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New Concordia Island Panel Report

New Concordia Island Contest aims to rethink the disaster of the ship Costa Concordia as exceptional opportunity to imagine the future of the wreck and that of the Island of Giglio. It is also a chance to wonder about needs for architecture to build new landscapes on traces and remains of a traumatic event. As required many of the competing projects have been developed following the questions raised in the structured premises inside of the NCI Dossier. Different cultural views have been therefore expressed through differing design concepts.
The jury has selected the projects that have responded in a more comprehensive way to the questions raised by the contest, interweaving visionaries contents to pragmatic and real solutions.


1st: Alexander Laing - Francesco Matteo Belfiore

WINNERS

#0012 with 77 points (1st place)
Alexander Laing - Francesco Matteo Belfiore, London, UK
The project deals with the themes of the transformation of the wreck by exploring the dichotomy between removal and storage. The main operation consists of the sectioning of the wreck along the line of water, keeping the immersed portion and removing the portion has emerged. The fragment immersed becomes the container of new activities and crossings of the ship among paths, tanks of water and surfaces planted. This new place of memory is directly connected to the island of Giglio through two routes suspended on the water.

#0008 with 76 points (2nd place - FARM Cultural Park prize)
Vulmaro Zoffi, Milan, Italy
The project uses the tool of section to remove the part of the ship currently emerged and the practice of disassembly to generate new surfaces of artificial reef in contact with the seabed. The removal of wreck's vertical planes reconfigures the part of ship immersed in a sequence of metal blades for the colonization of marine species. The project is powered by a reflection on the new atmospheres generated by the remains of the wreck. With the cycles of the tides the metal lines emerge on surface from the water to remind the old shape of the costa concordia reinforced by birds and insects collected in a nebula to remember the tragic event.

#0010 with 66 points (3th place ex-aequo) Francesco Tonnarelli - Andrea Cippitelli, Macerata, Italy
The project deals with the most urgent issues in a clear and precise way. From the construction of a new line of connection between the harbor and the wreck, to the configuration of a new architecture that redials some fragments and parts of the ship in order to remember the image of the wreck and the tragedy. The project is formed mainly by three phases and establishes the time of the dockyard and the staging of the processes of transformation of the wreck as well as the place of memory with the construction of volumes and platforms that offer new opportunities for uses related to activities connected with the sea.

#0017 with 66 points (3th place ex-aequo)
Wynn Chandra, London, UK
The proposal plans a cross between a machine and geology at the moment of the accident that is a form of first trasnsformation. The project deals with the configuration of a new geological structure in which the natural water environments are tied inside of a matrix to the rock strata of the Island of GIglio.

HONORABLE MENTIONS
#0019 with 59 points Andrea Lo Papa - Duilio Damilano - Andrea Alberto Dutto - Emanuele Meinero, Cuneo, Italy - Alexander Yonchev, Saint Etienne, France
#0028 with 57 points Keigo Mori, Hyogo-ken, Japan - Hiroki Kobayashi, Osaka, Japan
#0030 with 54 points Daniel Martin-Pintado Donovan - Antonio Monge Martínez, Madrid, Spain
#0016 with 53 points Christophe Gautrand, Paris, France
#0031 with 49 points Ethel Baraona Pohl - César Reyes Nájera, Barcelona, Spain - Eva Papamargariti, Larissa, Greece - Vassiliki Maria Plavou, Volos, Greece
#0025 with 48 points Giulia Scotto, Pordenone, Italy
#0015 with 46 points Kirsten Flemming, London, UK


2nd: Vulmaro Zoffi. . . . . . . . . . . . .3th ex-aequo:Francesco Tonnarelli, 3th ex-aequo: Wynn Chandra . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Andrea Cippitelli

#0019. . . . . . .#0028 . . . . . . #0030 . . . . . . #0016 . . . . . . #0031 . . . . . . #0025 . . . . . . #0015 . . . . . . .Honorable Mentions

view all the projects

15|12|2012
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20|09|2012
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Luca Emanueli
for
New Concordia Island
  lees
 
Ipernaturale

a clarification the distinction between natural and artificial is not useful. arguments focused on the dichotomy between these terms only lead to confusion. talking about nature, the conclusions of the reasoning becomes too often an act of faith.
with the semi-sunken Concordia at the Giglio island we are faced with a new landscape, an altered environment due to the accident, the result of an error, and in front of which, even if we presume its removal, the most predictable scenario, we are forced to think about. beyond what will be the destiny of the wreck (the removal of the error without a trace, then the recovery and recycling; the wreck as part of the landscape, and the displacement of the problem, namely the wreck) anyway the environment, never static and immutable, is affected by a sudden and violent change, and the temporary presence of the Concordia opens the reasoning on possible operating methods of interventions and programming to be approached, on an environmental scale, with a pragmatic attitude.
potentially, even if in a temporary form, it's an hypernatural environment
for hypernatural environments we mean artificial environments that generate new landscapes, new sustainable habitats, radicals scenarios of growth. interventions whose aims are extremely pragmatic and so exasperated that blend and structure new relationships with the environment.
the scale makes visible the transformation of the territory, seen as an opportunity to think about new environments suspended between natural and artificial, uncommon landscapes, where it is possible to experiment new approaches. without fear of the materials used, but exploiting and directing their possible interactions to initiate more sustainable processes, with lower impact, where nature and time play a leading role and they are not a banal background or an immutable context to preserve or restore.
an environment is hypernatural when this process is designed, programmed in time with the awareness that the interaction with nature leads to the unpredictability of some results that may, however, create new scenarios. time acts on the environment that can not degrade but only evolve.

Luca Emanueli con Carlo Ruyblas Lesi e Gianni Lobosco

 
 
       
12|09|2012
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François Roche | R&Sie(n)
for
New Concordia Island
 

 

 

"gre(Y)en"

   

This seems to be a history of the stuttering between Green and Grey, between chlorophyll addiction, the dream of an ideal biotope re-primitivised and re-artificialized in pursuit of paradise lost, of Eden Park lost, a story to calm the fears of little boys and girls, and Grey, the dark grey that never appears in the visible spectrum (“The Devilʼs best trick is to convince you that he doesnʼt exist,” wrote Baudelaire1), an antagonistic stealthy force, an embedded demon – a mix of contradictory human desires emerging from the mud, from permanent, unpredictable and relentless conflicts, factors of domination and servitude, destruction and emergences, sparking unlimited quantities of arrogance and illusion, where the notion of success or failure depends on a kind of absurd Pendulum2 swing between life and death, caressing the boundaries of both in an infinitely unstable movement, polymerizing ugliness and beauty, obstacle and possibilities, waste materials and efflorescence, threats and protection, the fantasy of technology and revenge on nature, all knotted together in a process of becoming, a never-ending movement... where we glide into a silky, strange sensation that scares and caresses you... that scares and caresses you...

 

We are at a crossroads. Faced with the autistic, blind, deaf and mute violence of our technological, industrial and mercantile machinery and our own human servo-mechanism, nature reacts... with violence and without warning, in a flattering of the original chaos... a mutiny against human organization... Gaia seems to take revenge (Katrina, El Niño, Hurricane Jeanne, the cyclones Thomas and Nargis, the Xynthia storm and the Ewiniar typhoon, the Indonesian and Japanese earthquakes with their collateral tsunamis all the way to Fukujima... a chain of devastating incertitude, unpredictable despite our seismographic sciences). The elements rage, and the gods, so quick to pardon our folly, seem powerless to appease the rebellion, armed with infernal power...
Nature is not an ideological “greenwashing” for backyard politics, nor the millenarian, eschatologist dream of Eden Park from which we have very fortunately escaped, freeing ourselves from gatherer- hedonist blindness, to negotiate consciousness with the hostile dark forces stuck in the depths of the forest...But these forces have come out of their hiding places, their biotopes, they are invading the spaces that Man had thought he could take without giving

anything in exchange, with no transaction. War has been declared... natureʼs revenge is not a bedtime story for innocent brains... our bellicose enemy operates openly... in the light of day... the ultimate arrogance.
How could we reveal the conflict between the strategies of “knowledge and domination” of the former and the monstrous wild beauty of the latterʼs destructive power in this field of an unpredictable battle, cleared of all that greenish moralistic junk and its post- capitalist allure...

F Roche / Part of a text for “Global Design NYU 2012” / London


1
“Mes chers frères, n'oubliez jamais, quand vous entendrez vanter le progrès des lumières, que la plus
belle des ruses du diable est de vous persuader qu'il n'existe pas,” Baudelaire, “Spleen of Paris”, 1858.
2
Edgar Allen Poeʼs “The Pit and the Pendulum” was the first Bachelor Machines scenario.
       
04|09|2012
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"Prices for certain building materials are skyrocketing. Copper and Bronze become so valuable that they now trigger specific criminal behavior. So-called ‘copper thieves’ risk their lives in a hunt for electricity cables, lightning rods, water spouts or railway conduits. Especially Art in Public Space has proofed an easy target. Large sculptures were blatantly lifted from their bases to be melted back into raw material. In 2005 a 2000kg Henry Moore Sculpture was stolen near London. It might now be a door handle or a window profile…
Recently 7 bronzes were snatched from the garden of the Singer Museum in Laren among which a cast of Rodin’s Le Penseur. The robbers were caught in the middle of cutting up the sculpture into smaller pieces that would fit in the oven. Their lack of anatomic knowledge turned The Thinker into a horrific version of the Venus de Milo. Virtual Mutilation: looking at the sculpture actually hurts…a bizarre form of phantom pain.
Restoration took two years; an incredible effort, stunning recovery. But in a way the disfigured sculpture was even more compelling: a painful effigy of monumental stupidity….
The Concordia could perhaps be understood in a similar way. Could it turn us into Thinker?
Decommissioned ships are now sometimes used to spark marine life: sunken vessels turn into artificial reef. Could the Concordia form a fertile ground for a new biotope?
Will it be possible to imagine new functionality or new meaning for this monumental wreck? Can new life emerge from this tragedy?"

  Kamiel Klaasse (NL Architects)
for
New Concordia Island
 
 
          28|08|2012
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Lori Nix
for
New Concordia Island
  bot
 

Iʼve always tried to turn unexpected or unfortunate situations into something positive. Rather than struggle to remove the shell of the Concordia, I would like to see the ship stay where it is, and be repurposed into a nature preserve. Empty subway cars are often used to offer shelter and rebuild populations of sea life. This ship could offer the same benefit to marine life in addition to providing a destination for adventurous divers. Above the waterline, they could introduce indigenous plants and other native species of bird and small animal to create a new habitat.
Lori Nix

image: Lori Nix, Botanic Garden, 2008

 
       
21|08|2012
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conc

New Concordia Island Contest is a competition for ideas responding to the shipwreck of the Costa Concordia, a cruise ship of the Costa Crociere company, out from regular service after the shipwreck on the night of January 13, 2012 on the Giglio Island. The competition has the aim of stimulating new future visions for the Giglio Island and the shipwreck which will become as part of the same landscape and with the same identity. Recently the news reports that the exploration in the shipwreck to finding survivors and the phases of removing fuel have been concluded. The cleaning of the seabed around the shipwreck is currently underway and the final plan for the removal of the shipwreck will be released soon and could last for more than a year. At the same time faults in the movements of the hull are neither reported, nor in the research environment survey results of any pollutants escaping from the shipwreck and dispersed in surrounding sea. How to rethink the future of these places? What could the shipwreck become if it remains aground for a period longer than a year? How to program the steps for disassembling and dragging the parts? How to work with the shipwreck to build a form of memory? Is there any way to reconsider the Giglio island with this new outcropping rock that has changed the coastline?

 

AWARDS

1st place € 1500,00
FARM Special Prize € 1000,00
Special Prize € 500,00
and 7 Honorable Mentions.

 

PANEL

Cristina Díaz Moreno - Efrén García Grinda, AMID (cero9)_Madrid
Andrea Bartoli FARM CULTURAL PARK, Favara
Luca Emanueli SEALINElab, Ferrara
Eva Franch i Gilabert, STOREFRONT Director, NY
Joseph Grima, DOMUS Director, Milan
Kamiel Klaasse_NLarchitects_Amsterdam
Geoff Manaugh_BLDGBLOG_Los Angeles
Marco Navarra NOWA, Caltagirone
Lori Nix, NY
François Roche_ R&Sie(n)_Paris
Italo Rota, Milan
Yoshiharu Tsukamoto _Atelier Bow Wow_Tokyo

 
     
     
     
SUBMIT      
NOTICE OF COMPETITION    

NEWS # # # UPDATED # # #

     
   
23|06|2012
       
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Teatri Abitanti | 24-30 Aprile 2012 Roma @ Teatro Valle Occupato
Nuovo Cinema Palazzo
 
Direttore scientifico
Marco Navarra | NOWA | ICSplat | Università di Catania

Tutors
Marco Navarra | NOWA | ICSplat | Università di Catania 
Roberto Zancan | vicedirettore di Domus 

Assistents 
Sergio Bonuomo
Valeria Rita Cassarino 
Claudia Cosentino 
Luca Diffuse 
Dario Felice
Antonio Rizzo
Vincenza Santangelo
Pierangelo Scravaglieri 
Paolo Tringali 

Responsabile del Coordinamento 
Ilenia Caleo | Teatro Valle Occupato 
Daniela Festa | Nuovo Cinema Palazzo
Antonio Rizzo | NOWA | ICSplat 

Visitings
Luca Galofaro | Ian+
Andrea Masu | Alterazioni Video
Ugo Mattei
Lucia Tozzi

Organizzazione
ICSplat | Camping of permanent research – agenzia di investigazione paesaggi in movimento

Partnership
Teatro Valle Occupato - Nuovo Cinema Palazzo
Leggi gli Articoli
26 giovani architetti e 6 tutors hanno vissuto sei giorni insieme agli occupanti del Teatro Valle e del Nuovo Cinema Palazzo, traducendo le pratiche di trasformazione in forme di spazio.
La residenza di progetto, promossa da ICSplat, ha vissuto l'esperienza all'interno del Teatro Valle Occupato come occasione per ripensare gli strumenti del progetto architettonico per i beni comuni. Questo incontro è sembrato urgente e necessario per spostare l'attenzione dell'architettura su una dinamica sociale che da un anno a questa parte sta producendo un'innovativa riflessione politica strettamente legata ad una pratica di vita, gestione e condivisione di un luogo.
Il giornale raccoglie i materiali prodotti nei sei giorni di lavoro conservandone il carattere orizzontale ed istantaneo.

Marco Navarra_ICSplat
   
04|05|2012
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teatri Il workshop si propone di ripensare gli strumenti del progetto architettonico per i beni comuni attraverso un'esperienza diretta all'interno del Teatro Valle occupato. Durante una settimana di lavoro intensivo diversi gruppi proveranno a verificare su piani diversi alcune ipotesi di ricerca:
_ revisione critica delle norme che regolano la programmazione, il progetto, la costruzione e la gestione degli edifici per la cultura
_ sviluppare una nuova coscienza del rapporto tra beni comuni e città
_ sviluppare strategie di finanziamento pubblico che possano sostenere il governo dei beni comuni
_ ripensare il rapporto tra pubblico e privato scavalcando il concetto di proprietà a favore dell'uso

Continua a leggere>>
 
Scarica il bando di concorso. Consegna entro il 15|04 ore 12:00

Download english version
   
06|04|2012
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  TF#2 • Reportage Territori complessi. Una stretta città continua si stende senza sosta a sud di Messina per 50 km, compressa tra la linea di costa e le montagne che si impennano rapidamente. La densa occupazione edilizia ha saturato ogni spazio cancellando nel tempo il letto di torrenti e fiumare oramai dimenticate sotto il lastricato di vecchie tombinature.

Questa città lineare è alimentata dalle stringhe delle infrastrutture che corrono a livelli diversi, intrecciandosi.

L'azione dirompente delle frane apre gli alvei torrentizi. L'imprevisto ridisegna i margini degli spazi urbani attraverso i movimenti della gente che si raccoglie nei punti più sicuri. Continua a leggere >>
 
TF2_1
 
31|03|2012
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Il tempo per la consegna della domanda di iscrizione al workshop TF2 è scaduto.   Per tutti coloro che, per problemi vari, non fossero riusciti ad inviare la richiesta in tempo, viene effetuata un' ULTERIORE PROROGA. Le domande di partecipazione saranno accettate fino alle ore 24:00 di DOMENICA 04|03.
Per info, chiarimenti, contatti, è possibile inviare una mail a terrefragili@icsplat.org
 
02|03|2012
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tf1 tf2 proroga
La diffusione della percezione del disastro negli ultimi decenni ha alimentato l'insicurezza collettiva favorendo lo sviluppo di retoriche tecniciste che utilizzano l'ingegneria come soluzione lineare ai problemi. Al di sopra di una certa soglia di velocità e di occupazione dell'informazione un disastro assume una tale rilevanza sociale e culturale che costringe i saperi tecnici e le economie a riorganizzarsi esclusivamente all'interno della sua logica. Il collasso è sospensione del tempo che impone un ripensamento sulla durata delle trasformazioni e sul ruolo delle architetture. Terre Fragili #2 è un workshop internazionale di architettura strutturato per accentuare il carattere site-specific del progetto.   Il workshop vuole sperimentare nuove pratiche del progetto nei territori investiti da disastri. I temi del workshop indagano sulle aree colpite dall'alluvione di Messina del 1 ottobre 2009 per riorganizzare i frammenti dell'incidente in un nuovo ordine. Le attività sul campo coinvolgono interlocutori diversi dalle associazioni alle istituzioni, dai comitati civici alle imprese che operano sul territorio. Il workshop ha come finalità quella di costruire una gamma di scenari a partire dall'evento traumatico fino al tempo lungo (obiettivo 2050). Il lavoro d'investigazione sul campo mira a verificare in tempo reale, attraverso piccoli allestimenti, nuove possibilità di ripensare il futuro delle città e dei territori alla luce delle trasformazioni in corso.  
ban_s ban_d  
ban2s bn2s  
ban3s bannerproroga Scarica il bando di selezione . consegna entro il 01|03|2012
  15|02|2012
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LO - FI _ blog architettura bassa definizione    
Ita Eng   02|02|2012
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