USI

The project is an aqueduct running through Dreispitz; it cools down the district, whilst drawing a pavement along the way. It catches rainwater from the slope of the Bruderholz hill and from the existing water tower on top of it, channels it into the site. The water line flows into a pool and connects a system of fountains in pocket spaces along the Magistrale. It travels through a gutter in the ground, following the slope of the street, ending in the reservoir at the end of Frankfurt-Strasse. A new cistern, in the basement of an existing industrial building, controls the water flow; excess water is directed towards Merian Gardens, flowing into the Birs river. The pool is carved in the ground; long retaining walls draw a descending topography, where landscape is first hidden and then slowly revealed when a wall folds. In the absence of water, it becomes a space reminiscent of a theatre, where the window is the sky, and the city is forgotten. Walking up the bridge-aqueduct, the city becomes visible again.

The project is an archipelago of public spaces. It is a system of islands that establishes a new spatial configuration of the landscape, acting in time. The Island of Klybeck re-emerges from the excavation of the filled embankment, creating a park. Nostalgia does not dig out the gravel but the need for a public park which reorientates a new relation to the bathing river. The transformation of the area is carried out as a continuous process: from the establishment of initial favourable conditions by the construction of a structural topographical system, to its gradual shaping by the river flow, with a system of pilings to trap the sediments, favouring the natural growth of the island and creating a riparian ecosystem in a spontaneous process, guided by time. The materials excavated are also reused in a system of public topographies that will articulate the ground floors of the new buildings in the harbour docks, constituting a built archipelago with public and transparent ground floors.

Die Intervention fügt sich in den Kontext des Parco Agricolo Sud in Mailand ein, entlang der Achse der Porta Vigentina. Das Projekt befindet sich in der Nähe des IEO, des Europäischen Instituts für Onkologie, und dient der Erforschung von Behandlungsmethoden mit Heilkräutern für Krebspatienten. Das Projekt ist in drei Makrozonen unterteilt: Die erste befindet sich im Norden, wo vertikale Gewächshäuser in fünf bestehenden Türmen errichtet werden. Die Idee besteht darin, das Skelett der Türme, die inzwischen aufgegeben wurden, wiederherzustellen und für den vertikalen Anbau zu nutzen. Ein zweiter Bereich, der sich weiter südlich befindet, ist die Gestaltung der Gewächshäusern, in denen Heilkräuter angebaut werden. Neben den Gewächshäusern befinden sich die Phyto-Reinigungsbecken, die in Richtung Süden verlaufen und zu dem Becken führen, in dem das gereinigte Wasser zur Wiederverwendung aufgefangen wird. Im dritten Bereich, befindet sich vor dem großen Becken das Hauptgebäude, in dem die Verarbeitung der Heilkräuter zu Fertigprodukten stattfindet.

Le site d’implantation du projet se trouve dans le sud-ouest de la ville de Milan dans le dépôt de tram de ‘’Baggio’’. Il s’agit d’un bâtiment relativement vieux, construit dans les années 1930. Sa fonction actuelle est d’offrir un toit et du repos au tram pendant la nuit. Cependant, des trams plus anciens sont moins utilisés et plus souvent stationnés dans le dépôt.

Dans la ville de Milan en Lombardie, plus de mille espèces de fleurs risquent de disparaître. La Eden line est une serre dans un dépôt de tram. Elle insuffle de la vie dans un monde mécanique et permet aux anciens trams de voyager a nouveaux en tant que vecteurs de propagation du pollen des fleurs voie d’extinction. Pour accommoder ces deux mondes, voici les changements effectués. En dehors du bâtiment, les alentours ouest et nord du dépôt deviennent des espaces verts ou les fleurs peuvent s’épanouir. Les façades borgnes et austères, bordant les zones fleuries, se changent en ‘’vitrine’’ du dépôt de tram pour les passants. 

It was the year 1926 when in the pages of the magazine "Il Secolo" one read about the Albergo Diurno Venezia as a second center of Milan: an Art Nouveau-style space - located under Piazza Oberdan and designed by architect Pietro Portaluppi - dedicated to wellness and body care. It was in this place that the traveler, getting off the train, had a way to take a shower, wash his coalstained clothes, fix his beard and hair, and purchase any effects of personal use. The Albergo Diurno Venezia was, therefore, not just a place for "bathing": its beauty and centrality made it a new meeting place for the city of Milan. Despite the restoration work that has taken place over the years, today the site is, unfortunately, closed and abandoned.

The project aims to restore the original function of the place, thanks to a long underground spa space characterized - as it was in the Diurno - by a central void and an occupied perimeter. Thus was born a place of light, well-being and, above all, contemplation. A laterally illuminated water space, whose mouths of light, in the square above, are transformed into sculptural elements that punctuate with small supporting functions an ideal urban space.

Today, the soil is adapting to movement, which translates into the laws of topography, gives rise to a vector soil, a soil that appears immune to these laws because it experiences minimal resistance to matter, thanks to corridors of movement such as roads, tunnels, and bridges. However, it wasn't always this way; during the city's expansion process, it encountered a complex system of agricultural and industrial remnants. What remains of these residual spaces that have lost their original function in this world of vector spaces? All the signs we observe in the landscape correspond to the actions through which communities appropriate places. Can the memory imprinted in the soil be the guiding trace for a new relationship with the city's territory? We question the ongoing processes that are modifying our urban landscape.

In the heart of Milan's historic center, precisely in Via Zecca Vecchia, near the Duomo, ancient Roman ruins belonging to Mediolanum have recently been discovered. The objective of the project is the preservation and protection of these artifacts, which is why a covering has been created with the function of square for the city of Milan, seamlessly integrating with the surrounding narrow streets.

The project represents a new conception of a museum for the city, where ancient and contemporary elements interact, filling a void left by the city itself and offering its residents a new place for gathering and discovery. Sustainability plays a crucial role in the project, both from an environmental and social perspective: the use of natural materials for the interior and exterior finishing of the museum, as well as the use of a prefabricated and modular steel structure, aim to raise awareness among users about this fundamental issue.

The transformation of heavy infrastructures built for cities dominated by cars is a precious opportunity to repair fragmented urban environments. A recent urban housing project that, despite the thousands of new dwellings built, actually lacks any connection with the nearby Bisceglie Metro Station Milano. In between there is a large park and a concrete high-rise parking garage dating from the 1980s.

The aim is to enhance connections between the existing communities and provide public spaces (in this monofunctional residential neighborhood) on a more human scale. The project begins by rethinking the urban plan and envisions a change in viability to minimize the traffic of cars between Seimilano and the metro station. The proposed transformation involves the adaptation of the existing heavy infrastructure of the parking space. With the removal of the end station, the parking will be readapted to have only one level for cars, while the upper levels will be designated to pedestrians and will house new public buildings such as an art gallery, library, co-working spaces, and more.

L’autrice a implanté son projet à Bruxelles. Ces dernières années, le nombre de sans-abris a plus que doublé dans la capitale belge. Sur la base d’une analyse de la situation locale, l’autrice propose de détourner l’utilisation d’un bâtiment existant pour en faire une maison de vie communautaire pour sans-abris. La structure de construction en béton existante accueille des studios aux plans inhabituels. Points névralgiques pour la fonction sociale, les espaces d’interface que sont la salle commune ou les cuisines ont fait l’objet d’une conception soignée. 

L’autrice aborde la problématique à plusieurs niveaux. La conception est convaincante avec ses esquisses vectorielles d’une beauté saisissante et le récit d’une biographie personnelle sur plusieurs chapitres, qui se déroule comme un fil rouge à travers les plans à différents degrés de détail.