Corso di Architettura del paesaggio-ADRIATICSCAPES

UNICAM Università di Camerino
Scuola di Architettura e Design, Ascoli Piceno
Corso di laurea in Scienze dell'architettura


Hragreaves Associates, Diller Scofidio + Renfro - Zaryadye Park, Mosca

After winning the international design competition in 2013, Hargreaves Associates in collaboration with Diller Scofidio + Renfro and Citymakers celebrated the opening of Zaryadye park on September 9th 2017. This park is the first large scale public park to open in Moscow in the last 50 years.
Zaryadye Park, a 13 hectare (32 acre) park in the heart of Moscow, represents a historic transformation of Russia’s capital that will demonstrate Moscow’s commitment to innovative design for 21st century civic spaces. The design is based on the principle of Wild Urbanism, a hybrid landscape where the natural and the built cohabit to create a new type of public space. Characteristic elements of the historic district of Kitay-Gorod and the cobblestone paving of Red Square are combined with the lush gardens of the Kremlin to create a new park that is both urban and green. Located on a site that was occupied throughout Moscow’s history, and until the early 1990’s by the Rossiya Hotel, the rubble filled site had sat fallow until the park’s development.  Zaryadye Park is the missing link that completes the collection of world-famous monuments and urban districts forming central Moscow.

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How can an abstract term like “Topology” become pertinent and effective to landscape thinking today? There is a schism between the way landscape is understood scientifically, either as a normative network or an environmental system, and the way the same place exists emotionally for people. This disparity which prevails in today’s landscape calls for a change of approach, both in terms of action and perception. Topology, in this instance, is not confined to the science of continuous surfaces in mathematics, it can pay greater attention to deeper spatial, physical, poetic and philosophical values embedded in a long tradition of designed nature. The strength of landscape topology is that it can weave together and integrate heterogeneous fields of action into a single meaningful whole. It brings disciplines together on a common topological “vellum” capable of improving our understanding of landscape as a cultural construct with all its inherent beauty and strength.
With contributions by: Annemarie Bucher, Gion A. Caminada, Stefan Körner, Wilhelm Krull, Norbert Kühn, Hansjörg Küster, Vittorio Magnago Lampugnani, Lothar Schäfer, Joseph Schwartz, Martin Seelis, Michael Seiler, Antje Stokman, Wulf Tessin.



Forme della città contemporanea. Frammenti di visione urbane

Alessandro Gabbianelli
All actions, whether anthropic or not, leave more or less material signs, visible clues on the territory. Marginal spaces are hybrid, spaces where the city, the countryside and infrastructures collide, generating ambiguous limits. These outwardly empty spaces receive extemporary, uncoded uses, no longer those of the hyper-specialized spaces of the “traditional” city. It is for this reason that imprints in the hybrid spaces of the suburbs are more cryptic, more complex, more stratified. This paper aims at interpreting these imprints, not only as clues, but also as the starting elements from which we can produce new transformations of marginal spaces. 

Cadavres exquis per la città contemporanea Luigi Stendardo 6-Da forma della città a forme nella città Luigi Stendardo 8-Progettare forme, accendere visioni Luigi Stendardo 11
Luoghi comuni Roberta Amirante 19
Napoli. Piazza Mercato
Tre idee per un luogo comune Maria Luna Nobile 34
La città delle forme Luigi Stendardo 49-La città non accreditata Stefanos Antoniadis 54-La città senza perimetro Luigi Siviero 59
Padova. L’area dell’ex Foro Boario
Progetto per forme Luigi Stendardo 64-Progettare lungo i margini Stefanos Antoniadis 64-Paesaggi sopra le righe Luigi Siviero 64
Quale diventa il ruolo dei progetti? Angelo Bugatti 81-Cum-texto Nadia Bertolino 87-Quale progetto per quale “città”? Ioanni Delsante 90
Composizione della forma urbana di Shanghai Tiziano Cattaneo 93 
Milano. Il quartiere Ortica-Rubattino
Arcipelaghi urbani Ioanni Delsante 97
Milano. Edificio dell’ex macello comunale
Ri-appropriarsi del vuoto urbano Nadia Bertolino 103
Shanghai. N.55 Block Area North Bund
Bowl of symbiosis eThebridge: due potenzialità Tiziano Cattaneo 108
Convergenze urbane Luigi Coccia 113 -Tracce e impronte Alessandro Gabbianelli 121
Pescara. Alla foce del fiume
Progetto nelle aree interstiziali Luigi Coccia 129
Senigallia. L’area del parcheggio di Villa Torlonia
Progetto nelle aree marginali Alessandro Gabbianelli 137
Spazi luminosi e conquista della notte Massimo De Marchi 145-Per il riuso dell’architettura del XX secolo Angelo Bertolazzi 149


Déchets - Les carnets du paysage 29

michela de poli, traces de paysages recyclés
bernard laponche, les déchets nucléaires
gilles a. tiberghien, effrangés de la ville
daniel terrolle, zones d'ombres et de lumières: de la trsmutation du déchet au recyclage social
alexandre malfait, les poussères de mangegarri
carole barthélémy et arlette hérat, le beau et le dangeraux, le protégé et le pollué
phoebe clarke, le bidonville au prisme del'art
agathe le mire, d'une ambivalence à l'autre. accompagner la métamorphose d'une décharge littorale en baie de saint-brieuc
philippe hilaire, du déchet à la ressource. les matériaux inertes: une géomorphologie à lœuvre
francois roumet, le matériau de démolition comme structure de sol et élément de paysage
béatrice mariolle, bernadette lizet, marine linglart, pauline mayer, marie-ange jambu, l'architecture, l'habitant et la nature: comment construire la connivence?
denis delbaere, à propos du projet de qualifiction paysagère du centre de valorisation organique de loos-sequedin
isabel claus, paysage de l'obsolescence
catherine rannou et éric hardy, eternity. ou les ruines contemporaines issues se l'industrie agro-alimentaire bretonne


Richard Haag - Gas Work Park, Seattle, 1971-1988

In landscape architecture, history was invoked as a means to create specificity and uniqueness, especially on postindustrial sites, an early example being Seattle's Gas Work Park (1971-88) by Richard Haag, where the relics of a gasification plant were preserved. By drawing on the past uses and materials of a particular place, landscape was conceptually understood as a cultural palimpsest - as one layer among many - rather than a tabula rasa, as had been the case during industrialization. Even on sites where all previous material traces (both natural and cultural) had been erased, history became a way to engage place as designers took inspiration from a site's past (such as previous geometries or materials) to inform their designs.
(Karen M'Closkey, Unearthed. The Landscape of Hargreaves Associates, University of Pennsylvania Press,  Philadelphia, 2013)

(source: wikipedia)

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