Jakub Wachocki - (Lublin, Poland)
EUR0PE Congress Media Center
The “Ear” of Europe
The idea of the “Europe’s Become” evokes the wish of Europeans to listen at the needs of its people and of the entire world. What is Europe? What Europe’s needs? Where Europe goes? The design proposal aims to answer the current needs and tendencies, promoting a place for cultural awareness and interaction. Its location is Maastricht, the birthplace of the European Union, the European citizenship and the single European currency. The area is part of the shore of a small lake located where the rivers Mosa and Albertkanaal-Meuse meet, and from there change name into the river Maas, just three km South of the center of Maastricht. It is a location in the heart of Europe, deemed perfect for its first “free zolla”: an “antenna” from which to start building a better future for European citizens. Congress Media Centre aims at being the House of Europe: a clear and strategic reference point for interactive encounters at any social-cultural level. For the many people that wish to listen the “needs of Europe” and of the entire world. Going there should be part of a journey of wisdom, an amplifier of people’s consciousness in a globalized and often uncontrolled world. The inspiration for “The Ear of Europe” comes from the little island located in the center of the lake, whose shape recalls that of a human ear. It is a fantastic island, made only by trees, with water at its center. Walking around it in peace and wisdom, it will be possible to listen “the needs of Europe”. The little “Ear Island” of trees can be reach on boat with a three minutes journey, that’s why the Congress Media Center would also contains a little harbor. This is a place for imagination, where to listen, to speak, to reflect about future. A place where to bring Presidents and Ministers to spread the word of diplomacy in the middle of the trees of “The Ear of Europe”: such an extraordinary symbol of nature made only of natural elements, the “navel” of Europe where it has been placed its “ear”. All the above in a world where people seems not to be able to listen anymore. The message coming from the “Europe’s Become” is therefore: increasing the European’s perception of mankind’ needs, developing the ability to listen, starting from the “free zolla of Europe”. This will be a leading-events facility, providing an architectural expression of European growing into intercultural activities. "Culture meets Culture". This slogan can also summarize the idea within the proposal. In a globalized universe, the communication technology pushes us to work in isolation, but paradoxically in the same time mankind needs more and more face-to-face meeting places for discussion, training, culture and business development. In these terms, Maastricht "Congress Media Centre" aims at representing a milestone for reaffirming the “Human Centrality” also in the years of digital world. This “EUROCONNECTOR” is not simply a space but it aims at representing a synthesis of the European values across the Union: Culture, Eco-sustainability, Diplomacy, Interaction, Friendship, Welcome. The Congress Media Centre shall provide three auditorium of different dimensions and utilities that can accommodate congresses, cinemas, theatres and concert halls, and host social and political events as the G8, G12 or G20 summits. But it shall also serve for several smaller scale interactive educational facilities for the community. The Centre will accommodate the flexible concourses that can be used for any type of gatherings, fairs, exhibitions, trade and shows events. The Centre will interact with the green spaces, with water and the “Ear Island”, that is its very symbol. The Centre is oriented North-South, with the roof-modules oriented East-West helping the overall energy performance, so providing a balanced light and shade climax of the internal spaces. The green patios and the skylights will minimize the need for the mechanical air conditioning. It will be covered by an expressive and iconic roof made out of a steel structure that recalls the interwoven fingers of two friendly hands: an origami that provides natural light and ventilation and that, at the same time, conveys a symbolic meaning visible both from the ground and the sky.
In conclusion, it is a Counseling Centre of material and immaterial needs of European citizens, where listening means "searching", "putting into policy" the emerging needs for the sustainability of the Europe's Become. A center for "processing strategies" for listening and engineering of what is heard, an observatory for listening, a place for "awakened people". The acronym "EAR", European Awakening Room, sees in the "Ear of Maastricht" the perfect symbolism of the first "Room" in its land of a new Europe reaching out to listen. In this context the Centre would become the European Academy of Listening, housing also training classes for managers and operators of "listening", essential to enable the cultural jump of the Europe's Become.
Pier Paolo Presta, MADEOFFICE - (Rome, Italy)
THE EUROPEAN SPIRAL
A universal symbol for European Union
The city of Brussels is one of the most symbolic site of the European Union. Within the city there are all the major European institutions, including the European Commission, the Council of the European Union, the European Parliament and the political seat of NATO. In our proposal for new symbol of European Union in the Grand Place of Brussels, we have been particularly interested to develop a structure whose iconic strength could be read at all the scales, from global to local, in order to emphasize the strategic location of Brussels, its global and universal significance. We did not look for a self-referential egoistic symbol, but we have been rather interested in expressing the universal values of all 27 cultures of the countries belonging to the European Union and their history, their cosmopolitan societies, unity, and their desire to open up and communicate with the rest of the world. The design inspiration started from the desire to emphasize as much as possible the strong concept of “union” and symbiotic development of the countries of the European Union. Starting from a hypothetical common flag consist of the colors of the flags of all the European Union’s countries, we twisted and rolled it into a unified vision. What emerges is an incredible Spiral of European colors. The initial choice to match the new symbol of the Europe’s become with a spiral geometry depends on the multiple meanings it contains. It dances persuasive twisting on itself, and oriented between the variables of a destiny that no one can oppose, slips between the tangibility of matter and the transcendence of sound, ending its journey somewhere. Functioning organization The European Spiral is a museum and in particular a fascinating experience spiral path that allows visitors to learn about the history of each 27 countries that are part of the European Union. The history of each countries is intertwined and evolve together towards a future living. The choices of a country influence those of another as well as the fold of a spiral adapts to its neighbor. A path within the European cultural heritage of the past, the present and the future. Sinuous paths guides the user toward the system of elevators and stairs. The different level of the building are organized into functional “islands” interconnected through ramps and elevators, driving people through an always changing spaciality that makes the interior of the European Spiral Museum an experience mutable and always more thrilling for the visitor, allowing multiple kind of visual. Conclusions Our desire is that this project will represent symbolically the collective soul of the European Union people all over the world, providing a meaningful challenge to the next generations that will be always confronted with new challenges.
Felici (team leader), Serena Forastiere, Azzurra Muzzonigro, (Latina, Rome,
Eur_up United Polis of Europe
THE SYMBOLIC EXPRESSION OF THE IDENTITY OF EUROPE
The city, in its broadest sense material and nonmaterial, is the body through which the European people have expressed their historical, philosophical, scientific, literary, architectural, humanistic, creative, artistic, economical, social, spiritual and ethical evolution. The train, not the car or the plane, is the tool which has unified Europe; it represents the Union. Historically it has broken down barriers and, still, it is the true connection within a territorial scale, from global to local. The “connected-city” is the synthesis of the European cultural values for the past and the present. To preserve the future we need to find within the connected-city an evolution of our civilization. And we should not give up looking for it. ECO-SUSTAINABLE DEVELOPMENT The Europe’s Become, (…) ideas for the conservation of the future means to propose an further concept of sustainable development, a development that involves communicative aspects, to share its openness and incrementality. Imagine European cities structured and sized so that they are producing rather than consuming energy; reducing the dominance of the car and re-exploring the possible urban impact of the train, with infrastructure to simplify transport, to reduce consumption in terms of space, time and energy, so that mobility becomes a value, rather than pollution and social barriers. Always without “-isms”, because the city can not just "work," it must also "communicate", establish a relationship with its inhabitants and users to become the instrument of evolution. This is why Europe must keep being an example, to express through the cultural and thematic plurality that characterizes the European identity, the work of the collective intelligence. FUNCTIONS OF 'PUBLIC UTILITY' AND LOCATION We therefore propose a concrete idea almost to the limits of the visionary, the germ of a strategic program that looks beyond the prolonged global economic crisis. A three-dimensional linear city, to develop among all European cities along the routes of the existing railways. Not a fixed project, but a strategic masterplan: 1) To extend the European strategic plan for mobility to buildings issues, transcending the “no-tav” quarrels to transform these works into an opportunity for a stratified development, from local to international. This includes planned infrastructures which would drive the private initiative to act incrementally in this direction. 2) To immediately implement the symbolic side of the proposal; the first steps are to create new centres for research and communication to present local urban values, to be built within the railway stations of all the European cities (for example, the half-empty Rome-Termini train station), each of them hyperlinked. ‘Attractor-Diffuser' of European cultural identity areas: laboratory, museum, arena, agora ... seeking a balance between city-accelerator of transactions within the community, and city-absorber of tensions in individuality. These would therefore be the first free clods of Europe, one in each city, in a osmotic balance between global and local levels.
Ilaria Vannini (team leader), Ciro Perino, (Florence, Italy)
New European open lab
The creation of a common European culture through increased knowledge of the citizens. The culture allows the implementation of the Charter of Fundamental Rights: dignity, freedom, equality, solidarity, citizenship and justice. Art as a cultural expression of individual European countries, recovered, reprocessed and widespread may be the unifying object to a common horizon. Neolab has the objective of creating a historical record of artistic European countries, analyzing it, spreading it and trying to reach as many individuals as possible. Its main function is to create a cultural network, the only instrument capable of reaching anywhere in the world, creating an infinite web of connections, whether between individuals or between them and the various sources of information. The choice of location for the project is Florence, home of the cultural Renaissance in times past, as that then arises as a goal to create the principles on which to base a new European cultural renewal. The area is located on the outskirts of town, where they passed the historic city walls, then the border area, in addition, a building occupied by the military and then somehow that does not belong to the city, marginalized. The desire to return a piece of the city of 42 hectares to the population, by integrating the area into the urban fabric with a new park facilities, has led us to design a place not built. A “fracture” runs along the axis of the intervention, creating an introverted space, a safe place, a hole in the ground that symbolizes the beginning. In the soil develops building strong roots EU, the park on the surface magnifies the power of nature able to colonize all that is around, just as the utopia of the project, with his message, he wants to spread a ideal of unity under a unique culture. Small volume incorporated in the park relate to their surroundings without polluting the vegetation, amounted to a “breach” of the soil, creating the lanterns ‘light’ can light up the peoples of Europe. The building at the head, the one that looks the Arno, preserved as evidence of the past, is crossed by a hole capable of grasping its central core and relate it with the new, making it only the construction project. The intervention is developed by following a precise scheme, a circuit diagram, the connections between the places as the contacts of an electrical circuit, just that element at the base of the system of spreading the message Neolab. People are invited to experience this place increasing their knowledge and forming a common conscience, formed on the knowledge of the individual communities of people who are identified in the EU, making all things that are just a few.
Capuano (team leader), Pasquale Miano, Fabrizio Toppetti, Edmondo Paolini,
Giorgia Aquilar, Francesca Avitabile, Bruna Di Palma, Davide Luca, Serena Savelli, Alessia Zarzani, (Italy)
THE PATH OF EUROPE
Three historical moments, before modernity, have represented important occasions for material and immaterial relationships among the territories of today’s United Europe: the Roman expansion, Pilgrimages and the tradition of the Grand Tour. The latest is actually the synthesis of the two previous phenomena, since it was founded, on the one hand, on the visit of ancient ruins, understood as collective memory, where the union between nature and architecture was emblematic of an Aurea Aetas. On the other hand, the trip was effectively carried out as a pilgrimage, a true initiation to the discovery of a culture and common values that have generated an immense literature of images, writings and music. To represent these key moments of the European identity we have chosen the ancient roman aqueducts (tangible sign of the first transregional infrastructural network) and the routes of pilgrimage (used during medieval time and retraced during the Grand Tour). Therefore Rome, undisputed crossroads of the euromediterranean area and also seat of the Treat EEC of 1957, is the natural point of departure for our proposal and the Appia Park, the preferential location for the very first “free clod” of Europe. The ancient via Appia is part of the via Francigena, the route of pilgrimage par excellence; its surroundings are scattered with ruins, privileged destination of the Grand Tour. Here we would like to locate our “Attractor-Diffuser” of European cultural identity: one of a “system of objects” of Baudrillard memory, capable of projecting in the future “our outstanding historical past built on beauty and civilization”. This element – contemporary architecture located near the aqueduct without touching it – will permit to visit closely the roman infrastructure, prototype of Europeism, authentic representation of “Unity in Diversity”. As a contemporary Trajan Column, the tower is storiated, and unifies in a single image European culture: our antique and modern history - from ancient Romans till the EU Founding Fathers –, our monuments – from the archaeological to the contemporary ones. Starting from this highly symbolic act, every Member State will realize its own “Attractor-Diffuser”, that, in analogy the roman one, will contain multimedia narratives of the history of the place, the history of the Founding Father of the Member State and the history of the European Union. The tower, light and modular structure, is repeatable and adaptable to other European contexts. The ground line is equipped and inhabited and connects spaces separated by other modern infrastructures. Tower and ground represent, also symbolically, the capacity of going beyond the limits and the will of projecting over a shared future. The path we propose has to do with a redefinition of a slow infrastructure which crosses and connects (walking, biking…) the garden of Europe. The tower integrates renewable power source and communicates the work in progress extension of the EU borders.
Serena Vizioli, (Lanciano, Italy)
Inter-Cultural and Inter-Religious Space
The wide surface of Europe is very sensitive to changes in course. The stimuli to perceive are related to the intensity of the diversity in the present. Ethnicities, cultures, religions, driven by the flow of people moving to improve their social status (migrants) or actors of mobility of their time (tourists, students, youth), tend to encounter moments where the dialogue produces mutual enrichment. Given the breadth of the body of Europe, some receptor-places should be identified, with high social intensity, where to locate and to synthesize a variety of experiences in a process of cross-fertilization. Europe is a kaleidoscope of people, cultures, believes, behaviors. Walking in every village you can meet a stranger, people coming from a different place of Europe and of all the world who moved there for some reason. Usually they keep their own cultural richness, religious probably, and often they succeeded in carving out a little part of the city for themselves. In the global sharing mode, the proposal is a wrapper to meet and share cultural diversity: an Inter-Cultural and Inter?Religious Centre for Europe. This is because Europe is about how people and spaces are connected together. The architectural complex is a small Citadel with three pavilions: Aula for religious ceremonies: a spiritual space; A volume with offices, classrooms for lectures, meditation, workshops and guesthouse; Hall for conference, public meetings open on the square?garden. The pavilions are connected through a small net of paths, marked by more intimate open spaces where it is possible to enjoy quiet moments. In the center of the area a tower is the landmark. In places with wind conditions the tower becomes a windmill blade. Trees, flowerbeds and roof gardens are integrated among the pavilions. The inner space is always filtered with three levels of transparency: opaque, translucent ? for a blowing atmosphere to represent the impermanence of nature ? and transparent. Different atmospheres, more and more intimate, are gradually revealed, walking inside the citadel. The chosen contexts have some peculiarity to attract young people and give atmosphere: nature, sport, closeness to urban settlements, but out of it. Praia da Arrifana in Portugal is a beach in the Algarve, in the Vicentine Coast Natural Park, an area of outstanding natural beauty. The beach is 9.7 km south west of the village of Aljezur and is 114.3 km north west, by road, from the regions capital of Faro. The beach is backed by tall cliffs which afford the beach some protection from the ravages of the Atlantic Ocean. Chalkida is the chief town of the island of Euboea in Greece. Connected to main land with two modern bridges, the city has, as we can imagine for a Greek city, a long history to tell. It is also the hangout place for young people from Athens, with cafés, night clubs and beautiful beaches to sport and meet. Jyvaskyla is a city and municipality Center in Finland, in the western part of the Finnish Lakeland. The hilly and forested terrain is surrounded by hundreds of lakes. The summers are warm and winters cold and snowy. It is a relaxing area to swim, take a sauna and have fun through the forest. Jyvaskyla is the city with the work of Alvar Aalto, the most famous Finnish modern architect.
Mention of merit
Livia Ballan (team leader), Veronica Sonoro, (Florence, Italy)
EU CHARTER OF FUNDAMENTAL RIGHTS art 15
«everyone has the right to engage in work and to pursue a freely chosen or accepted occupation
every citizen of the union has the freedom to seek employment, to work, to exercise the right of establishment and to provide services in any member state»
The European Union gives recognition to all its citizen, the importance of the right of work and professional liberty, supporting the mobility of its country in order to achieve a unique labour market. The word “work”, interpreted in its highest acceptation, it’s not only a way to achieve a man’s primary need, it represents as well, the opportunity to contribute to the social and economical development of the country, to realize their own ambitions, to give free expression to their own creativity. Work is, in its all aspects, the basis of civil life. The plan is to propose an alternative to the usual criteria, in order to create an innovative space, multifunctional, where it will be possible to discuss one of the most current theme: work. It is expected the creation of a space able to support a cultural exchange, to represent the professional plurality that portray the European context, to increase a working dynamism through international stages to support the entrance of young people into the industry. It will be a pole of attraction for workers, unemployeds, students, phds, and i twill be a pole diffusing ideas, knowledges, and a support for the start of innovative and craft activity. A comparison between past and present, a starting point to reflect on the change of jobs over the last century. Addressing the issue of work, and having chosen Florence as a city capable of condensing the values characterizing the EU, it’s immediate to think about Officine Galileo, not only for the more 40 years of intense and satisfying working life, but also for the strong link between the "Galileo" and the whole city. The project has the intent of convert the Galileo’s industrial building, now abandoned, in a new multifunctional space, preserving the existing architecture, that is a splendid example of industrial archeology of the twentieth century. We propose to complete the missing portion of the factory, working on the vacuum that the demolitions have generated. A new volume will complete the morphology of the ancient factory and it will work as a contemporary facade. The wall ,which today separates the project area from the main road, will be demolished to open up this space to the neighborhood, so as to create a great squareto access the building, which also functions as a public space for the local residents. From ancient factory where to produce speciale object, to new factory of work and ideas.
Mention of merit
Begoña de Meñaca (team leader), Almudena Cano, (Madrid, Spain)
REGENERATION CELLS FOR A SUSTAINABLE EUROPEAN IDENTITY
The European Union emerges as an economic and cultural union. For years, the Erasmus program has fostered cultural and experience exchange through mobility. Our proposal aims to facilitate this exchange by providing a space for interaction and dialogue, a place to meet, value our common European cultural heritage and build a new horizon, socially, economically and environmentally more sustainable.
To this end, we propose a flexible system of independent units, “cells”, which adapt to local realities: they can be added and combined in different ways according to programmatic needs and give response to multiple environmental constraints through their different skins.
Why choose one country or several as a site when we want to strengthen the sense of belonging to a larger entity?
The proposed system is able to colonize and regenerate any site within the European Union. This way, this new symbol of identity may proliferate in any city, weaving a network of spaces for cultural conversation and research that transcends borders.
Why choose a built form to represent the aesthetics of this new time? To avoid compromising the proposal to local references and the aesthetic archetypes of each country, we propose a neutral but visually attractive volume, which can easily be combined and is adaptable to needs of size, program, shape or accommodation to the site: independent hexagonal units which added, form a larger entity. Just as Europe was born from the union of its member states for a common goal, the units of this system can be combined to create larger entities according to local needs.
Why reduce our intervention to a single program when European cultural values can have different forms of expression?
This modular combinable system allows the hosting of a wide range of programs: from small information areas, to large areas of exchange and cultural production. Four different modules allow the multiplication of programmatic possibilities: dissemination, dialogue, discussion, forums, exhibition, research, performances…
Creative infrastructures and a new cultural engine for the cities. The proposal offers the possibility of a desirable proliferation of these cells, that regenerate territories and landscapes in a recognizable and accessible way. Creating an interaction and exchange network in which new possibilities emerge: connecting several cities, and their data; sharing cultural values, and projects…
The sustainability of these new European spaces is one of the commitments that define the proposal. Due to this particular aim, the cells count with systems for an improved use of energy and a better management of waste, water and natural resources. Because the European Union can stage a shift of paradigm in the field of environmental conservation, this proposal aims to make this ecological awareness visible and include it in the European collective imaginary.
Mention of merit
Benoît Chantelou (team leader), Thomas Landemaine, Raphael Villiermet, (Paris, France)
1.GRID* 43.CUBES* 500M. PEOPLE
The many potentials for a new European perspective
Europe grows in a rickety way
United at first on an economic then political sharing, the European countries pool more and more. Nevertheless, Europe is lacking a third support to secure its stability. Beyond political and economic issues it calls for Europe of the peoples, relying on society, identity and brotherhood.
The youth feels more European today than ever, peoples forget frontier posts, currencies, idiomatic differences, settled nationalism.
In order to shape itself, this new multiple identity requires tools and symbols.
In order to become a reality, this longing needs grounds of expression.
A generic and egalitarian infrastructure.
The European territory must be also meshed throughout the distribution of generic structures geographically balanced.
A modular and varied content.
The programs and the spaces must be able to build up and deconstruct themselves, evolve and reinvent according to place and time.
A cultural life for the people.
Culture is a sandbox, a playground where the art forms, actors and spectators meet and confront themselves. It is the vital cement for the construction of Europe of the peoples.
The architectural programming varies according to the following uses:
Theater: Troop on tour throughout all the European Cubes / national symphony orchestras’ concerts / foreign Ballets
Cinema: Monthly theme by European region Library: Foreign Books of all Europe, in every language
University: Foreign languages teaching, lectures of Europeans scholars
Permanent exhibition: Exhibition on the history of Europe and its identities
Temporary exhibition: Itinerant exhibition moving throughout all the European Cubes
Meeting point bar: Place of meeting and entertainment / Have a drink with another random European by videophone
Big Outdoor stage: Can host free music concerts and festivals / can be used to broadcast sport events on a giant screen
Restaurant: 1 cook, 1 country, 1 month
Free Space: Can be used to organize any manifestation, workshop, party, sport demonstration…
The ambition of a close Europe relies on cultural activity to transform an institutional federation into a nation sharing its cultures and its histories. It is the path from cohabitation to the creation of a family. These structures will be the proof
of a higher will to bring up the relations between the peoples for centuries. Vestiges will remain the testimony of the humanist ambition which Europe is coming up today.
Mention of merit
William Montecchi (team leader), Benedetto Nastasi, Lucia Maccallini, (Italy)
Title: Europe For Food
The symbolic expression of the identity of Europe
The future of Europe is in the city, where 80% of the world’s population will reside by the year 2050.
The European city is the result of a historical stratification that throughout the centuries has morphologically and functionally adapted to the needs of its citizens and the socio-economical contingent model. This characteristic of the urban
environment, its resilience, is unique to the European urban system. The new challenges that cities encounter today are nutritional sovereignty and climatic change mitigation, but above all, their impact on the social model which inhabits it.
Location: Rome 2050
Rome is not only a European city, with its world renowned historical beauty, its urban density and its patrimony of abandoned industrial areas, but it is also the largest European agricultural community, with more than 30% of its surface used for farming. The biodiversity value of this context is also a metaphor for the variety of cultures that inhabit the Old Continent.
The area of intervention is the Ostiense quarter, just south of the Aurelian walls, which circle the historic center of the capital, on the banks of the Tiber river. It is an ex industrial area, an open air museum of industrial architecture. We can still find some large constructions, hoppers, water reservoirs, tanks and bridge links. The skyline of the area is dominated by a series of gazometers, the tallest of which is more than 89 metres high. The area extends for 7,2 hectares, a great empty urban area closed to the public.
Europe faces a great challenge with the passing from the industrial revolution to the new-agricultural revolution. Farming is an integral part of the European identity. The relationship between city and countryside is not a conflict but a symbiosis for the construction of a new landscape.
The projected urban environment is composed of 3 levels:
· Ground floor - The European public space made up of streets and squares;
· Housing floors - The living quarters of a compact city;
· New Ground - The public agricultural level, the countryside.
The public space should go back to a place for relations, for the exchange of products and ideas, and nutritional and political sovereignty. Recreating European urban space can help to redefine the social model. The farming space will be the new European Agorà.
Starting with the requalification of the preexisting buildings and the creation of a new elevated level for the countryside, we will be able to obtain a farming area with double the surface of the present territory. It is not our intention to elaborate a number of roof gardens, but instead a system of vegetable production assisted by a vertical farm system inside of the gasometers, a new type of agricultural and urban area that avoids the blanket of pollution, by air and new land.
Each future inhabitant will be granted the same amount of living surface and farming surface.
Mention of merit
Sunggi Park (team leader), Hyemin Jang, (South Korea, U.S.)
What should be existed for the future in Europe?
When and where? What and how? What it is for? Why?
We originally started this idea that architecture is not just a symbolization of certain idea, but a way to emerge people into their culture and environment. Our primary concept is suggesting a new living typology related to the future context of European countries. Geographical boundary of EU has been changed by policies and climate changes throughout the century, but European seas emerge boundaries of current EU nations and potential members. We propose a new type of architectural platform on the sea. The main purpose of this idea is a positive evolution of European Union rather than reminiscence or symbolization in one specific site.
There are a lot of elements that make Europe Union differ from other nations. Each member country has its own nationality and identity. This diversity and union-ship allow each country to interact with other members and maintain many different cultures from around the European countries. Not only cultural context, but also geographical condition shows its diversity and possibility of transition. Europe Union would expand its geographical boundary which shows higher possibility of being changed from current condition than other nations. Also, rising sea level is a factor that has a great effect on EU’s environmental context. Our design proposal is driven from the notion of the transition including environmental changes in the next millennium. The platform can be a transportation and seawater desalination system, and combined unit can have larger scale public programs such as stadium, farm (landscape), or academy even mobile museum. Juxtaposition of each unit creates a unique atmosphere of the structure in the seas of Europe. It offers new types of landscape, enabling architecture that will give people in the diverse European countries a new sense of the pleasures of public union space.
The platform functions as interface between onshore oriented programs and marine environment. Users can enjoy the picturesque scenery through the glass panel in both private residential spaces and public open space. Being emerged into the natural environment rather capturing a part of the nature, architectural experience that one can have from the platform will be maximized. Through the typology of this mobile platform, people will actively interact with new architectural context of the future Europe. Also, by utilizing solar driven seawater desalination system, it produces pure water and functions as water storages for sustainability.
Mention of merit
Alice Comandulli (team leader), Benedetta Lenci, Enrico Comandulli, Daniele Lenci, Elena Bartoloni, (Italy)
T H E S E N T I N E L O F E U R O P E
Tolerance, democracy, justice and freedom are some of the common and basic values of european identity that have their roots in the greek-roman culture and in the Enlightenment period.
The emerging and development of these values has covered the whole European history, it characterizes its present and it will be the basis for the future: a multicultural society that respects its traditions, but it is oper to new ideas, inputs and demands that come from all over the world.
The biggest challenge in the future of European Union is to combine its identity based on multiple and mutable identities, with the growing presence of people from other cultural areas outside its borders that is bringing working force and resources but at the same time it’s need of acceptance and integration policies.
ce and integration policies.
During the last decade immigration to southern Europe has grown exponentially, this part of the continent that has always been the cradle of European culture it has nowadays become the land of call for migrants willing to cross seas and deserts to get there.
The Mediterranean Sea has become the grave of desperate people with no name. This shore of Europe is the new frontier between two worlds, but it is also the land of first asylum where the strongest European values should be heard most.
After the Schengen Agreement that frees and opens exchange of goods and labor within European Union, the immigration issue has moved to the outer borders, especially in four key areas where there is the main pressure of external flows. Lampedusa is the most distant and exposed to the arrivals of migrants and therefore it is the most interesting from the point of view of identity and belonging in a no-man’s-land.
The project idea aims to redefine the concept of reception and assistance for thousands of people that for days are forced to stay on the island, in a place that shows the encounter between european ambassadors of values of hospitality and solidarity from one side, and a humanity in desperate need of help on the other.
The design is composed of several elements that are there to symbolize it.
The long underground volume, in which it is incorporated and redesigned the Maritime station, is the first place of welcome and assistance for those arriving in Lampedusa, both tourists and immigrants.
The steps at the entrance of the harbor bay, is the place where people can rest, meditate and pray, watching the sea and their homelands. These artificial terraces follow the rocks and integrate into the Mediterranean landscape.
The tower with its "wide-gazing" resembles the Sentinel of Europe who gives the signal to open the physical and ideological borders to new cultures. It also acts as a wind tower for natural cooling of the building underground, as in the Arab architectural tradition.
Behind a skin-wall are placed small and dense volumes hosting different functions, opened both to the Europeans citizen and foreign people, which explain and show the values of European culture.
Mention of merit
Luigi Failla (team leader), Marco Trovato, (Palermo-Messina, Italy)
The European history, since the ancient roman’s time, shows us how the birth of any kind of “identity” is strictly related to the diffusion of the common culture. Many National identities are born and grown from a strong solid “shared culture”.
Europe in its long and tormented history has seen different identity orders that have changed, in function to the different periods, as to its geographic borders as to different cultural meanings. On the other hand the existence of basic universal values where all Europeans can recognize their selves is undeniable and agreed. But, at least until today, these values have not arrived to all citizens probably because of inappropriate diffusion strategies.
According to that, the ideas of the design proposal is to give shape to a place that can be simultaneously “attractor and diffuser” of this cultural identity and to promote the European integration process. A similar experience was made with the development and diffusion of the first British Public Libraries, even if in a differ scale and with different purpose.
The concept becomes a material object trough the architecture’s instruments and it is transformed in a small temporary architecture: a new kind of mobile-library, half way between a “library-bus” and an info point, that contains an “abstract of European culture”. Here the diversity that characterizes each country of the European Union can become a starting point for the development of a common culture. A casket that contains a small piece of European culture: a Eurothéke (from Greek théke, casket). On its inside there will be a selection of the most important literary works in their original languages, touristic and informative guides, newspapers and magazines from all Europe. About 3.000 documents both in paper and multimedia that can help to create a common conscience trough the diffusion of the different national “cultures”.
The project, deliberately atopic, is designed to be placed in the squares of the most important European cities. According the competition brief, we decided to show an example of the project in cities like Paris, Palermo, Berlin, Madrid, Rome, etc.. Its iconic character aims to become the symbol of a new place where, in a shared, multi-ethnical and multi-discipline way, the European values can be developed.
On the shape level the idea comes from the “diversity that connects”: series of books (that since always spread the culture) different in their shapes, colour, sizes, contents and origin, create an only place made of different areas, where it is possible to have different activities related to each other.
On its inside visitors can simply borrow a document, in paper or multimedia, or have it and consult it on the place.
In varietate concordia, this is the motto of European Union: “United in diversity”. And it is this diversity that generates the strength of this place as the cultural diversity can and must generate the strength of the European identity.
Mention of merit
Fabrizio Furiassi (team leader), Giulia Cateria Verga, ( Italy)
United in diversity
The European Union is a political body underpinned by the 2009 Treaty of Lisbon. Since the 1957 Rome treaties, all the institutions of the community - previously called the European Economic Community, the European Community and then the EU - were envisioned as parts of a progressive process that brought together expertise and that was never intended to over-ride the sovereignty of its individual member states. Following Maastricht, first the so called European constitution in 2004 - rejected by the French referendum - and then the Treaty of Lisbon, which currently forms the institutional basis of the Union - 27 countries came together economically, politically and in part also culturally, although the latter is not laid out in the institutional treaties.
This process has always been legitimised by a generic cultural discourse, that is summed up by the notion that a European Union can exist because its nations share similar cultural traits. This concept, summarized with the motto “United in diversity” comes up again and again in documents and speeches about the Union, and suggests that the EU bring Europeans together creating peace and prosperity and that many diverse cultures, traditions and languages united constitute the wealth of the continent. This heritage - a term often cited in European documents - can hence forth be passed onto future generations.
Nevertheless, as the German philosopher Habermas highlights, the current economic crisis has brought to light the Union’s structural flaws that can only be overcome with a suitable political reaction. "The EU does not have the remit necessary to harmonise national economies, which are marked by drastic divergences in their capacity to compete […] Non-binding agreements in the circle of government leaders are either ineffective or anti-democratic, and it is for this reason that they should be replaced by common decisions taken in a clearly defined institutional framework".(1)
In this period of serious and prolonged global economic crisis that we are experiencing today, Europe and its values founded on common cultural traits, peace and advocacy of human rights are faced with competition from emerging economies in Asia and South America, whose growth is not always accompanied by an adequate legal and social developments. On a global scale, it looks like the EU’s authority, economic strength, and cultural dimension might be set to lose its prevalence. A European diplomatic service has recently been created as an initiative to confront this risk. This service is intended to secure a consultation with representatives of the member states of the Union on an international level.
This operation is currently stalling; one could indeed say it never took off, due of member’s differences concerning foreign policies since the gulf war.
We take into account all of these factors and, therefore, we advocate a new European governance with a univocal development strategy in order to redraw an elevated place for the EU on the international stage.
As declared by some of the founding fathers of the Europe "the question which must be resolved first - failing which process is a mere appearance - is definitive abolition of division of Europe into national, sovereign states".(2) "The sovereign nations of the past can no longer solve the problems of the present; they cannot ensure their own progress or control their own future".(3)
Taking inspiration from these words, we imagined a future European Union where member countries join/renounce elements of their sovereignty in favour of the rise of a supranational political entity. As architects, we translated this idea into an architectural project, a building able to represent this political change, where all diversities can be housed under a common roof and institution: a European Embassy. The extraterritorial status of the embassy gives way to situate the construction in a foreign country while keeping it under European jurisdiction, and thereby in line with the brief requirements.
In fact, such a project can only be implemented were international institutions already have their headquarters, since that is where the new Europe needs to be recognized as a political player. The selected location is New York, and more precisely in close proximity to the United Nations Headquarters, in conjunction with the demand for a European seat in the Security Council of the UN. This embassy re-joins the idea of the unrealised House of the European community that sparkled in visionary minds of many convinced Europhiles between the two world wars.
A suitable building lot has been identified next to the “glass palace” - adjacent to the Robert Moses Playground - on the East river waterfront. We felt that this area was the ideal place to situate our building.
1 Habermas, Jurgen (2011) "On Europe's Constitution - An Essay". Berlin: Suhrkamp.
2 Spinelli, Altiero (1941) "Il Manifesto di Ventotene". Rome: Società anonima poligrafica italiana.
3 Monnet, Jean (1976) "Memoirs". London: William Collins Sons & Co
Mention of merit
Manuela Bassetta (team leader), Francesca Fatta, Rosario Giovanni Brandolino, Andrea Manti, Chiara Scali, (Reggio Calabria, Italy)
Cultural diversity is a priority for the European community. Europe's identity must be reintroduced with a continuous process of integration between the communities that must ensure an area of peace and sharing.
The idea is based on a different geographical concept of Europe compared to the rest of the world. A geography able to connote plurality of flows and new centralities. Europe, in this new vision, is seen as a GREAT HOUSE OF PEACE, able to convert ancient icons of war in places where receive and spread art and culture in its different languages.
Places and structures as icons of brotherhood and sharing between people.
If Europe is seen as a GREAT HOUSE OF PEACE, Lampedusa has been chosen as iconic place among the most controversial of the last thirty years, on the stretch of coast facing Africa, where there's a concentration of the Second World War bunkers. Similar to Lampedusa could be identified even in all those stretches of coast populated by the gray structures of war, following a slogan of the sixties:"Put flowers in your guns".
Home sweet Home, due to the identification of Europe as the Great House of Peace. A motto of welcome and pacification.
It's the bow of a boat to sail around Europe, to arrive at the House of Peace.
Speaks of Lampedusa in a geography contrast: Difficult Geographies that identify flow maps of migrants to Europe; Clandestine Geographies that describe afro-mediterranean routes; Geographies of Intersection among tourists and migrants, two flows moving in opposite direction: one part of the world that travel and the other one that welcomes; Political Geographies described by the Schengen Agreement. We find similar places in euro-mediterranean area where the project can be expressed as EUROPEAN FREE CLUMP. Moreover we've identified the areas of interest for the conversion of structures of the last war.
Expresses the idea of the GREAT HOUSE EUROPE that opens its first door in the most southern point: Lampedusa HOME SWEET HOME. A free clump (P. Maccaferri), a neutral place, occupied by several bunkers of II World War, is converted to accommodate artists and events to create different themed itineraries. Opportunities to define new "contact zones" in which art, music, theater, painting will experience new forms and contents for a border culture. The bunkers, in various shapes and sizes, may be place of attraction and speaker of the free exchange of culture and information. In analogy with these temporary accommodation centers, we imagine Ateliers of Temporary Painting, Laboratory of Emergency Geography, Spaces of Improvised Music, Experimental Theaters where set up a new relation space/culture/usability in which even networks of solidarity tourism could enter in Europe. This openness to different cultures, stabilizes and enhances the identity of Europe becoming "value", education aimed at recognize one's own culture in relation to that of others.
Mention of merit
Andreas Faoro (team leader), Francesca Rizzetto, Roberto Soundy (Rotterdam, Venice, Guatemala City)
Common Zolla Europe
[A State of Exception]
In considering Europe as project, we recognize its advancement among communities, and its departure from an agonistic plurality, where difference rather than similitude plays out into an dynamic framework of the political sphere. As a counterpoint to a monolithic preservation of its historical past, we believe it is Europe’s evolutionary historical present where its heritage as a future potential lies. We recognize architecture as a precondition of urbanization, as a formal and political embodiment of the city, where it manifests not as an agglomeration but by the will of proximity and confrontation.
Beyond the notion of ‘people’ as related to the European nation-states, the multitude is indicative of an immanent plural character. It is through collective action, without converging into a single whole, that we recognize the multitude not composed of either ‘citizens’ nor of ‘producers’ (Paolo Virno, A Grammar of the Multitude, Los Angeles: Semiotexte, 2004), but of an emerging subject of the Common. Europe, an evolutionary project founded on principles of dignity, liberty and equality, has spearheaded the construction of a common contemporary subject: the multitude.
We consider the generic quality of form, as well as its condition as limit to be the most important statement about our ‘Common Zolla’ proposal. In the confrontation among parts, we bring to the foreground conflict as a positive driver, and effectively dissipating urbanization’s self-fulfilling expansion. A state of exception, it is in conflict itself that architecture may present its enduring qualities, as a way of registering and making public a position towards a common project.
The Common Zolla is a device for action and distraction, a common vital platform for the multitude. Constituted by a cultural plinth, and crowned by confronting working and living building slabs, propose an architecture as archetype. The composing types are reconfigured in a non-divisible entity that acts as a synthetic “ground of Europe”. The plinth is characterized as an archipelago of agonistic parts, in a similar manner as the European nation-states. Nonetheless these parts are found within a common building, as a political apparatus for advancing cultural perspectives and national programmes.
Without claiming possession of its centre, the plinth’s archipelago confronts its inner heritage islands, continuously being redefined by its limits. A confrontation of parts takes place in a setting of an existing urban fabric and as such is to be appropriated by the multitude. The common zolla archetype contains the cultural and working and living conditions to be implemented in diverse metropolitan grounds or EU capital cities. The exemplary project is to be located at the site of the Brussels Midi train station, taking advantage of its regional and metropolitan infrastructural hub, as well as its emblematic position within the EU.
Mention of merit
Giovanni Bartozzi (team leader), Michela Sardelli, (Palermo, Pontedera)
ON THE ROOFS
The reduction of public space in our cities is an effect of social and cultural conditions that reflect opportunities of contemporary life.
This impoverishment of public space is due to the political contradictions, but it depends also on deeper reasons, which are rooted in the social fabric. Our society is dominated by a media approach that has literally exhausted our public system, so everything seems aimed at compromise, expansion, absorption.
Society is made up of over-stocking men, increasingly unable to break and cause breakages. Even the concept of flexibility has been falsified, being dominated by the dynamics of consumption and by the marketing dross.
The ecstasy of pure appearance and the ordinary home entertainment have taken off substance and character to the public dimension of life: the result is a public space overloaded with accretions and anti-urban landscape in the sense that it is separated from the city, and it is essentially unable to re-establish a break in essence and imagination, to restore nourishment to the life of man.
However, some features of our society – which we often complain about the worst aspects – are potential for a new way of thinking and feeling the city: as the fragmented, fast, fugitive and consumerist world could generate opportunities for unpredictable beauty. Elusive beauty.
There is namely the possibility of a new public space. The city rooftops is entirely designed for recreation, leisure, and socializing. Because of its location we have chosen Florence: the Renaissance capital of the world, the capital of humanistics studies, capital of radical avantgarde but also the capital of museification and
Florence as a symbol of a radical redemption against the leading urban policies. In this proposal – much more practical than you might imagine – there is a functional program established in advance, there is the desire of coming back to think about the places of amusement, emotions and knowledge. Antifunctional city juxtaposed to the historical, brutally functional one.
Genetic and shapeless structure that conforms in its continuous transformation, which has no defined borders, where everything is always reversible, mobile and flexible. A porous texture which is not subjected to the human life, which is not meant to be a background, but it becomes emotional spark, physical and mental experience. Far from the aesthetic provocations, it presents its simple and thin essence. The city on rooftops is not a utopia. It is an heavenwards extension of our cities, an opportunity to rise from the focal points. This branched and light city rises above the roofs of
existing buildings stratifying, sedimenting, stitching them.
Truly three-dimensional city that segments to the sky and allows inedited and unlikely views of our cities. An idea of a lofty public space, practicable for his charged emotion rather than for its commercial proposals, a teenaged climb on the roofs, on the monuments, to have a continuous, new and giddy contact with the city.
The city on rooftops coincides with the public space: this space highlights the stratified levels of knowledge and history of places and it actives a disenchanted relationship for new emotional states. The public space, stripped from the excesses of globalization, as authentic and dizzying catalyst of social relations.
Mention of merit
Lina Malfona (team leader), Giuseppe Malfona (Cosenza, Rome, Italy)
THE WELCOMING CITY
The "right quadrangle" is an irregular geometric figure with four sides and two right angles. It represents the imperfect perfection of Architecture, its aim to the absolute while not being an exact science. The project focuses on this figure and its recurrence. It is a composition of buildings in the form of islands immersed in the sea. These islands, which are right quadrangles from above, are arranged around a large hexagonal platform which recalls the shape of the hexagonal basin of the ancient port of Trajan, placed just behind the project.
THE CITY DOOR BY THE SEA AND THE SKY
The perfect geometry of the Trajanic port, almost magically and mysteriously placed here by the hand of man, has been an important source of inspiration. This old entrance (“PORTO and PORTA”) is located today in an area of urban expansion: near the Fiumicino airport and the future port of Rome, places of the melting pot. The project area was located right here in the presence of such favorable terms. It is therefore the reception area par excellence.
Not far from the coast, we have imagined a series of urban plates, that emerge from the sea as the result of a shattering into several pieces. They symbolize the European fragmentation: we don’t think it should be rebuilt but accepted and appreciated in its own individual local.
ARCHITECTURE IN THE MIRROR. THE FUNCTIONS OF THE PROTECTED ZOLLA
The platforms are accessible from the sea, the earth and the sky and become a multicultural center, able to accommodate multiple services, such as:
European Academy intercultural spaces;
Auditorium, open air theatre, spaces for meetings, events, festival, offices;
Boat landings and aircraft landing runways.
The operation is part of a territorial scale project which prefigures the new waterfront of Rome, recalling a well-known project by Adalberto Libera. It wants to say that if a project has a great utopia, it can more effectively change our conception of reality.
The project logo is a synthetic image that reproduces the stylized front of the urban clods immersed in the
water. If rotated at 90°, it depicts the E of “Europe”.
Mention of merit
Sergio Gonzalez Benedi (team leader), Marcos Alloza Fernández, Francesc Brugaroles i Padrós, Mariana Echeverría Pérez-Montero, Bernat Hernandez Sàbat, Matteo Aldo Origoni, Maria Pauner de Moragas (Barcelona, Milan)
Recovering the European Rural Tissue: the forgotten mesh between abandoned settlements through the continent
On May 23th may 2007 the urban population exceeded the world rural population.
The paradox of the European and global demographic growth has been that, in spite of the duplication of the world population in less of 50 years, its density (measured as population per unit area) has decreased. This phenomenon is due to two basic reasons: the densification of the traditional city (a current model and it’s in evolution) and the migratory movement from a rural environment to an urban one, propitiated by the Industrial Revolution. In spite of the population growth, its habitat’s diversity and qualities have decreased, favoring a model of centripetal and disperse city, with diffuse limits. This has led to systematic problems because of the size and density of these global cities in disparate aspects such as public infrastructures, transportation or residential construction.
In 1950 the urban population represented 47% of European total population (of about 276.8 million people). Currently, it exceeds 75% (population of the EU27). The statistical projection for 2025 indicates a percentage greater than 83%.
The European towns/villages networks establish an endangered urban tissue, homogeneous and shared with most of EU countries, which have founded the traditional settlements of the continent’s population. In short, a legacy and heritage in danger of disuse or immediately disappearance.
EU27 Area: 4,324,782 km²
Population density: 116.2 h/km² on average
The proposal aims to create an itinerary between the existing deserted or almost deserted settlements with a common signage, with the villages’ historical and cultural information, in order to highlight its importance and promote its repopulation, and thus: an initiative of transboundary nature that doesn’t depend of administrative boundaries, according to the European Union’s spirit: United in Diversity; a dense homogeneous and isotropic tissue of settlements that offers the perspective of the pedestrian Europe, where villages are close to each other and the distances are relativized thanks to current technologies; protection of a way of life, which social and cultural importance is part of the European identity and of the immaterial inherited patrimony; conservation of a historical and artistic public heritage in disuse; possibility to replan the current economic-geographic model in rural environment, to stand out the villages as a stable and useful model to the present needs of work and residency; landscape and environmental protection.
For its morphology and constitution the towns are urban units fully integrated in a specific territory and landscape, of which have depended and which have protected. For its peculiar urban nature they are systems of more sustainable occupation within the environment.
Mention of merit
Riccardo Campagnola and Maria Grazia Eccheli (team leaders), Eleonora Cecconi, Alessio Bonvini, Alessandro Cossu, (Verona, Prato, Viareggio, Carrara, Italy)
Secluded in a desert place outside the city of Verona yet bound to it by Adige river, the Lazzaretto was built shortly before the outbrake of the plague in 1630. After its transformation into an ammunition depot, the building has been almost completely destroyed at the end of the last European war, leaving intact the central temple.
Here a Goethian opportunity emerges; not only to build on the past as it is typical of the European adventure, but also to combine past and present with wisdom and capability as the only way to establish the future.
Our project suits the one of Sanmicheli by its encroachment on the existing ruins and the acceptance of the centrality of the still erected temple: thus maintaining the syntactical/theatrical relation between the perimeter and its central building.
In the midst of a crisis of the Italian landscape, the project, through the revival of the measures of the original outline, claims a public place linked to the cultivation of the land.
Mention of merit
Albano Trombetta, Sabina Vannucci, Ilaria Munari, Francesca Di Pillo, (Cuneo, Roma), (team leader not mentioned)
EUROPE LAND OF SEAS
Sculpture & Urban Design
Ye were not made to live like unto brutes, But for pursuit of virtue and of knowledge
(Dante, Inf. XXVI)
In his legendary mad flight, the Greek Dante's Ulysses, archetype of the European man, leave behind him the four inland seas, through which Europe has identified itself, for entering into the unknown. Between this event, the daring raids of the Vikings in the early Middle Ages and the bold expeditions around the world of the great navigators, from the XV to XVIII century-Portuguese, Italian, Spanish, Dutch, English, French-there is an ideal continuity, not casually born in the birthplace of democracy, joining all European countries.
It was not just predatory instinct to push Normans of Eric the Red to Terranova, nor only political ambitions and commercial reasons motivated Vasco da Gama, Columbus, Cabot, Vespucci, Magellan, Drake, Cook, Tasman and their major exploits: New World discovery; eastern route to the Indies, rounding Good Hope Cape; western route to Philippines, across Pacific, rounding Cape Horn; discovery of southern continent and its islands.
These testimonies of exuberant vitality given by European continent must be claimed in the collective memory, the moment when Europe is called upon to strengthen its integration and to meet with the challenges of that globalization having so much itself contributed to give birth.
Our proposal is a sculptural and an urban intervention, which ideally materialize the memory of this great epic.
A composition of printed metal plates welded together, reproducing original pieces of ship engines, sails, oars, anchors. A ‘memory wreck found’ attracted by a giant magnet that emerge pieces of all kind and all ages from the seabed. A composite totemic installation, historical memory of maritime vocation of Europe, at the center of a expanse of water which symbolizes Europe’s four seas: the Mediterranean, the Northern, the Black and the Baltic Sea.
Walkways and rivulets departs from the installation as a focal point alternating the elements of water and earth.
Stone slabs emerging from the water arranged as a iron filings around the magnet.
This way various path make possible to follow memory’s internal routes.
From the water edge this path ways lead through the lawn, acting as glass covered water lenses with light sources in their interior. This symbolizes continuity between European sea and land avenues.
Routes to other lands and other harbors in the world departs, from the other side of the pool, ideally facing the European side of the Atlantic Ocean.
Long hanging threats, in which water flows, are reminiscent of the transoceanic routes of Europeans ending with brass hemispheres, engraved with names of discovered lands and their discoverers.
The Totem can be placed in any inland or maritime European town, as a focal point of an urban green space or as an artificial island positioned into the harbor.
Here we assume to locate the European Memories Totem on an artificial island in Piraeus and in Spreebogen Park in Berlin.
Giovanna Ferone (Naples, Italy)
MEÂDYLES A SPIRITUAL CENTRE IN EUROPE
Only when the human being own an authentic essence one can find that real, invisible and eternal matter out time, with no space and that “Essence” is the place where nobody find differences between us, where everyone share the same needs with no selfish conflicts and deep crisis.
Unfortunately nowadays we are far from this condition and the global society is attacked everyday by psychological slump, sense of confusion and loss of motivation. As all sorts of crisis in the past that had led us to a revolution toward a better condition, suddenly the crisis, that we are living, will lead humanity to recover the real forgotten needs and the authentic values necessary to live in peace with our soul and the universe.
Those needs find their answers on the philosophical and religious field where the lost souls can meet their real paths finding and help in what we call “disciplines of spirit”. Likewise we should withdraw the excess of dogmatism, hypocrisy and every kinds of useless stupidity that put up walls among each doctrines, leading human beings to senseless differences and foolish conflicts.
The European Union is a secular body with no formal connection to any religion, although Catholic Church keep trying to be recognized as the “official religion”, the UE wants people to think free and with no differences among doctrines. Therefore, the following project proposal is concerned with the concept of “place of the spirit”, a sacred place with no self-righteous religions, archetypal and strongly symbolic.
The functions performed deal with:
CULTURE: documentation rooms where learning about philosophical and religious heritage of humanity;
SILENCE: spaces for meditation, reflection and meditation;
EVENTS: flexible spaces where people, being together, can share ideas and knowledge;
FITTINGS: lounge bar and ethic restoration.
SYMBOL: the project is proposed not as a “blind” object of contemplation closed in itself, but as a feeler in connection with a reality, not enclosed in the architecture itself, but in relation with another deeper spiritual dimension. The decision to gather in the same container the wide spiritual heritage lead me to choose a neat and clear design in order to symbolize the substantial equality between the various “credo”, because the human being are similar as well as their authentic requirements.
Likewise, the first shapes came up in my imagination were circular elements: indeed, the circle is the shape that leads up to the sense of union, the instinctive line that keeps people together. This early intuition was confirmed by a research about those kinds of sacred architectures belonged to the ancient past when the sphere, the circle and the spiral were used to describe the concepts of “Sacrum” and “Union”.
Florence, as one of the main important European city, has been chosen as the site of this intervention for the important role has been having in the global culture of the past and still has. For this inclination towards the shared international culture the site seems to be coherent and appropriate in order to improve the cultural scene that the city offers.
Michele Giardullo (team leader), Teresa La Gala, Paola Ceriali, Esmeralda Lopez Garcia, (Polla, SA., Cremona, Naples, Madrid)
«Either I'm nobody or I'm a nation»
These are the words that push us towards having a vision for a true symbol of Europe. The main idea of the project is brought out by the definition of Europe “the old continent”, this was the name that used to resemble a geographical region in good part surrounded by water, the Atlantic Ocean, the Black Sea and the Mediterranean.
Europe is every nation; it is every culture that resides in it, it is in every language, Europe is in every poetical verse written. The location that relates to the symbol of Europe cannot be bound to the concept of geographical boundaries, to a specific area, that’s why we had the idea to chose a location that does not find itself in any of the European nations, but at the same time it contains them all: the Med Sea and its Waterways.
European identity is seen under formal aspects and with little ideology; the choice to find a location that creates a setting in an area would force the inhabitant to move towards that place to discover his own vision of the Euro culture.
The idea of a sovereign static location is abandoned. The European ideals must not be enclosed in a location but in a place that does not force the inhabitants to go to it but that goes itself to them.
The “common ground” chosen is identified in a ship navigating the sea and the major canals, making stops like a train in each of the European nations.
I am no one or am I a nation… or I am both.
La Quarta Figlia called “THE IV” is the name given to Europa’s ship, symbolizing the contemporary birth of the union between Zeus and Europa, mythological icon that in some way recalls the historical-cultural vocation of Greece always present in European civilization. As the myth narrates the name Quarta actually stands for “fourth”, due to the presence of three brothers. “Figlia”, (daughter), denotes a metaphorical ship that is self-completing both physically and culturally in each and every stage of it’s journey. Greece gives origin to this new route of ideological embracement: “La Quarta” represents the physical transposition of the European spirit, reaching all the 27 nations that conform it, and it is in each one of these stages that the ship acquires it’s form, filling itself, becoming, indicating some sort of movement and change.
“La Quarta” will navigate once more historical navigational routes, throughthe Med. Sea, and through rivers such as the Danube, Reno, reaching inland regions.
The ship’s structure and functionality is based on green power and renewable resources, the structure is in fact made from many of the abandoned shipwrecks of the Greek islands, one of these is the relict of the Zante, that will offer various functionalities.
Energy wise there will be a wind powered system that will at the same time use the streams and currents as a source of energy, and photovoltaic modules on its top.
Iacopo Benincampi, Roberto Cannoni, Fabio Massimo Bernardini (Rome, Sant’Elpidio, Italy)
Explain the idea of Europe is not so easy cause it represents many things at the same time and its cultural value is indefinable. That's because the process of growth has continued for many centuries. So we started looking at the basic elements which create the idea of Europe and make the common ground on which has been built the Union. Our research led us to discover that all the Europeans have in common the concept of ART; Indeed everyone recognizes the intrinsic value which attend all different forms of art, regardless nationality, people, language; in this way seems easy to imagine that "art" could be considered as a universal language, expression of the common values of the European Community.
Afterwards the concept became the project idea. We thought to create "the Art City", an artistic center which collects together three elements we recognized as basic for the art: painting, music, literature. These three components took form in project concepts as a gallery, an auditorium and a library, related via a square. In this way we propose a multifunctional and multicultural exhibition areas that become places for meetings, events, festivals, or simply a place where everyone can pass a nice day. So "the Art City" has to play a dual role as a touristic center but also serving the city.
For this reason the project couldn't take place in an outdoor area like a white elephant but was necessarily to identify a place inside a city. The choice fell on Berlin, in Germany, for many reasons. First of all, this capital was the symbol of a United Europe and the symbol of opening frontiers. On top is a city marked by great diversities, facing the future but also an integration with her painful history. Inside the city we were looking for a place easy to find, well connected with the city but also with the major transport infrastructures in order to facilitate the visit of "the Art City". Finally was identified an area next to the new central station of the train and the river, near the Brandenburg Door, connected with the city and the park in front of the German Parliament. Moreover this area is localized near the government offices. This particularity strengthens the project idea cause normally offices are closed during the night and that area seems dead. So localize an art center precisely there can create the conditions to exploit more that part of the city.
The project develops around a central square differently articulated in its parts in order to create different smaller places equipped with attractions likes fountains and gardens. The library is the visual reference of the composition: two twin towers which dialogue with the low gallery, a system of two long intertwined bodies (the museum of European Art and an exhibition gallery), and the auditorium equipped with an indoor room and an outside cavea for summer events. The garden represent the European Union. So there are many different boxes of land where every member state can grow in his own way.
Luciano Elio Mazzone (Genoa, Italy)
Genoa, European port in the Mediterranean, with its multicultural vocation is the ideal location for a large project on a European scale. The new district stands as a space dedicated to urban regeneration, with the intention of contributing to exercise the impulsion needed to make Europe “a great Nation Of the peoples.”
A regeneration that starts under the sign of Europe. The European quarter is a new urban entity capable of generating income through sport, tourism, body care, culture and preservation of the mare nostrum and not least through the search for renewable energy, related to the sea, the sun and the wind.
The New European quarter stands at the center of a new Europe, including the Mediterranean, which is not only monetary, but a Europe of the peoples. The chosen area, of industrial type, is capable of transforming itself, also from the economic point of view, in an environment rich and vital.
It represents the desire for change, needed to meet the challenges we are facing. Its position “between land and sea”, ideally combines the sea with the continent. It was decided to maintain the existing land base as it is, as part of the industrial history of the Italian and European Genoa harbor for its multicultural nature. The dry docks, declared assets of historical interest, are left intact as witnesses of our history, but changed in their function, becoming multifunctional storage units, with or without water, to be used for exhibitions, theatrical and musical events and for all water activities.
In the large Linear park, are planted the most representative species of Europe. The park, with its internal and external routes can be used for outdoor exhibitions related to nature and biodiversity and as a space where farmers can sell directly to the consumer. The urban gardens and educational facilities managed by the community, remind us of the close ties that bind us to the earth. The garden in the barges, may have many configuration, and you find a place aquatic plants and breeding of fish species.
With regard to the architectural choice, I think this passage from Thomas Stearns Eliot best represents the idea.
“No poet, no artist of any art, has his complete meaning alone. His significance, his appreciation is the appreciation of his relation to the dead poets and artists. You cannot value him alone; you must set him, for contrast and comparison, among the dead. I mean this as a principle of æsthetic, not merely historical, criticism. The necessity that he shall conform, that he shall cohere, is not one-sided; what happens when a new work of art is created is something that happens simultaneously to all the works of art which preceded it.” (Thomas Stearns Eliot, Tradition and the Individual Talent in The Sacred Wood: Essays on Poetry and Criticism,1922).
Marco Antonelli (team leader), Valentina Grillo, Carmela Crescenzi, Konstantinos Vafeiadis, (Foligno, Tuscany, Qatar)
Museum of European Civilization
The project stems from the desire to design the physical and symbolic manifestation of a European Union that puts its past as a basis for global sustainable development remaining linked to its natural and anthropic territory.
The location and the formal definition start from the belief that Europe has a common identity in history and shared cultural origins of classical civilization; monuments and art convey the memory of the past to the rapid advance of the future.
The intervention is located in Greece, at Santorini, where circa 3000 BC there was one of the first advanced civilizations of the continent. Oia is a city that retains traces of its primordial architecture and of incredible geological and landscape aspect of the territory;
nowadays in the evening tourists through it to see the famous sunset.
The project involves the requalification of a public space, needed to contain the tourists and propose itself as centrality for the local community, the recovery of a small portion of the urban fabric, consisting of two carved dwellings, and the construction of their architectonical complement to host the MEC.
The theatre-square is articulated between two ancient roads leading down to the harbour, designed by sinuous terraces in red and black volcanic stone filled with soil for the planting of shrubs, reminiscent of the many drywalls of the agricultural landscape, which slowly give way to spacious terraces on the roof of the buildings of the base. From the upper square there is access to the exhibition space of the history of European civilization coming down the stairs, which bind and qualify architectural composition. The interior spaces are opened to selected views of the bay and fully accessible to all user groups.
Environmental sustainability is achieved through the use of traditional materials and bioclimatic measures that encourage natural and controlled lighting and ventilation of environments. The land cover and the considerable wall mass provide high thermal inertia.
The heating system uses geothermal energy and the addition of photovoltaic stones to the masonry ensures the production of electricity.
In the willingness to confront with the complex urban layout and the rugged landscape, the intervention does not renounce to express otherness and contemporaneity.
The curved shape of the panoramic square approaches to formal abstraction of processes of land art, and contrasts with the strict geometrical scansion of the underlying volumes, which instead binds to the white buildings of the city. The vertical cuts and the different textures of stone wall fragment the building at the small scale of traditional houses, but the constant height of volumes unifies the composition giving it a monumental presence, like a wall that
holds and supports the entire settlement.
From the theatre it is possible to attend together with people from all over the world an ancient show that represents for a moment our common future.
Davide Curcio (team leader), Luca Giamminola, (Como, Italy)
Symbolism of the place
Our project creates a new geopolitical barycenter, which better adapts to the “new Europe “ that is emerging. Since Europe?s expansionistic tendencies is pushing its boundaries even more toward the east, the settlement of European ministry offices at the border of the two nations that signed the beginning of the second world war on the first September 1939 means the creation of a significant political attraction (and we wish one day it will).
It was already 60 years ago when Belgium, France, Western Germany , Italy , Luxembourg and Netherlands incorporated the ECSC (European Coal and Steel Community) based in Strasburg, the former geographical and geopolitical center of the six members states. There in 1967 the first European parliament was established.
A project with such large scale and symbolic strength is also meant to remember through its sustainable architecture the global duty we are all facing for the safeguard of the landscape and the environment by trying to avoid the defacement of forests and grasslands. The project seeks as ultimate goal the rebirth of a place that was deprived of its beauty throughout the years because of the exploitation of the earth to collect the very first symbol of the industrial revolution: coal.
Symbolism of the shape.
The stars of the European flag are 12, representing solidarity and harmony among the people; again 12 will have to be the ministry offices of the EU.
The visitor accesses the area through a pedestrian\bicycle walk, which starts on the German soil.
The exhibition way starts in a covered square and will guide you toward the rediscover of the history of Europe.
Once light resurfaces, it means you are crossing into the polish soil, where a bridge, the only architectural element that binds instead of dividing, is the connection to the valley of ministries.
Inside the sinuosity of the bridge the vertical library takes shape, and the visitor has the opportunity to choose its favorite remnant of culture as part of the legacy created by thousands of years of European knowledge. Afterwards the visitor moves to the discovery of the green hills that hide the hypogeal seat of the ministries. A stream of water leads to the place of culture and social encounter, where once the reader has finished its book he can consign it to the water that will transport it back to the vertical library.
The bridge displays thanks to its transparency and flexibility the commitment and movement that the man needs to decide toward nature in order to be finally able to live together in equilibrium and mutual respect.
"It is not the right angle that attracts me, nor the straight line, hard and inflexible, created by man. What attracts me is the free and sensual curve – the curve that I find in the mountains of my country, in the sinuous course of its rivers, in the body of the beloved woman." Oscar Niemeyer (1907-2012)
Marco Lonardi (team leader), Silvia Chiesa, Marco Cioni (Verona Rome, Modena, Italy)
In our project, “the Europe’s Become", is represented by the theme of the meeting between people and cultural exchange.
We tried to design thinking about spaces for young Europeans who had the desire to travel and meet, and then, we wanted to encourage and promote the exchange of culture and knowledge. The place of our project is located in an ancient Italian town, Mantua, which represents with its history the encounter between peoples and the historical stratification. In facts we think that is from the past that you can understand how to look at the future of a multicultural state, such as Europe.
In Mantua we have identified a particular lot overlooking the lake, in fact for us the water has a symbolic value because it had always helped the communication between nations. Our project involves the construction of a youth hostel and a European academy, for the development of culture among nations.
It was important that the hostel would integrate with the surrounding environment as we kept as a reference edification’s line of neighboring houses and instead the academy had greater prominence both as functions and as volume. The hostel offers an idea of travel economically less demanding and involves areas of aggregation with common
shared services that invite the union between young people.
Another important element for us are the green areas, and the respect for the environment at the same time. In fact, we have chosen hybrid area, close to downtown but surrounded by nature, which could be used fully, even outside the buildings. Because the future of Europe will also have to do with the theme of the environment and respect
for the natural landscape heritage.
The whole project is linked together by optical cone that opens the road towards the water, just to invite the visitor to approach to it. In the academy there are numerous functions, there are media spaces for the projection of films, an auditorium, classrooms and laboratories for the study of the arts and other disciplines. Mantua has the pleasure of hosting the annual "Festival of Literature," an attraction to the world of intellectuals, writers, actors and scientists, and in this context our project is proposed as a site for this event of important cultural significance.
To summarize, for us the future of Europe will be based on sharing social and cultural values that only through traveling and meeting the others can be acquired, and the architecture in primis must contribute to this cultural project, satisfying the needs of future European citizens.
Tilke Devriese (team leader), Jasper Canepeel, Aeneas De Baets, Bert De Roo, Sofie Devriendt (Belgium)
BORDER MARK MARKING EUROPE
Europe is a collection of different countries working together on such a level that it is found no longer necessary to keep borders closed. In a situation where borders are no longer perceived as frontiers, these rarely used and underdeveloped zones become areas with extraordinary opportunities. In this design proposal we want to emphasize the particularity and history of Europe with specific interventions in the borderlands. Hereby we create a new breeding ground for local partnerships between countries.
Crossing a border remains a special event. It’s leaving something behind and entering something new. However, when driving through Europe nowadays, borders are difficult to perceive. Only the attentive traveler will notice the slight changes in road markings, lighting or the ‘welcome to…’- road sign. The physical absence of the borders in the landscape does not mark the actual Europe. On the contrary, it simply makes you forget its unique situation.
The first step of our proposal is the drawing of all these European borders on the land. This will result in a network of paths across forests, fields, rivers and cities. Secondly, a new kind of border mark is introduced referring to the ancient way of showing a border on the terrain. We propose a new tower-typology as a symbol for a united Europe. Towers are very strong historical symbols with great cultural influence. They are landmarks that have always served as catalysts for development or as points of attraction and orientation. We are convinced that they are still very effective when it comes to the definition of cultural identity.
The towers are constructed out of stairs and scaffolding, which allows fast construction as well as easy evolution or adaptation of both form and function. They will be equal in their basic typology: a look-out with basic facilities such as water and electricity. However, they differ through geographical circumstances, local needs and local interpretation. Over time the structure might even be completely replaced by a more permanent one. These beacons will be built along the borders and make them visible on a broader scale. When standing on top of the tower, people are able to look landward into two or more countries and contemplate differences and similarities between these countries.
The vast size of our intervention doesn’t blindly annex different countries into one, but creates a connection while leaving room for local interpretation. The introduced path overlays a new network perpendicular to the current European networks while the towers serve as accelerators for the development of an interwoven European landscape. Cultural interaction will be facilitated and intensified, and ultimately, result in a symbol for Europe.
Laura Belforti (team leader), Mauro Corsetti, Paola Piermattei, Pietro Mencagli, Michel Patrin, Valeria Cademartori (Trapani, Rome, Viterbo, Suresnes. France, Italy)
Yesterday, today and tomorrow: Europe as memory of the past and of the founding fathers and for the future generations.
The architectural concept behind our proposal is based on the renovation and the environmental requalification of a European historical site; we have chosen “Cava dei Poeti" in Massa Carrara (Tuscany, Italy) for a number of different reasons:
- Its strong symbolic value: the quarry represents a wound in the landscape the same way as Europe was born as a vital reaction to the injury of war;
- Mining activities have left significant marks across the whole European territory;
- Our project is intended is an intervention prototype to be proposed in many other similar sites across Europe, each time in the respect and awareness of the "genius loci" of each Country. In Europe we have for instance quarries in France and mines in Belgium, Germany, Sweden and Poland.
- “Cava dei Poeti”, today unfortunately abandoned, was the setting of an impressive installation during the Biennale of Sculpture in 2002, when verses of great poets were carved on the walls of the quarry. (Fernanda Pivano:”Cava dei Poeti e oltre”).
The architectural complex consists of a main volume and a satellite building connected by an "architectural promenade" that runs along the mining park.
The main building gives access to the main road and contains auditorium/conference rooms and museum. Other areas are devoted to offices and services.
The satellite building overlooks the mining park and hosts classrooms, laboratories and the restaurant/café.
The main building includes the scenic backdrop of the engraved wall; it is a glass cube with a multimedia facade projecting video-art installations. The cube is placed at ground level of the quarry and is conceived as an independent structure. It is attached to the quarry walls by steel beams piercing the rock, whereas the side load-bearing walls stop before. The roof in the form of a steel blade, is an energy efficient surface intended to host events and art installations, which have to be seen as an integral part of the mining park.
Cultural, technological and environmental sustainability
The project is designed to promote Europe’s cultural prosperity and productive ability. It emphasizes Europe’s technological innovation potential while ensuring eco-efficiency and environmental sustainability of the architectural complex:
The water, through the ecological system of accumulation and reuse of waste water;
The sun, in the form of a photovoltaic energy system;
The green park arrangement and mountain vegetables garden as an asset for “European
countries food and wine laboratories”.
Monument to Europe
The Monument to Europe will be a sculpture located on top of the satellite’s coverage, also indicating its entrance hall; the creation wants to symbolically remind to mankind, as well as to the work and history of our continent and embodies the values and hopes of the European dream.
Filippo Balduzzi (Fiamignano RI, Italy)
The abbey of St. Salvatore Maggiore is an ancient testimony of the Benedictine Order in Sabina.
Since 1988, the Municipality of Concerviano, located on Mount Letenano, between the valleys of the rivers Salto and Turano, in the exact center of Italy, Lazio region, province of Rieti.
It consists of a single nave church with chapels and chancel floor, flanked by a bell tower and three residential buildings arranged around a rectangular courtyard.
The slope of the area led to the heights of the buildings: the east wing, connected to the church, has two levels, the northern wing has three levels and the west wing has four levels.
b) The Pope Paul VI, in 1964, proclaimed Saint Benedict Patron of Europe.
His personality and the "Rule" had an enormous influence on our continent. With the spread of the Benedictine thought have emerged, hand in hand, the abbeys became mediators of great spiritual and cultural strength. The network of European abbeys is the connective tissue of European history and its civil society.
The abbey becomes the cultural and urban development around which many towns and cities grow and develop. Their presence can provide opportunities and spaces for the rebirth of society and of Europe, which otherwise in the Third Millennium in danger of disappearing as a spiritual and cultural reality, becoming a peninsula of Asia and a partner in economic and military power of the United States of America.
Europe's future depends on the ability of Europeans to maintain the ideal balance between “ora et labora”, and perhaps you will decide not only in the major centers of political and economic power but also within the community, the abbeys, of the continent.
It is therefore emblematic to propose an ancient Benedictine Abbey as a concrete symbol that expresses the shared universal values in which Europeans can recognize.
c) In this way the abbey of St. Salvatore Maggiore becomes a public cultural, social and touristic center, a kind of “attractor-speaker".
As "Multipurpose Cultural Centre" will be: Museum of the media; Space for exhibitions of creative works traditional or contemporary; Cyberspace for installation of virtual reality, place for seminars, conferences, etc..;
d) The issue of "reintegration sustainable image" will guide the restoration and arrangement of theinterior and exterior areas of the abbey.
The "restoration" of the area to "botanical garden" takes many historical and cultural meanings.
The Benedictine Abbey of St. Gallo in 820 B.C., was perhaps the first example of a hospital in Europe, with its garden of medicinal herbs, 6 rooms for patients, a pharmacy and a special accommodation for doctors.
Today, the Botanical Gardens are increasingly taking a role in educational and popular, so much so that in '"Action Plan for Botanic Gardens in the European Union", published in 2000 by BGCI (Botanic Gardens Conservation International), lists the many functions of European Botanical Gardens.
Cristina Rinaldi (team leader), Emanuele Baselli, Flavia Fiorentini, (Rieti, Italy)
EURO GREEN VILLAGE
The European Union has agreed to the widely accepted need for new forms of sustainability-oriented planning: in this direction has promoted its own policies by launching institutional instruments such as the Local Agenda 21, the VAS (Strategic Environmental Assessment) certification of the ecological quality of the products Ecolabel, certification of manufacturing companies with the EMAS regulation that including services provided by the Public Administration. The challenge of quality that the local authority must take today thus requires a quantum leap in the approaches of government for the implementation of a new model of development that tends to orient the productive apparatus and services to environmental sustainability that sees the concerted public - private real critical.
The project idea to structure a Plan Urban Renewal and Environmental pursuant to applicable regional planning (2003) in a large area located in municipality of Rieti (St. Elia) and characterized by a large water source (source Vena formerly used the Franciscan Sanctuary of Fonte Colombo) could power a catchment area of average height 60 m. This basin would have the task of producing up to 200 kW of electricity through a central micro-hydro positioned downstream of an exploit for a drop of about 150 meters and that makes sustainable development of the village S.Elia in urban and rural, consolidating the current settlement in RIETIALTO, through the recovery of a certified quality of life.
The insertion of residential areas for social housing, services agritourism, restaurant and recreational facilities (equestrian center, sports, spa, & c.), together with the value of local products and services existing public will the task of creating a pilot area, a district of well-being and quality of life lived in a real urban area to rural connotation, also indicating the way to a new model of social development. In this sense, the symbols used summarizes the basic resources (Water, Earth, Nature) that have enabled the development of Europe's regions and are declined in a concept eco-efficient and sustainable to benefit in everyday life from cities of level 2 (scheme of ESDP European Spatial Development, Third Report on Economic and Social Cohesion, Regulations for the Community program 2007-2013).
The use of planning regulations for social housing is also compatible with the structure of cubic volumes and high energy-saving, low-cost marketing and compliance with specific territorial vocations, through the adaptation of technologies to the rural character of the area. Financial instruments (regional and ministerial) exist today for the promotion of watersheds, social housing and renewable energy production (by means of special agreements with the GSE) make the development plan surfed credible and in line with current legislation.
Giuseppe D’Autilio (team leader), Riccardo La Morgia, Assunta Giammarino, Maurizio Amoroso, Andrea Di Donato, Fausto La Morgia, (Lanciano, Italy)
Location is the city of Lanciano-Abruzzo-Italy.
The concept behind the title of the project is Becoming Europe: from a past in which the commercial relations were linked to the ancient and famous “Fairs of Mastrogiurato of Lanciano” to the New Ways of Commerce.
The expressive symbol of Europe's identity is conveyed by the Creation of an image included in the project as mosaics and murals.
The central element of the image is the man's gaze together with the Italian Flag and Europe's Star as founding values of union and exchange of experiences within the communal growth.
There is a strong symbolism behind the letters and images that represent the Community Values.
Functional value of public utility and architectural layout: the idea is part of a system of scheduled developments in an area managed by the local council authorities. It is the most important intervention that integrates and boosts the heart of the city, through multifunctional characteristics and great public utility. The creation of this new center of attractions is aimed at improving the current trading system and the existing services, both by introducing new and competitive commercial offers and facilities, and dealing with traffic related problems, through a system of roads connected with underground car parks.
The appearance of the layout and architectural spaces is in perfect harmony with the architecture, the volumes and shapes of the existing buildings. The new structure will include intercultural and technological spaces for the implementation of a "European Academy" for the promotion of European Values.
Expected Objectives: a people-friendly city in the recovery of social relationships with large pedestrian areas, cycle paths and Bike-Sharing points; access to the city center thorough vehicular tunnel paths; recovery of existing green areas and buildings as spaces of culture and relationships.
Expected Results: safety improvement, air quality, livability of the City; to increase the ability to attract visitors thanks to a better offer in terms of commercial activities and facilities; to support the religious tourism related to the famous "Eucharistic Miracle" and recovery of the Old Town (social housing), located near the area of intervention.
Innovative aspects of the project : the integrated planning allowed the financial sustainability of the project through a specific master plan, patterned on the new process of Structured Finance (Innovation Process). The initiative aims at returning the investment, in consideration of the users, and the public and private investors and at increasing the GDP of the city thanks to the realization of the project (Incremental Innovation). Another innovation included in the project is the Wave-Cover System consisting of modular elements in light transparent material supported by a steel structure of innovative design (Innovation Product). These elements will also act as energy panels to provide the energy needed.
Matthew A. Bluette, (Boston Massachusetts, USA)
Shaping Urban Form to Avoid Cultural Eutrophication.
"The dream was always running ahead of me. To catch up, to live for a moment in unison with it, that was the miracle."
The challenge in this competition is to provide a symbol to the past, present, and future cultural identity of Europe and to do so in a single location within Europe. To truly do service to this most visionary of challenges, asking what the cultural identity of Europe is, one needs to ask the question what is Europe? In the answer to that question lies the solution to the challenge of this ideas competition.
Europe at its base is a framework. A framework that is evolving, building on the past, providing for the here and now, and preparing for the future. It is a frame work at all levels and within this framework lies the basis for the free exchange of culture and ideas. The concept of Europe, of member states freely forming individual governments and then freely agreeing to unify for common goals, ideals, and beliefs is based on and creates a framework. The solution to the challenges of this competition is to offer a framework to allow for the exchange of culture and ideas. This competition is not about providing a singular solution, a static monument stuck in the current moment. Cultural identity is a moving, evolving, and elusive concept that requires a solid framework to be allowed to continue to flow, expand, and be shared. The opening quote above suggests the angst associated with trying to capture the essence of something. Cultural identity, especially for such a diverse and textured location such as Europe is about the process, the chase, not a single end result.
The essence of cultural identity lies within the framework from which it evolves and thrives. The challenge is to offer a way to expand on the diverse and multifaceted frameworks that are alive throughout Europe allowing for the continuing evolution of cultural, intellectual, artist and scientific exchange which is the hallmark for cultural identity to emerge, to allow the environment for the free exchange of information, product, and ideas. Dynamic issues that require a kinetic solution.
This proposal offers to provide the European Union with another form of transportation. One honoring Europe’s rich and diverse past by utilizing a historic technology. A technology that by today’s standards is resource conservative providing an eco-sustainable aspect while proving another framework for the free exchange of ideas and information. This proposal seeks to create a network of airships that will be launched from similar docking stations and will be free to fly between member states allowing for the collection and dissemination of each states unique cultural offerings.
Each docking station would include three distinct parts, a docking tower, botanical garden area, and theatre space which will be designed in a unique way to high light each regions character.
The airships will be equipped with external video screens for the ability to disseminate educational shows and entertainment. The botanical gardens will feature each regions notable organic foods to be transported between countries.
The first location for this type of installation offered in this proposal will be housed around the Colosseum in Rome, Italy.
The colosseum was, is, and will forever be an active monument to the gathering of people and dissemination of ideas, and culture. This is the perfect location to start a new framework for sharing cultural heritage. The botanical garden area will be carefully tailored to Oppian Hill taking great care to be designed around the ancient ruins in that area and allowing for an enhancement of how the ruins are enveloped by nature and how the two are experienced in unison.
Using a technology such as airships is similar to the reemergence of the Ferris Wheel in London to celebrate the Millennium. Taking an older technology such as the zeppelin created in Europe and repurposing it in the form of a fleet of airships designed to represent each member state’s unique character with the ability to deliver ideas, product, and information. This framework and new mode of urban transportation will be an agent for the collection and dissemination of cultural offerings which is the aim of this ideas competition.
Achille Arduini (team leader), Ilaria Villani, (Peschiera del Garda, Formigine MO, Italy)
The aim of the Council of Europe is to achieve a greater unity between its members, to safeguard and promote the ideals and values that are our common cultural heritage.
The public park is a container of values and represents the idea of a social space and a permeable place to exchange.
Hence the choice of Bergamo, a central city of Europe and international airport destination (Orio al Serio), and an area that could contain a cultural idea.
The area, located near airport and railway station, is now occupied by the former Montelungo and Colleoni’s barracks in an area declared of public interest in 1963 (DM 11/09/1963) and exposed to archeology risk.
EXCHANGE STATION signifies the desire to replace what was once a closed, mentally and physically, with a place enjoyed by all the people and containing values that belong to us Europeans.
Hence the symbol: it represent the human mind, if we ignore our common value, we’ll live in the dark.
We have to share information, culture… to open our mind.
The project involves the realization of an European Academy that includes three thematic pavilions: art, music and
The first includes laboratories for workshop with exhibition area; the music pavilion contains relaxation areas of listening, classrooms, rehearsal room and a musical recreation area for children, and also there are administration offices; the auditorium is reserved for show or multimedia representations.
An International hostel also contains a literary café of “exchange”, in addition to service areas.
All the above is "contained" in a park that reminds or teaches us how things have changed. (with exposed a plaque of Nobel Prizes).
Carl Koepcke, Allen Sayegh, Brad Cantrell, Artem Melikyan (Minneapolis, Cambridge Mass., Russia)
The skylines of the historic centers of Europe were originally defined not by the global titans of capitalism as todays modern cites are, but rather by the bell towers, spires, the pinnacles of cathedrals, clock towers, and medieval defensive towers. The raging debate in Europe between those calling for density and vertical expansion to address the demands of today’s cities and those determined to protect the character of the historic centers has caused much of the new dense and modern construction to be clustered into high-rise ghettos at the edge of these urban centers. While the towers, spires, and monuments of the past represented a public and cultural function the modern tall buildings have none of this cultural or symbolic meaning but rather represent the demands of an evolving and growing urban population and the prominence of corporations and capitalism in our globalized economy.
Our concept proposes a temporary and transient cluster of new monuments that celebrate and draw attention to the neighborhoods and communities that largely exist in the shadows of these historic cities, which they surround or nestle into the cracks of. Low-income or working class residents as well as new immigrants inhabit many of these diverse communities. These new landmarks are monuments not to Europe’s august history but rather are projective of a more unified and multicultural history that is still yet to come. Simultaneously these new monuments acknowledge the emerging urban geography that is developing at the edges of many of Europe’s historic centers.
The faceted form is at once reminiscent of the historic towers, campaniles, spires, and obelisks that defined the European skylines for centuries, while simultaneously appearing as an uncanny and foreign object causing visitor and residents alike to take notice and explore the new de-centered life in the modern European city. The monuments are essentially faceted balloons that hover above the city and are tied into place by cables attached to lorries that contain transient amenities such as reading rooms, civic service offices, or vendors for food or local products. The skin of each monument is made of stretched Mylar that produces a mirrored surface that allows visitors to look up and see the reflection of their city from an entirely new perspective. Inside is a light aluminum frame with a dual skinned balloon containing hydrogen to provide the buoyancy to lift the structure. They will become temporary landmarks, orienting people in the city and symbolizing the importance of these largely marginalized communities, while engendering a condition for residents and visitor to meet, interact, and explore these routinely overlooked neighborhoods.
Foong You Sheng (team leader), Ong Foo Howe, (Perak, Malaysia)
The Crane Express
An Aviation which takes flight with Hope
Search for an ideal symbol for Europe’s tomorrow starts with the symbols.
Japanese ancient legends tell of a tale that anyone who folds a thousand origami cranes will be granted a wish by a crane, in this case - eternal good luck.
In today’s retrospective with globalization taking place, an Asian symbol could be a symbol to anyone today. The cranes represent giving, wishing, acting almost like a greeting card sending a greeting as it travels.
The cranes are intended to be a new symbol, a wish for goodness for not just the Europeans but also intending to become a symbol to people worldwide.
Journeys are inevitable in our lives- tearing down racial, nationality, and age barriers. It depicts a movement, an odyssey, a journey of flight for growth.
A steam train represents a journey, a symbol-one already planted deeply into the European culture now intending to rebrand itself. In general, the trains, the steam locomotives symbolizes a journey –the past , the present, the future to the. The Past – the great History of their forefathers. The Present- of a current today’s Europe. The Future- of a new Europe’s become. Taking the steam locomotive as a new seed of hope, hoping that this journey for transformation would remind them of their glorious past, reflect on their current self , and be anchored towards a new beginning at the end of the journey.
A future for our tomorrow lies in our children of today. Europe’s children in general symbolize the future of Europe, of a new generation expressing the same cohesive universal value in which they could recognize and identify with.
At the verge of crisis, a new symbol is needed to act as a new seed in which the people could look up to.
A historical steam train travelling around the continent with ‘origami cranes’ of textile architecture hung upon Her back of the carriages remains a novelty pleasure, highly symbolic yet functional at the same time.
The Crane Express acts of a dual purpose, to carry passengers around Europe and as a learning sanctuary for the children of Europe. In fact, the training hub acts on a semester basis, for each travel around Europe. Each semester, a needy child from each European country would be enrolled to embark on the Crane Express where there will be learning classrooms, to transform their lives as they travel together from one city to another. As they travel and learn, these children are also trained to serve the passengers of the train and are allowed to roam around in bicycles and mono wheels.
The Crane Express is indeed a program and a vehicle, which transports the people and gives the children an educational platform to learn and grow together with their other international counterparts. The Express gives the children an opportunity around, breaking down nationality barrier and forging friendships, a sense of family and unity among the European Union countries.
The Crane Express reinforces itself as a journey of hope symbolizing a force which directs and steers itself to a new journey into a new facet of life and destiny for Europe.
Giuliana Quattrone (team leader), Stella Tripodi (Reggio Calabria, Italy)
Green harmony inside the boundary
Trieste with its own history and geography covers a cross-cultural role given by its capacity to integrate different peoples and cultures into an harmonic co-existence between different cultures (mittle-European, Mediterranean, Slavic).
Trieste is an example of ability to generate motivations and benefits for the entire Europe starting from global integration process as center of a multi-ethnic network into the heart of this new Europe looking for economic and social directions towards sustainable development paradigma. Trieste is one of the most sustainable cities in Italy and Europe.
The project wants to strengthen this intercultural itinerary of bottom-up sustainability, highlighting the art, architecture, multimedia communication in order to anticipate needs, wishes and visions of the European peoples pointing them towards a harmonious cultural growth in a paradigm of European dynamism towards the Mediterranean and enlargement to the East.
The garden represents in a symbolic and cultural way the integration among environment, society and frontier, able to explore the boundaries between art, architecture of the garden as a cultural oasis, multimedia communication. This project consists in a creative process capable of eliciting human relationships, identity, forms as an opportunity of social and territory change, as educational laboratory combining natural beauty, harmony and sustainability.
The garden has the shape of a circle, a symbol of peace, harmony and perfection, with 27 radial routes that represent the european countries each one with a different color to symbolize their distinctive features and variable in length depending on the date EU admittance. All paths lead to a central pavilion, it has a cylindrical shape reminding the structure of the European Parliament, connected by walkways, 5 semi-circular external bodies evoking the most important union anniversaries, shooting, even in the plan of the garden with semicircular sections, highlighted by trees placed as a spiral inscribed in the circle representing the continuous establishment of a Europe's become.
all materiale are sustainable, pavings are permeatile (asphalt, gravel), the central pavilion is made of glass with steel frame as well as the colorful artistic structures. The lawn is natural, the trees are Syringa vulgaris.
the garden in addition to a symbolic and didactic educational priority function, performs the functions of public utility with green spaces for meetings, walks and outdoor sports to physical and spiritual well-being, as well as scenic space for musical events or cultural exhibitions.
The central pavilion is a multimedia exhibition based on the history and identity of the European Union, the external bodies are used for services. Along the 27 paths of the garden there are artistic furnishings representative of the related country with a system of barcode and audio guides.
Farnaz Imenpour (team leader), Setarh Fallahnia, (Tehran, Iran)
The country of Portugal was selected:
A – The common language among Portugal and Brazil is useful reson in prediction of Portugal's economic growth.
B – The other reason would be a relative close vicinity of the US to this country in comparison with other European countries.
Disregarding all of their animosities, isolations, and unilateralism, were among the most important lessons learned by all thoughtful minds of European nations. This historical paradigm shift, finally resulted in creation of current EU; hopefully a promissory and credible note and guaranty for its successful journey in the future.
In fact creation of European Union within a framework of single country was a breakthrough in a path toward transformation and progress.
Via foregoing introduction, we considered the hologram as the main conceptual idea of this project. Definition of hologram relies on this phrase; "the whole is within all its parts". This was basically an ultimate dream in creation of the EU in fulfilling social and economic improvements and progress for everybody.In this path,the standardization and unification of social and economic conditions within all member nations, was a strategic goal to be pursued.A union, who tries to preserve its historical values, and concentrates on its current values, enables her to build its flourishing future.
The most interesting fact of these pieces of holographic films is that each piece contains all the information exists in the whole film.
These types of holographic cosmoses can be imagined through out parallel universes or cosmoses; but if these imaginary systems were penetrated into one and other, definitely it would have some mutual impacts on each other.
An ultimate goal of this project is to combine utilization of materials with water, light, and color; materials by themselves won't be able to demonstrate the whole conceptual ideas.using soft foams to cover the floors,cloudy shape walls and neon lighting.
Idea of Design
Our holographic design includes all information about Europe in past, present, and future, while being independent of particular location; omitting all borders within EU.
vicinity to some main urban facilities such as hotel,cultural complex and sport complex and have a good position near the residential zone and seashore line provides a wide range of potential to this project to dealing people to this area.
Design Concept and Idea
Our purposed design includes multi independent sectional spaces; each section has its own unique unification feature independently. There are few laser lightings to portrait holographic pictures in indicating Europe independent of time horizon in social, economic, and cultural aspects. The texture of covers for floor, roof, and the walls was designed in a manner to create a feeling of simultaneously being floated and also being independent of time, while kind of indicating the effectiveness of any type of movements.
Danilo Verruso (team leader), Maria Rosaria Valentina Di Naro, Francesco Gatto, Salvo Scimè (Agrigento, Caltanissetta, Italy)
Porto Empedocle Capital of the Mediterranean Literature. If Sicily deserves praise for having given the start to the Italian literature, defining therefore a language and a style, through the Sicilian school at the court of Frederick II, the province of Agrigento gave birth to some of the greatest authors knows worldwide: Tomasi di Lampedusa, Luigi Pirandello, Leonardo Sciascia and Andrea Camilleri.
Through their pages it is possible to reconstruct Agrigento’s history: from the Bourbons to the new Italian government; the new industrial reality connected to sulphur; the birth of the middle class and the mafia; the emigration of Sicilian people and the immigration from the African and oriental countries. These events are well inserted into a landscape context among the most beautiful of the world, where it also finds place the Archaeological and Landscape Park of the Valley of the Temples.
In a barycentric position between Europe, Sicilian hinterland and Mediterranean sea, Porto Empedocle’s harbour is the natural door of Europe and, for this reason, our plan proposes to modify Corridor I, planned by European Community, from Berlin-Palermo to Berlin-Porto Empedocle, in order to put an end to the marginal condition of the south of Sicily, transforming it in the European center of cultural integration among the countries of the Mediterranean Sea.
The project hypothesizes a journey to the search of our origins, from the Sicilian hinterland to Ulysses’ Mediterranean sea.
Connecting the native towns of the three greater representatives of our literature, Racalmuto (Leonardo Sciascia), Agrigento (Luigi Pirandello) and Porto Empedocle (Andrea Camilleri), the itinerary will be displayed, between history and literature, with an equipped train. Main point of arrival or departure of the journey will be the ancient Central Station of Porto Empedocle, which is now a Park and Railway Museum.
The real object of this project will be the area of old Montedison, in which some restoration projects can be found. Our idea is to give an organic unity to such actions with the recovery plan not only of the Montedison area but also of the Vallone Caos, which is situated at the foot of Pirandello’s Pine. The most important part of this intervention will be the redesign of one of the sheds Montedison so that to create the Museum of Mediterranean Literature.
The main objective of this plan is to transform a place, that in the past has been the center of clashes among different civilizations, in a place where the people of the Mediterranean area can find the origins of their own culture. So they can restart a route of social integration, in the full respect of own identities. Europe could make this area available to Mediterranean countries, in order to set Europe at the center of a different way of intending globalization.
Maurizio Turina (team leader), Romeo La Pietra, Lorenzo Mattu (Rieti, Udine, Frascati, Italy)
TIVOLI SPORT CITY
HISTORY AND FUTURE DEVELOPMENT OF A SYMBOL SITE OF THE ROOTS AND OF THE BECOMING OF EUROPE
The plan idea to be proposed concerns a site of public interest in the heart of the "Agro Romano", the ancient Rome landscape. The project implements some significant expressions of architecture, art, landscape, urban planning and engineering.
At the center of an area of great environmental value, Tivoli has been enriched by ancient archaeological and artistic buildings and by infrastructure such as Villa Adriana, Villa d'Este and by ancient roman aqueducts that served the Agro Tiburtino-Prenestino All this manufacts still maintain a constant, pervasive and dominant, a common thread: the water, perpetually exposed in perpetual motion and everywhere present.
The water flowing from the fountains of Tivoli can validly serve as a dynamic symbol of European identity and can express, in form and content, the ability to project into the future an extraordinary past structured by values of civilization and beauty The water in movement represents a generating function of ethical, aesthetic and cultural codes and constitutes a point of reference highly symbolic.
Water energy landscape history are the lines on which moves the project idea that starting from an area in the district of the City of Arci Tivoli, which has already been approved by the competent authorit ies a program PRUSST with a re-oriented to leisure, sports medicine and tourism, it covers all the surrounding areas by integrating archaeological and natural areas of outstanding value in the continuum of the Roman landscape.
The water pervasive presence and its natural motion offer the oportunity of development of a hydraulic function for energy production with strong integration in the landscape of mini, micro and pico hydraulic whirls.
The possibility of experiments on-site, testing and application thus allows to hypothesize the creation of a research center for the hydraulic energy with low environmental impact and new photovoltaic materials with which to start an experimental restoration of roman landscape.
In this contest, the project want to propose the creation of a research center for the hydraulic energy with low environmental impact and for new photovoltaic materials with which to start an experimental restoration of the Roman landscape.
If this place is identified as the central engine of an innovation and search process for new renewable energies, this activity will have a good mutual relation with the other planned development in the site: a new research area for the physical and rehabilitative medicine in connection with the existing sports center.
All happen in a frame of new landscape, sport and physical well-being with tourist accommodation and space for meetings and events for the promotion of European values.
Domenico Chizzoniti (team leader), Gloria Asnago, Emanuela Margione, Alessandra Rossi, (Milan, Italy)
The project intends to convey to the main European cities, by means of a mobile and itinerant structure, the institutive values of the community. In this way, this project doesn’t choose a single place where to settle down, but more areas to refer to. The principle of mobility and therefore the precariousness of the project enables to reproduce in different cities, either European or not, the value and the significance of belonging to the Community of the European States.
For these reasons the project consists of a mobile and temporary structure, able to move easily either through the symbolic places of the Union, the Capital Cities, or through frontier places, towns which are not necessarily belonging to the European Community, but are interested in the process of integration. This mobility is intended as a useful instrument to convey concretely the opportunities, not only economic but also social and cultural, that belonging to a community offers to the various member States.
Therefore the structure is designed as a receptive and representative unit even conceived as a bridge, not only between East and West but also between North and South, thus representing a “mobility Europe” promoting the European identity. Its precariousness, due to materials and shape, structure and configuration, enables it to be interpreted without a specific place, rather as a nomadic, temporary unit, which can be disassembled and reassembled in a short time and itinerant
all over Europe.
The architectural structure consists of three main elements: a central plan, modular boxes containing offices and public spaces; a “belvedere tower” with a vertical passage with outdoor expositive spaces; a diagonal passage, a large flight of stairs, which connects the tower and the offices.
The public spaces, destined for a cultural centre and to entertain meetings with the addition of a small outside part intended for temporary outdoor exhibitions, are located at the height of + 0,00 metres. The spaces of representation together with a space destined for the promotion and divulgation of the opportunities offered by the European Community through divulging equipments and informative material are located at the height of +3,00 and +4,50 metres. A sheltered
expositive space for temporary exhibitions is located at the height of + 6,00 and +9,00 metres, and a space for the management and the administration is located at the height of + 12,00 metres.
The structure has also a tower which has the symbolic function of reference and recognition where starts a passage which winds round it and leads to a privileged observation point at the height of +26,00 metres.
The load bearing structure is formed by 150x150 mm steel IPE profiles and stoppered with wooden panels as for the central plan boxes whilst the tower is formed by 200x200 mm IPE profiles. The roofs of the boxes are equipped with solar panels for energy self-sufficiency and sustainability of the whole project.
Enrico Bascherini, (Seravazza Lucca, Italy)
At the beginning of the sixteenth century, Pope Leo X, of the Medici family, charges Michelangelo Buonarroti to look for new marble quarries in Pietrasanta territory, which went over to Medici’s rule in1513.
February 1518 "....our holy Lord wants that everybody employ for all the works only the marbles of
Pietrasanta and nothing else....”.1
In this way, Leo X starts the cultural, political and economic development, that will begin thanks to the construction of "Marina Street". So, Michelangelo "... things here are going quite good. The street is over, in effect it only remains to cut some stones ... "2
In 1549 new Marina street was inaugurated, in this period we are at the height of Renaissance, man is at the center of the universe and humanism is its cultural effect.
Along the Marina street sculptures, churches, tabernacles and paintings mark Michelangelo’s passage and moreover indicate the birth of a memory load territory.
The meaning itself of "STREET" gives us the sense of the street to be run along for the becoming of a new community.
At the beginning of 1944, with the German army retreat and the entry of Allied forces in Italy, was created the famous "Gothic Line", which was conceived by the Field-Marshal Albert Kesselring.
The areas marked as "Via Michelangiolesca" are now known as "Hitler Gothic Line" and the signs and the identity and social traits of the territory are immediately deleted. The same angles and countries are pervaded with a destructive attitude towards the individual. The St. Anne massacre is the emblem of the annulment of the people identity.
Places, spaces, sculptures and architectures are silent before an attitude, that tries to destroy the past, in order that there is no more any future for the places and for the peoples.
If Michelangelo’s word "STREET" communicated a sensitive attitude aimed at the creation of an identity, the word "Line" refers to a geometric, uncritical and anonymous sign aimed at the division.
The future of Europe can not fail in recognizing the positive and destructive values, so that its becoming is aware of both their qualities and their mistakes, where civilization and barbarism are creative foundations of a future, which is expression of a single identity.
The plan follows the tracing of the "Marina Street" and the "Gothic Line" reinventing a third historic period as a natural development that starts from the Renaissance Humanism passing through the Second World War to arrive at the "WAY TO EUROPE".
The word "way", having an idea of movement, includes both the terms “Street" and "Line", but becoming a moment of reflection on the evolution of the community and European values. The way of the becoming is realized through an architectural plan in balance between conceptual incentives and real problems.
The plan named "WAY TO EUROPE" starts again from the Michelangelo’s quarries and runs through the whole territory of Versilia to the sea.
The large scale plant, has in itself the radical sense of provocation; along the way are prepared a series of prismatic "stones" in transparent material. These “stones” are placed in particular strategic points. The prisms have a dimension like that of the marble blocks, the same that Michelangelo transported to the sea with difficulty. The blocks are transparent, dematerialized, losing material contents and emboding symbolic contents. Each block spread throughout the territory is a moment of reflection on the history and contains the genes of the "STREET" and "LINE". So, the blocks arrive at the sea, in a deposit and wait for the shipping to the Europe future …
The deposit becomes an high moment of the plan, where a number of items, aligned in a strategic way, create an exhibition space for events and for meetings.
The blocks aligned in the territory (27 as the European countries), lightened during the night, mark a "territorial constellation" and, for those who can read the stars, indicate a "WAY TO EUROPE".
1 - Michelangelo Corrispondence, Florence 1965,Vol.1, pag. 244
2 - Michelangelo Corrispondence,Florence 1965,Vol. 2, pag. 82
Matteo Trevisan (team leader), Enea Michelesio, (San Donà di Piave, Udine, Italy)
During this period of global crisis and uncertainity we believe that Europe should reinforce its identity as a multicultural society. Europe wants to merge its astonishing history and its advanced technology to shape public realms where the integration between different members is the main target.
Europe’s main project is to create a contemporary community. We set up our project as a manifesto to reinforce the relationship between communities and spaces.
Our project is located in a peripheric neighborhood of a metropolis, where the interaction with the outside is particularly difficult. It is called Bon Pastor, from the name of the community we decided to work with.
Bon Pastor is a village surrounded by the city of Barcelona.
In 1929, when it’s been built to house foreign refugees, it was surrounded by fields. It consisted of 784 identical houses of 35m2. Today it’s been reached by the metro and it’s considered too sparsely built to enter fully into the new urban structure, the municipality is planning to destroy its houses and to relocate its inhabitants in new 6-storeys blocks.
For a large segment of the population, losing the houses where they were born and where they have lived all their lifes is a trauma. The comfort and privacy of the modern lifestyle does not compensate the loss of public space, the end of sociality among neighbors, the dinners on the streets in summer, the children that play freely in the streets.
We asked to some inhabitants of Bon Pastor what they think about the renovation:
“The houses are old, they have to be rebuilt, however, we hope that we will be reallocated close to each other, we really appreciate the co-existence and the mutual aid. Here we are like a big family! “ G.Z.
“I live with my mother who lived here for 50 years. The house is beautiful and I like it, my mother would have remained until the end. For this we are strongly against to the plan: I would live here all my life, I grew up here! “ J.M.
“I hope that the remodeling will be effective and it will increase the green spaces. It’s important to welcome new people in the neighborhood “ A.M.
After a lot of interviews, we started to think about a renovation of Bon Pastor accordingly to the opinions of its inhabitants, keeping in mind the need for densification that involves the area, very close to the new high-speed railway station Sagrera and to the metro line which connects it to the airport.
The project aims to maintain the identity of the district, based on the characteristic settlement system with limited height and on the massive presence of interstitial semipublic spaces. The community has been involved in the design process and its development is the main focus of the project.
The renovation will not be limited to the housing areas, but will involve the surrounding environment (a mainly industrial area) and the banks of the nearby river Besòs. New linear parks will connect the neighborhood to the surrounding, opening the community as much as POSSIBLE to the rest of Europe.
Paola Parolin (team leader), Chiara Galusi, Eleonora Bruno, (Vicenza, Mantova, Verona, Italy)
ACROSS THE WATER
CONNECTED ACROSS THE WATER
We chose this title to represent the union of the various European countries through the element that has always been a symbol of union between peoples, or rather the water.
The waterways were used since ancient times as the most natural, quick and safe roads for the transport of goods and passengers.
We imagined a wonderful journey through the waterways linking the cities of Europe and arriving at the city of Mantua.
The European symbol represents a mixture of colored threads. The colors will be twelve (12), as the stars represented in the European flag, as a symbol of the values which gave birth to the union. Each individual cable represents a country. They are weak alone, but joined together they show great strength. The twist on the top of the sculpture represents the union of all the people, cultures, languages, traditions and knowledge. These ropes are also used for sailing as they are key elements in the use of boats.
The project area is situated in Italy, in the city of Mantua. In particular on the two shores of the Lower Lake.
The two different shores are largely unused, with a beautiful view of the lake and the city nearby.
The journey through the river waterways, comes into the lake where it is possible to dock ships and admire the beauty of the place.
You can easily reach the lake area by using a boat, motor vehicle (on the highway) or through a long cycle-pedestrian path surrounded by nature.
THE MAIN ELEMENTS OF THE PROJECT
The construction of the new complex has two distinct bank areas:
1. The side adjacent to the city is the residential complex in which are inserted accommodation for young European students, a reception area, restaurant and entertainment venues;
2. The opposite bank instead allows for complex public functions as the Academy of the Arts, public library, cultural museum and literary bar.
The project provides usability features and utilities (open spaces, footpaths and squares).
We imagine that the two areas are joined together with river water passing through. The water is the basic element that gave life to this project. The visitor will be able to connect the two areas with the prospective waterway.
GOALS OF THE PROJECT
- Increase the European cultural heritage;
- To enhance and upgrade the project area;
- Cultural tours through the waterways.
The area has twelve (12) accommodation, colored like the threads of the sculpture. This place would represent a gathering of students (there are meeting spaces around the small houses).
The project involves the construction of buildings with sustainable solutions (such as solar panels). The objective is to create lightweight structures related to seafaring tradition.
The material used for the building of the houses will be wood.
Aura Gnerucci (team leader), Alessandro Baciocchi (Cortona, Rome, Italy)
ICRo, INTERCULTURAL CENTRE IN ROME: A DEEP DIG TO STRENGHTEN THE EUROPEAN IDENTITY CONCEPT
The European identity is the common ground of our society, our proposal choice to give importance to this idea with the design of a sunken square (EU Member States Square), that is the core of an intercultural center (ICRo, Intercultural Center in Rome) to promote the European values. The project takes an archeological approach, through an excavation the archeologists seek to discover the origin of our common culture. Digging up and creating a sunken space we would like to give people a space that with its cultural facilities will make people aware of the European values, of their origin, their history and their common culture, creating at the same time the base for our shared destiny as a citizen of the European Union.
The square, core of the ICRo , is the symbol of the European Identity and is made of 27 big slabs, each one represents a EU Member States. The slabs/States are arranged in a chronological way, so that walking through the square you will be informed about the EU evolution, from the origin up to now. A QR code is placed on each slab, so via tablet computers the ICRo visitors may obtain access to all the information about the State they want, browsing through relevant illustrative and text materials. Thus, the visitors, even the younger, get involved in the interactive process of the perception of information content.
The site chosen for the project is at the moment occupied by a neighborhood market, but recently it has been decided to move this activity to a new site. So we propose to give to this area a new pivotal role, not only for the neighborhood but also for the whole city.
Furthermore the site has a strategic position, on the one hand thanks to its proximity to the two Rome metro stations of S.M. Soccorso and Pietralata it could be reached easily from the city centre and from the main train station and airport. On the other hand, it contribute to the requalification of a peripheral area.
The project is characterized by two principal elements:
- The Urban Park that occupies the entire area of the former market lot;
- The Intercultural Centre, ICRo, a sunken structure that is developed around the central square, symbol of the European Union. The Centre offers several cultural facilities together with commercial activities in the field of gastronomy, agriculture and food products typical of every EU State, so that to create a 360°exchange of culture.
The Center will become a Culture diffuser and people attractor.
Luisa Fontana (Zurigo, Schio, Switzerland, Italy)
EUROPEAN YOUTH CENTER
Youth and Europe
Youth, independently from culture, social status and religion, is the most important heritage of Europe, to whom we should pass the baton of European values towards the finish line of future.
The project aims to create a concrete place for the Youth, a “free zone”, a Youth Center of European wideness, an exportable “model” for every country of the European Union!
The educational method_ A laic Youth center, inspired to the philosophy and the educational method of don Antonio Mazzi, founder of Exodus Group in 1984, which in 1996 achieved the juridical recognition of Moral Authority by the Italian Home Office and from 1997 reached the status of ONLUS. Today it counts on 40 structures in Italy and 12 abroad, in the South of the World (with 25.000 young embraced in almost 30 years).
Public utility_ European Youth Centers are places of aggregation and prevention aimed to give an alternative to the Youth of today: healthy and graceful meeting points, examples of positive involvement, centers of education and awareness regarding youth themes, a proposal of authentic life. Youth European Centers create adventures of music, singing, sport, voluntary works, theatre and thousands of other ideas to meet teenagers with the educational method of don Antonio Mazzi.
Symbol_ Symbolically asserting the pedagogic and social values of this action, the layout of the project comes from the sign of don Antonio Mazzi, as autograph mark characteristic of his educational method, cultural and social icon of our times. The structure is projected on the 10 sustainability principles of One living Planet (O.L.P.) developed by Bio Regional and WWF and will surely be certified by L.E.E.D. (The Leadership in Energy and Environmental Design).
Location_ The first Youth Center will rise in Italy, in Verona, on an area of public property destined to services. The area has a surface of 18.000 square meters and lies in the city centre, in Spianà locality, in a strategic position for the community. The Youth Centre is a model (format) which will be repeated on the Italian and European territory.
Activities_ The Youth Center is provided with laboratories for art, music, culture, multimedia, conference halls – places for meeting and socialization, bars, services and dining hall, guestrooms for youngsters coming from other centers – indoor arena for sport, cultural, artistic events. The external area is equipped for sport activities (multifunctional platform, skateboards, bikes, etc …), recreational activities (“houses on the trees”) and market gardening activities.
Management_ An ONLUS will be created for the management and the coordination of the European network of Youth Centers, the new activities promotion, the fund raising. The foundation will make its educators available, they will cooperate with schools, sport and culture association, teenager groups of the territory.
Stefano Morelli (team leader), Ruben Carboni, Lorenzo Consalvi, (Ancona, Bologna, Loreto, Italy)
History of a European re-generation
This is the story of a process.
It's the story of a regeneration.
It's the story of a land and its community.
It's the story of an opportunity granted.
It tells about people and their social relations, it speaks about cooperation, solidarity and creativity.
It involves public authorities, private companies and it gives value to the scientific communities and indus¬trial associations.
It spreads nature, art and it deals with new production and material/immaterial wealth.
It applies ideas, strategies and it fabricates products, prototypes, generating a resilient formula of flow and outflow.
It takes account of systems of growth/decline and it makes hope.
Everything starts from the awareness of a common identity that consists of cultural and historical heritage. It goes beyond ethnic differences and gradually it spreads an unstoppable hope of rebirth. It starts from a common and shared project characterized by high-tech qualities and able to receive, ana¬lyze and update itself.
It takes form through a concession to local communities of a hybrid and malleable spaces able to insemi¬nate new activities and knowledge.
In response to a depressed territory in the heart of a historic city and in response to a failed industrial sys¬tem, as there are many in Europe.
Europe comes as a promoter of regeneration and identifies a territory to give back to the population.
It designs a laboratory space, a dynamic organism that is an outcome of successes, failures, intelligence and human skills and able to evolve in different forms.
This space finds its functions and activities thanks lo local faculties that customize it.
The receptive skin of the space analyzes information of place and the possible scenarios.
It uses local skills and promotes global relations using technology and materials and triggering research and communication.
This process takes its roots and grows through the production of a fabric/structure.
This generates the multiplication of organisms and activation of the area's evolution
Like a bacterial culture it contaminates increasing the percentage of business, work, production, and popu-lation. It transforms the depressed areas and gives back to the receptive community material and immate¬rial wealth.
The labs are energy self-sufficient and they promote values through local and global networks, looking forward to spread to new and upcoming areas.
The different content of information and productions determine the degree of saturation and the decline of the system.
Responsible regression is necessary to create connections with other territories and to share the opportu¬nities with other communities.
Spaces and their contents dive into the sea to reach new areas of contamination.
During the trip, in the mother land, models and welt-established strategies maintain their connec¬tion with the spaces in migration.
At last the process has built local/global /shared/social model and a continuous net of relations.
Simone Censi (team leader), Riccardo Franchellucci (Fermo, Italy)
A new island emerges from the European seas appearing in the Ocean like the legendary and long-disappeared Atlantis.
It rises from the sea to become an Extraterritorial European Land.
An island thought for the present and future European citizens, for their life-style and customs.
According to this idea the island will become the most important hub of the European Union.
We don't embrace Marc Augè non-places theory because we think that stations, airports, terminals are piazzas for the traveller and we image the future society as travellers community.
There will be a great revolution and ATLANTIS HUB wants to become an interactive monument for this new citizen.
It will not be located within a national territory but in the sea, being the first European land in which all the European citizens can feel their own identity.
Where they can meet, and have cultural, social, commercial exchanges.
The Island is a squareshaped with a square Kilometer area and a 1km tall tower.
27 blocks representing the 27 European States compose the Tower. Moreover, each block is an exhibition pavilion emblematizing one nation so that the tower can host a continuous exhibition.
It is possible to add blocks in case that other countries will join the EU.
In the project has conceived as sustainable, using natural materials, technologies for energy-safe and for energy-generation. It will be totally self-sufficient.
The elements that compose the project are all taken from the tradition of the European countries:
- a Sea, Europe would have never developed his history without it.
- an Island, an ideal place, at the same time close and far from everywhere, a refuge for the traveller.
- a Tower, like the bell towers or the lighthouse, present in the whole Europe and pervading the life of the citizens in the whole history of the continent.
- an Airport, it represents the great vocation of European people to travel, to migrate.
- a Harbour, the most important European cities have developed around a harbour.
- a Town Square, the place where the social identity of the first European countries were born, fostering people to cultural, social, commercial exchanges.
- an Expo Area, the important cultural, artistic character of EU needs a place to be shown.
- a Hotel, as the possibility to stop and know a place, not only as a passage.
An Island is a place in which it is possible to stop during a travel, rest and then go. We think that it offers a chance for a synthesis of the European character both for foreigners and Europeans.
Matteo Zerbi (team leader), Francesca Tabasso, Filippo Ranalli, (Moncalieri, Turin, Italy)
EUTOPIA - a trip around Europe
“The world that does not include Utopia is not worth even glancing at, for it leaves out the one country at which Humanity is always landing. And when Humanity lands there, it looks out, and seeing a better country, sets sail.”
The word Eutopia comes from the Greek and it means a beautiful (eu -) and tangible place (- topia). Eutopia represents the hope to build a new world made for humans and close to men.
Eutopia is the event that links Europe carrying people with dierent backgrounds, experiences and cultures around, in a trip to discover and understand the many facets of our continent.
The airship is the medium that makes it possible. It is low pollutant and slow vehicle like nothing we are use to, it carries the values and the peculiarities of the dierent countries to preserve and spread the European culture.
The people are chosen with a competition but everybody can participate to bring abroad his knowledges.
The operation is simple, every time the airship leaves a place carry with itself some people from that country to unload them in the next capital city.
Anybody can travel with it, with no distinctions. Professors, musicians, artists, students, experts every person who have something to share.
In each capital city there is a particular landing tower to welcome the airship arrive.
The forty percent of the airship's surface is covered by photovoltaic panels to reduce the waste during the trip. While the airship is docked in the city the photovoltaic panels helps the tower to be enlightened with clean energy.
The tower is prefabricated made of steel, wood and glass and the shape remembers the structure of the airship’s old landing towers.
The tower hosts a museum witch collects in each transparent box a dierent object.
These objects shows the principles of the Charter of Fundamental Rights of the EU and it represents the European principles of every country.
The upper box is the landing box.
The airship collects and spreads European identity.
Just an itinerant exible body can face the growing complexity of the future.
Eutopia is abstract from all countries, but shared by all.
Rapid as an idea, fast as globalization, sustainable as the future.
“An overdose of utopia is dangerous but architecture today is characterised by an underdose of utopia, which can be just as dangerous.”
Reinier de Graaf
Simon De Weapenaere (team leader), Thomas Cattrysse, Stijn Segers a.k.a. TOUR, Adrian Verhoijsen (Belgium)
Gardens of Joy
For many centuries wars were fought in order to extend or protect country borders. After WWII the construction of the European Road Network (E-roads) has been the start for a shift from a nationalistic towards a integrated mentality. As such the infrastructure of the E-roads played a crucial role in the construction of the European Union. Besides being the
European economic backbone the E-roads are also envisioned as the streets of Europe: along them culture and identity is carried out.
With the decree of Schengen the borders were opened and free transport of goods and people was established. This made the former border posts between the EU-countries useless.
Therefore these places at the crossing of the road network and the borderlines are nowadays symbolic for the history and future of Europe. These are the ideal places to build a monument for Europe.
We propose to turn the highway in a circle around the border posts, the road is lifted up into a large-scale roundabout. This model can easily be adapted to speed limitations and specific parameters of all sites.
On the roundabout drivers experience a panoramic view both on the landscape of Europe and on the former border-site in the middle. The experience becomes also audible by driving over raised-profile markings applied to the road. The vibration of the tires over the ribs produces the sounds Beethoven’s Hymn of Joy.
After the construction of the roundabout, the asphalt on the former border site becomes useless and is scraped off in order to make the site empty. The pieces of asphalt are then loaded on trucks and carried around Europe in a big, joyful procession leading to all other border posts. At arrival the pieces are piled up as to become a cairn of asphalt. So eventually every site will have pieces of asphalt from every other site in Europe.
As time goes by all sites will get overgrown with a diversity of plants germinated from seeds stuck in the earth that has travelled along with the asphalt. This long-term process results in the border posts becoming the public gardens of Europe. These gardens symbolize Europe as a unity created by diversity.
In order to preserve the vacant buildings and leftover infrastructure on the site we propose to cover them with a thin layer of bronze. As such they are marked as cultural heritage.
The circumference of the garden is shaped by the rings of columns supporting the roundabout.
Likewise to the ancient stoa, people can reflect and discuss about their experience in the garden and about the future and values of Europe under this colonnade. These moments of contemplation and discussion are accompanied by the beautiful sound of the hymn to joy, caused by the constant flux of travellers on the road between the many different countries of Europe.
Daniele Barosi (team leader), Ernesto Messineo, Daniela Maurer, Elisa Beghi (Pietrasanta, Turin, Oristano, Cremona, Italy)
The turning point
After the Schengen Agreement the internal borders of European Union countries indicate basically political rather than physical divisions, whereas they once used to be real fractures, that divided people and were controlled materially and militarily.
Only a couple of decades before the idea of the European Union started to take shape, during the high-tension period that led to the Second World War, the concept of separating with frontiers was taken to extreme limits by the scheming and realization of the Maginot Line: a complex system of fortifications, military defensive works, barriers, munition deposits, machine and anti-tank guns which, like a giant scar, marked a line in Europe from North to South.
In May 1940, at Villy de La Fertè, on the French/Belgian border, the first and probably most important battle along the Maginot Line took place. Death, destruction and desolation gave proof, as in no other place, of the strong disagreement that divided those populations that now sit, beside each other, under the same European Flag.
This very area, by contrast, has been chosen to place the project: an allegorical separating wall changes its function, coils around itself, and becomes an embrace, joining those that once were enemies.
The structure is created using stones from all the 27 member states of the European Union; these states work together in bringing the project to life, just as they did previously to form Europe as we know it today: different lands create one symbol, different people one community. It's a timeline, curled and projected towards the future, where the different countries appear in chronological order, almost looking at each other with affection.
The spiral form isn't closed, which implies room for further growth, other states, extended values; with a bit of imagination you can see it reach the future generations.
Inside the delimited space the ground slopes, forming an archetypal theatre. People will be able to gather as in the past on the Pnyx hill, the place that saw the birth of the first form of democracy; plays, conferences, concerts and events concerning Europe could be held, perhaps organized on significant occasions or anniversaries. The material and immaterial of the project will overlap, revealing and generating peace.
The symbol is called “The turning point”.
A turn like the winding of the wall that, curving in on itself, gives shape to the project. Furthermore the turning point is essentially the moment that led to the creation of the European Union, easing the tensions and wars: a separation with the past to cancel the ones existing on the land.