etched onto things by time, acts like all things rendered universal, like specters. This notion introduces the idea that the clinic is defined by the allegories it evokes, manifested in the aesthetic associations it makes with the clinical.
Thus the clinic, no longer an actual defined space, is a symbolic presence that takes over other typologies only by borrowing their vocabulary for other uses. Their apparent collapse challenges certain assumptions regarding use and style.
As a revision of the notions of the body and the aesthetic associations manifested in the clinic, this proposal takes the form of four projective sections. The presented scenes are layered compositions, permanently exposed as historical fragments that come together as an essay on clinical aesthetics.
Like a corpus built from historical circumstantial paradigms relative to clinical aesthetics, this proposal deliberately undermines the once traditional Cartesian distinction between illness and space, architecture and abstraction.
THIS PROJECT WAS THE RESULT OF THE BERLAGE THESIS PROJECT.
PROJECT BY: PIERGIANNA MAZZOCCA
The Haunting Idle.
The Akerselva river is reopened in all its length towards the sea. Once again it becomes a part of the city. This enhances a series of spatial alignments along the river side. It unites disparate flows and events by following its path. The park becomes a gateway for the existing underground connections, using the river as its spatial orientation. This creates a unique spatial experience within Oslo. The surrounding nature is once again connected to the sea and the river regains its infrastructural purpose within the city. The park and the river render the area more child and family friendly and they allow the interaction of all layers of society while simultaneously representing the Norwegian spatial ideals of nature.
THIS PROJECT WAS THE RESULT OF THE BERLAGE SECOND SEMESTER'S PROJECT GLOBAL STUDIO.
PROJECT BY: PIERGIANNA MAZZOCCA
INSTRUCTOR: MARCUS KEMPERS
Domestic by Nature.
Today’s dwellings are the result of many years of domestication of the natural realm. Habits, behaviors, our decision making, defines our own domesticity. Domestication is a natural act in human nature, therefore it seems natural to also question the ways in which we inhabit, build and make. The concept of “Domestic by Nature” tries to link the perfomance of Slow Wood products into a casual form of inhabitation. One in which dwelling in its Labstore tries to recrecreate the most basic form of domesticity: the act of wondering around.
PROJECT BY: PIERGIANNA MAZZOCCA AND SLOWWOOD
ARCHITECTS: Piergianna Mazzocca
LOCATION: Foro Buonaparte, 44 / A. Milan, Italy
PHOTOGRAPHY: Marihum Pernía
Underneath any material form lies a dialectical consideration with its definite disappearance, its in-materiality, its destruction, its ultimate erasure. Demolition is attractive because it recalls the ephimeral act of being.
In an attempt to critically question the relevance of the aesthetics of demolition in contemporary artistic and architectural discourse we would like to engage with a broader understanding of our context and current times. It is hard to generalize it and truly grasp the spirit of our era while we are still in it, but there are current tendencies and trends that leads us to speculate upon certain aspects that characterise our present times. Is there a reason behind our current predilection for specific types of spaces? for specific types of materials? for finished or unfinished interiors? for raw materials? for spaces with infinite arrangement potentials?
Buildings are soon to be no more and Demolition is an act that reacts towards the notion of authorship, of identity, of context and spatial potentialities.
An interview with PH in the year of 2015, a world reknown theoricist and scholar, was not innocent at all. In it the also art historian explores the historical and philosophical attributes in the value of demolition and its aesthetics. Taking Alois Riegl seminal essay The Modern Cult of Monuments: Its Essence and Its Development as his departing point, PH continues to ask the need for demolishing, for the preservation of monuments and the need to create.
In a broader context, two cities in the world came to be exemplary specimens of a dialectic reflection of what PH considered to be the tension between to keep or not, the
romantic idea of the past and the inevitable ambition to build. Those cities were City One and City Two, the world’s most contrasting realities regarding demolition and preservation.
Thoughts about the need of demolishing and the underlining consequences of it, triggered discussions in which reflections about those radical contexts were framed by demolition.
As an indirect consequence, the content of the interview accelerated a process of ex- change between FL and PM, citizens of City One and City Two respectively. What they created afterwards is compiled and catalogued as proof of the restless spirit of two people who struggle to understand their context and the complexity of a very banal procedure: destruction. This exchange is presented in this booklet as a collection of information, impressions and conclusions.
Trying to understand the spirit of their time, the significance of demolition and its aesthetics through their own universal narratives, their exchange is a reaction to time itself.
For this, their exchange will explore the implications of demolition in the aforementioned aspects:
Authorship / Identity / Context / Spatial Potentialities
THIS PROJECT WAS THE RESULT OF THE BERLAGE THEORY MASTERCLASS LED BY IPPOLITO PESTELLINI LAPARELLI AND JANNA BYSTRYKH OF AMO, 9 ACTS OF DEMOLITION.
PROJECT BY: PIERGIANNA MAZZOCCA AND FILIPPO LORENZI
The Emancipation of the Charmingly Odd.
Transforming the perception of the “picturesque” Westland landscape
by further contrasting its current conditions through a domestic versus production opposition.
While the theory of the picturesque is about “intellectualizing landscape,” it is also about transforming the landscape into something that could be appreciated through learning. Therefore introducing such a concept to depict or to capture the very notion of what makes Westland a matter
of picturesque appreciation will, ultimately, render a new vision of the territory visible, adding value to the land and richness to its inhabitants. Furthermore, the picturesque as a theory will adopt new visual features for what is now the common industrial landscape.
In a densified agricultural portion of the Westland territory, where the two activities aggressively coexist, a new strategy began by individualizing the valuable aspects in which the presence of the picturesque and the charmingly odd were visible. New urban and domestic artifacts are then designed and placed in the residual spaces in the linear settlements engrained in the vast network of the flower trade.
Issues of site specificity and human intervention are then recovered. The existing dialectic landscape layers are amplified into multiple experiential opportunities.
THIS PROJECT WAS THE RESULT OF THE BERLAGE FIRST SEMESTER'S PROJECT NL.
PROJECT BY: PIERGIANNA MAZZOCCA
INSTRUCTOR: DIEDERIK DE KONING
For the project NEW CHAPEL FOR THE CAMPO CLARO PARISH "OUR LADY OF GUADALUPE" a series of buildings are disposed to integrate gently with the surrounding environment and the community in which it performs. The building array consists of 4 buildings that house the largest percentage of the program: the Temple, the Parish Center, a Side Chapel and the Priest’s House. Other spaces act as articulators of the aforementioned buildings: The entrance plaza with the belfry, the Threshold access with the steps, the atrium, the courtyards and the Columbarium. To achieve functional efficiency, part of the program is located in an underground level, accommodating spaces such as storage rooms, covered parking, maintenance storages and services. Other spaces are partially buried, as the library, the priest’s office, etc. The logic of the buildings location aims to leave public activities in the closest areas to the main access, while semi-public and private activities will be in the inner parts of the terrain in order to have greater control and obtaining different shades of introspection for those who transit the complex in pilgrimage. The pursued aesthetics and the whole array of buildings is one where the quality of the sensitive experience shall prevail. Therefore, nature is incorporated introducing courtyards between each building and light through skylights and the facade perforated metal sheets. All these elements interact with the senses, enriching the users experience. The buildings pursue a very simple constructive logic; pure volumes are seeking to be bridges between light and nature.
During the preliminary stages in the draft development, capturing the spirit of the virgin for whom the temple is dedicated. Therefore, the Guadalupe Virgin image was carefully examined. The first thing that jumps out is its simplicity; unlike other virgins, the absence of luxury can be observed: no crown, scepter or throne. The ornaments only manifests in the details of the dress and the halo glow around her. On the other hand, history also emphasizes humility: his emissary was not a bishop or member of the nobility, but an Indian during the colonial era; the vehicle for her appearance was not a golden frame, canvas or fine, but the ' cloak ' of Juan Diego: a simple garment typical of the indigenous working class.
The sum of all these factors indicates that "La Virgen Morena" is an icon of the helpless and the poor, and therefore, her temple should reflect this. Like her, the beauty of the sanctuary must lie in its purity, cleanliness and simplicity; neither in extravagance nor ornament, the scale should not be monumental and imposing, but human and warm.
Considering this, the first traces of the design were drawn looking for a total integration with the context. But due to the terrain’s natural slope, how to demarcate the entrance to the whole complex became a concern when the terrain descends drastically on the main access opposite direction. The first element is an “architectural bridge” that links the entrance to the other elements of the spatial composition. A covered set of steps melting with a huge ramp was the suitable solution, and a frame coated with perforated metal sheets to determine the access. This element constitutes the complex’s door,
Due to its size, it also serves as a covered grandstand, leading onto a large square or the church’s Atrium, easily housing a multiple kinds of events. These element’s configuration was considered in order to expand the spaces of the Church, in which during special dates can accommodate large numbers of people. It is also meant that they generate useful spaces for adjacent facilities: the grandstand and the stage can easily become the community amphitheater.
The temple is placed at the end of the Atrium. It is a pure concrete volume surrounded by perforated metal sheets in the perimeter of the ground floor. At first glance, the volume appears to be a simple rectangular prism, however, conceptually, it is a succession of smaller volumes, interleaved, leaving empty spaces that act as courtyards articulating with the temple and other areas such as administration and education. The side chapel becomes a small pilgrimage honoring “Our Lady of Guadalupe”. Multiple openings are located at the left side of the church, permitting a dialogue between the inside and the outside. The perforations of the metal sheets are an abstraction of the Virgin’s robe floral pattern. Similarly, the perforated pattern of the ceiling meets the arrangement of the stars on the Holy Shroud. Both strategies respond to the concept of integrating the common imaging of the Virgin on building elements, not only by the symbolism of these sacred signs drawn on surfaces by light, but also, they follow the desire to make light take a leading role in the perception of space, giving it a dynamic dimension.
RELATIONSHIP WITH URBAN CONTEXT
Within the sector, a deficit of public spaces for community gathering was found. The design reacts to this condition looking to house and provide an alternative to the absent public spaces. The idea was to provide spaces that could be used both by the parish members as well as the community. The most open spaces inside the proposal possess the ability to mutate according to future activities and to display a functional permeability to future programs.
PROJECT BY: TALLER DE ARQUITECTURA SINGULAR
ARCHITECTS IN CHARGE: Piergianna Mazzocca and Teresa Tognetti
TEAM: Betsabé Zambrano and Gloria Rivera
RENDERS: Guillermo Bruzual
The design proposal for the Regional Center for the Prevention, Treatment and Rehabilitation of Sports Injuries is born from a request made from an independent Medical Board trying to solve the existing inadequacy of the Venezuelan health system to solve medical problems related to sports injuries outside states’ capitals or private centers. In fact, the main purpose was to create a center that could, in time, teach and promote education in sports health.
The center had to accommodate infrastructure related to the treatment and the rehabilitation of sports injuries in local athletes, but the major concern relied in the prevention of those injuries. According to the Medical Board consulted, a 50% of the injuries that were lately treated with surgery could have been prevented if the athletes followed constant physical examinations, diets or knew the previous and afterwards steps in physical training.
Due to financial reasons, the Medical Board seek to establish institutional bridges between Private Medical Members and the Government to find investors support. At the time they asked for the architectural concept design, they did not know in which state or region inside Venezuela the center would be placed. As a concept design, a synthesis of spatial, environmental and social dynamics of the vast majority of the possible locations for the Center was made. Therefore, the design process had to cover unexpected variables, such as climate and terrain conditions, solar insolation, humidity, etc, and if the center would be located in a rural community or near an urban center.
It was requested the creation of a design concept that could adapt to several conditions and parts of the Venezuelan geography. The decision was to determine a center’s “model” that, when the location was set, could be rearranged to meet specific conditions.
First, the center had to be integrated with the surrounding environment, to give the users the feeling of amplitude and openness, so the decision was to stay as horizontal as possible. Next, a revision of effective bioclimatic characteristics in the Venezuelan architectural reservoir was consulted. The use of internal patios and the integration of the building with tall vegetation could suit for any Venezuelan location. Also blank panels to protect from solar incidence were added to the façade. Afterwards, the designed center followed precise volume characteristics in order to house the required space needs. It is also the result of the study of the programmatic requirements inherent to a health facility that houses a surgery unit with two ORs, a diagnostic imaging center, rehabilitation pools and gyms, physical therapy, diagnostic rooms, doctor’s rooms, etc. This is why the rectangular shape of the building tries to resemble a continuous spiral, trying to avoid vertical circulations such as stairs, and maintaining the most frequently accessed spaces for treatment and rehabilitation in the lower floors.
According to the program, service areas were common for the most of the other areas, so the imaging center and maintenance facilities were located in the basement beneath the central patio while the health services that needed to be in continuous contact with them are placed above in the ground floor. Other services such as commercial locals, and conference halls were added to support the main activities.
In the outside, the center provides its users and the local community of several sports facilities such as a football field, 2 mix use courts and a jogging track.
In the inside, the emphasis was made to maintain a visual contact with the context, making the inside interact with the exterior. The rehabilitation pools and gym are accessible from the inside and through the central patio, allowing the penetration of natural light and ventilation. Recreational spaces such as the café also have an extended version outside the patio, turning the boundaries between interior and exterior invisible.
PROJECT BY: TALLER DE ARQUITECTURA SINGULAR
ARCHITECT IN CHARGE: Piergianna Mazzocca
TEAM: Gloria Rivera, Carlos Peña and Betsabé Zambrano
Rio Grande is a tex-mex restaurant located in Mérida, Venezuela.
For the interior design, handmade cement tiles where used as decoration, while pinewood is mainly used to create the seatings and the tables. The chairs were ordered from a local artisan, making a reinterpretation of the same chair that farm workers use to milk cows.
Graphic design and the signage system was also used as decoration, trying to establish a direct dialogue between architecture and the brand identity.
PROJECT BY: TALLER DE ARQUITECTURA SINGULAR
ARCHITECT IN CHARGE: Piergianna Mazzocca
CONSTRUCTION: César Angulo
The proposal for the Buenos Aires New Contemporary Art Museum pretends to configure a building starting from the preexisting conditions of the place. Now the site is a square that ends an axis of public spaces from the Plaza de Mayo to the Puerto Madero waterfront. Maintaining this public condition prevailed at the beginning of the architectural program arrangement. In addition, there are two landmarks nearby the location, the Fragata Sarmiento Museum and the Woman’s Bridge, important items of the urban landscape of the site.
Taking this into account, the configuration of a solid block building wasn’t the right answer; it denies the continuity of the public spaces putting a barrier between the city and the waterfront. Because of this, the proposed building lifts as a frame housing the entire architectural program leaving the ground level open to the city public life. This strategy frames the landmarks at the same time that it pretends to maintain itself as a permeable space.
In order to keep this permeability condition, the mass of the building is covered with a double façade, the first one is a glass curtain wall and the second a louvered skin that allows natural light into the museum spaces. To ensure the maximum use of internal spaces, the choice of the building structure became an important design decision. First, all floors had to have an open floor plan in order to accommodate different exhibitions and galleries, and secondly, the ground floor had to have as minimum vertical structure elements as possible, allowing the maximum flow of people using the city’s public space. To render this possible, a metal frame perimeter structure was designed holding into horizontal metal trusses resting on 4 ground supports.
This proposal was summited into an Open International Competition hosted by [AC-CA] to generate progressive contemporary design ideas.
[AC-CA] : www.ac-ca.org
Total area: 10.500 m2
PROJECT BY: TALLER DE ARQUITECTURA SINGULAR + EDUARDO PALOMINO
ARCHITECT IN CHARGE: Piergianna Mazzocca
TEAM: Teresa Tognetti, Carlos Blanco y Eduardo Palomino
The need of society’s and contemporary culture to raise new relationships between architecture and the city is a consequence of the inability to rapidly understand the dynamics and the constant informative flows that are changing the static perception of architecture and the city. This allows the recognition of a context that challenges the physical reality of things, one in which the artificial, the digital and immaterial have a tendency to replace accepted concepts of reality. This leads to an unconscious acceptance that the spatial conditions have changed.
During the research that would lead into the architectural project, the notion of a "dematerialized architecture" came as a response to the analysis of these facts. Dematerialization is not an intrinsic value, much less a traditional method in which architecture is described. It is simply a permeable approach to vague, intangible and indefinite urban artifacts. It is a term that leads to the acceptance of architecture as a phenomenological event, as one that constantly requires the active participation of the subject for the transfiguration of the perceived limits. It becomes necessary to identify the character that has an architecture that seeks vanishing in favor of the forces reshaping the environment. In the particular case of the desired architectural response, the dissolution of conceptual and formal limits given to revised typologies and to the fundamental elements of the architectural language became a priority; the use of a “vanishing materiality" that could cause multiple readings to the user and a structure that could mutate when the program inside the building changes. A new space for the exchange of information for the City of Mérida rises to implement these strategies, a public library.
The project is located on lot framed by 3 huge vehicular transit avenues, the Avenida Campo Elias, Avenida Paseo Domingo Peña and Avenida Don Tulio. The immediate environment is presented as a node of high confluence of vehicle and pedestrian flows, an epicenter for the meeting of forces reshaping the urban area of the City of Merida. Currently the lot has both physical and perceptual urban barriers. The presence of an informal but highly used bus stop, Ejido / El Arenal stop, is a crucial aspect for the mobility of the sector and the state. It is also the transition point to a high influx of citizens. Yet it is an attractor for chaos and a traffic generator. In the site, three Trolmérida mass transit system stations are found on the three surrounding avenues. This speaks of the high density of pedestrian mobility the sector will have in the future. Within the physical aspects of the site, highlights the fact that it is buried and pedestrian access from adjacent streets and avenues is only possible from the Avenida Don Tulio and from Paseo Domingo Peña.
The Public Library translates and embodies, in addition to the physical aspects, the conceptual requirements arising from the theoretical approaches related to dematerialization. After a thorough study and a theoretical analysis the resulting building should provide solutions to 3 main themes: on the treatment of boundaries, the fluidity of the program and the building’s material structure. Three design strategies are proposed to achieve compliance with the aforementioned design criteria.
MERGING THE BUILDING WITH URBAN ELEMENTS
By studying the acting flows surrounding the project’s site, the strength these elements possess to model the possible tectonics is evident. As a starting point, the entire building is conceived as a terminal of the urban fabric. To translate these intentions tectonically, a departing typology with a central space is suitable to match the concept idea. This is when the stadium typology pops as the solution, with a central space accessible to all urban factors. The interest in the stadium typology resides in the potential of the spectator areas of being functionally dual. The stands as a compositional element of architecture can be both a passive element and an active element, depending on the program. But, for the purposes that are to be achieved, the typology of the stadium is broken and transformed to meet with the context acting urban forces. This action allows the building to be permeable to the cities dynamic conditions, being the invisible forces the sculptures of this deconstruction. The resulting movement of the building parts is projected, tracing the shape of the new building. Because of this, the resulting building is a visual reminder of the vectors shaping the urban environment.
RECONFIGURATION OF ARCHITECTURAL ELEMENTS (TYPICALLLY ASSOCIATED AS TRANSITION ELEMENTS) TO SUGGEST POSSIBLE NEW SETTINGS AND FUNCTIONS
The architectural program is also a sculptor of the building’s shape. By drawing the paths of the users, program bars were created, divided into programmatic axes of transition spaces and permanence spaces. Hence the idea of nderstanding the building program as a set of bars linked by a central space or plaza. But where the bars established a programmatic unambiguous boundary that is where a service bar was added over both, acting as a programmatic solvent. Examples of these space solvents are the galleries, the stands, the central plaza and multipurpose spaces performing as wildcard spaces that do not correspond to a specific prior given function.
This adds to the possibility of having a public library with an extended program. It has already been mentioned that the duality provided by the steps is essential to provide an attractive space for the library. Because they will not only be the link between the programmatic bars with the central plaza but potential outdoor reading rooms or permanence spaces of an integral public square. This strategy seeks to create alternative ownership to the user to perform conventional activities attributed to the library typology in unconventional spaces under non- standard conditions. This will transform a required space in a library setting to an alternative, a choice.
Another way to alter the implied function of an specific architectural element is by introducing an arrangement of columns in the central plaza. This gradient of columns tries to mimic a phenomenon of nature, while vaguely defining permance spaces between the voids perceived when walking through a forest. The addition of these columns to an apparent inert empty plaza will become a catalyst capable of creating spatial alternatives for urban explorers.
DEMATERIALISATION BY APPEARANCE (THROUGH THE USE OF MATERIALS AND A STRUCTURE THAT TENDS TO DISSAPEAR)
It is important to recognize that during the design process there was a conceptual desire to design a building that could extend to infinity. This is why the slabs had to be open free plans capable of holding the entire program. The structure is made of lightened slabs supported by a steel frames with columns and beams. To give the idea othat they are floating over the program these slabs are 15 cm thick. The facade is entirely glazed with white painted metal frames, also to accentuate the floating character. Because of high solar insolation in certain sections of the facade, curtain wall panels have an air chamber with double glass (also chosen for sound insulation). Many of them are screen-printed panels are also meant to alleviate solar insolation.
ARCHITECTURE DESIGN AND RESEARCH: Piergianna Mazzocca
PROJECT TYPE: Academic
The proposed design for the Italian-Venezuelan Sports and Social Center on Margarita Island, Venezuela, is based on a series of spatial and functional strategies that comprehensively respond to the needs in sports, recreational, social and cultural spaces of the Center. The topography, the distinctive vegetation and climate, as well as the solar orientation are considered in other to integrate the infrastructure services with the existing terrain and context conditions.
Based on the development of a detailed architectural program, the proposal consist of approximately 16,000 m² of sports facilities; 6,250 m² of architecture comprised of administrative, social, cultural, commercial, and service buildings; and outdoor and covered parking.
OVERALL DESIGN STRATEGY
The overall design strategy of the Italian-Venezuelan Center is organized by the introduction of a series of bands or platforms that play a dual function: first, to integrate the project into the existing topography in a natural and friendly way, and secondly, to generate the best locations for the different functions of the buildings and facilities without having to concentrate all in just one location.
The proposed platforms have an East-West orientation taking the maximum use of the terrain and visuals, strengthening the relationship between architecture, outdoor spaces and context. Also, through these bands and their dialogue with the terrain’s natural slope, the Centre offers a very intimate scale during the first contact with the visitor. Afterwards the architectural, spatial and functional richness is discovered as the user progressively runs through the set.
Within the architectural design strategy proposed, all the space and functional needs of the Centre are divided in a series of buildings that house domestic proportions and consolidate distinctive functions. This proposed subdivision responds to the need for the Centre to be developed in stages over time. The location of each building in the set satisfies the desire of wanting a progressive transfer among the public and private activities. Because of this, public programs such as the Access Hall or the Headquarters building are meant to receive and guide users in their experience at the center, and leaving the more private spaces such as the Chapel, the gym and pool areas with its sun deck, as the spaces to have more privacy and a more intimate relationship with the visuals of the site.
The role of plazas and outdoor spaces is fundamental when acting as extensions of the uses and functions of buildings. Multiple scenarios for social, business and cultural development of its members are generated when external and internal features, squares and buildings complement each other. Most importantly, the heart of the Italian-Venezuelan Sports and Social Center lies in its central plaza, setting the perfect example of the relationship between the proposed buildings, outdoor spaces and site.
Generally, in an overall design strategy for an array of buildings housing a huge program divided between indoor and outdoor spaces, the common sense will determine that arriving to a building or to the function housed by a building, respecting its hierarchy within the array, will be the ultimate goal, leaving the connecting elements to a lower hierarchical level. But, what happens if this relationship is reversed? What if the building becomes the connection element, the transition element?
One of the possible outcomes of that reversion would be that the residual spaces and spaces with main transit functions will have more hierarchy inside the overall arrangement. Because the center is not only a sports center, it is also a social center, and users who will not perform a specific function described in the sports program actually goes to the center to take part in the social activities. According to this, buildings will melt into the articulation and transition spaces, disintegrating its intrinsic function with a dual or multipurpose one.
Architecture, but specifically the buildings, will become different spaces articulators. Buildings will act as connectors, transition spaces between different spatial functions.
PROJECT BY: JOSE MUNOZ-VILLERS ARQUITECTOS + TALLER DE ARQUITECTURA SINGULAR
ARCHITECT IN CHARGE: José Muñoz-Villers
TEAM: Piergianna Mazzocca and Teresa Tognetti
PSJ PLAZA SOR JUANA is a project by AS/D Asociación de Diseño. It is a commercial building housing offices and retail spaces in the Tlalnepantla municipality, Estado de Mexico, in the northern area of Mexico City.
The concept for the Graphics and Signage was one were the visual and the graphic elements will operate as an extension of the architectural details, working together as a whole.
Simplicity and synthesis describes best both the utilitarian and the aesthetics purposes of the signage system, complementing the spaces in which they interact with the user.
Piergianna Mazzocca was a full time intern in AS/D Asociación de Diseño while the graphics and signage were developed, being asked to fully participate in its design.
PROJECT BY: AS/D ASOCIACIÓN DE DISEÑO
ARCHITECTS: Fernando Velasco and Paola Morales
LOCATION: Tlalnepantla, Estado de México, México
TEAM: José Muñoz, Eduardo Palomino, Santiago García de Letona, Piergianna Mazzocca
CONSTRUCTION: Punto y Raya Arq. / Honorio Juárez
PHOTOGRAPHY: Piergianna Mazzocca
The Museum of Science and Technology of the City of Mérida, Venezuela, asked for a masterplan to rule the new renovations of the museum. These renovations comprised a new entrance facade, renovations in the main exhibition hall, a café and a covered plaza.
PROJECT BY: TALLER DE ARQUITECTURA SINGULAR
ARCHITECT IN CHARGE: Piergianna Mazzocca
TEAM: Carlos Peña, Gloria Rivera, Maria José Partipilo and Betsabé Zambrano