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Alessandro delli Ponti and Ilaria Novielli invited to Europan’s european final forum for the “building strong stories” presentation.
22-27 / 9 / 2014, Pavia, Italy

Alessandro delli Ponti and Ilaria Novielli invited to Europan’s european final forum for the “building strong stories” presentation.

22-27 / 9 / 2014, Pavia, Italy

THE FOREST TISSUE GARDEN - unveiling the process
Third Prize - International Garden Expo - HUBEI
—
KH_STUDIO with ATELIER EEM
Design Team : Alessandro delli Ponti, Francesca Liggieri, Marc Blume Verdiana Spicciarelli, Clelia Bartolomei, Elisa Puaggner
Consultant : Wen Qian Zhu
—
—
PROJECT PRESENTATION - EN
The FOREST TISSUE garden’s symbology is not cultural or theoretical but a perceptive one, it speaks the universal language of visual and tactile sensorial experience.In the FOREST TISSUE Garden the environmental richness of the park is not fed to the visitor’s eye immediately, but is rather the result of a discovery path.The garden will be seen from distant points of the expos’ limits as a stimulant enigma, a soft dream cloud or a mountain, hiding a tropical heart. Reaching and progressively unveiling the mystery it hides will be the key distinctive element of attraction of this Garden.From the distance a cloud of veils will attract the visitors attention: - nuanced under daylight and brilliant and colorful at night, it will appear hiding something interesting. Just like our cities hide their natural and geographical roots from our every day’s comprehension.Reaching the garden a rather mineral atmosphere will introduce the visitor to a series of parallel paths, separated by white veils that show and hide vegetation in a perceptive stimulating game.As in the process of progressive natural growth, both vegetation and veils will grow in height as the visitors walks through them towards the mysterious centre of the garden.Once reached the inner limit of the garden, there he will be finally able to enlarge his sight, in the tropical room. Here vegetation will grow to become sometimes physically inaccessible. A misty atmosphere will be feed by a spectacular humidification system. Three different stair platforms will allow to reach the trees height and get to overcome veils with their sight as well as getting in a closer and intimate relation with plants. From outside, visitors heads will emerge from the mist of veils as if stepping out of a cloud.The visitors path is free and individual but it follows the logic of Landscape Process, allowing the visitor to move from a dominant artificial atmosphere made of parallel trans-lucid veils, towards a locus of a major natural event and physical freedom in the tropical heart of the garden.Landscape in it self is the result of a process, a living system in which every ecosystemic layer is thought as a progressive and nurturing contribution to an overall environment.

PROJECT PRESENTATION - CH
关于感官设计的初衷便源于纯粹现象学的空间体验,营造一种敏锐幽微而诗意的氛围。从远处看不到植物,而是一片虚渺轻盈的纱质帷幕,日光下呈现差异微妙丰富的白色,绿意从半透明的中心隐约透出;夜间灯光下则映射一片树影婆娑。探索之旅从进入园地的一刻开始。白纱错落间引导中心植物群的方向,无数可能的平行路径带来的不确定性创造偶遇的惊奇。植物和纱质帷幕逐渐增加空间密度和高度,光线缓慢变暗,渐入秘境,接受植物围抱的过程成为沉静心灵的洗礼。这种非均质的空间排布具有一种时间性,赋予园地一个密语般的刺激重心,需要人全部感官的参与:明灭不定的光影、泥土植物或水雾的气味、风过树叶的声音、自然和人造材质带来粗糙或细腻的触感甚至转化为口感。空间如抽丝剥茧,慢慢到达中心。园地的另一种时间性更为漫长:中心植物群作为缓慢的生命运动经年累月继续生长,逐渐成为一片小规模的原始森林。心理上的不可达性,被林间伸出地面登高的阶梯平衡。人们在转换视角的同时,也与植物有了更亲密的接触。
关于生态一个植物群落的生长过程,从发芽到达到各自的生长高峰期,这本身就是一种生态系统。群落的成长是从开拓期到高峰期的一个渐变过程。开拓期的植物群落并不稳定,各种限制条件的影响明显。植物群落的生长高峰期是一个稳定的阶段,一旦达到,群落内部的能量产生和消耗自然流转形成活跃的平衡,不再需要外界人为维护,具有自净能力的微气候形成,这便是自然的运行规律。然而高峰期的群落如果受到人为扰乱破坏,会重新回到脆弱不稳定的开拓期。我们希望在园地中心营建这样一个生生不息有自我维护能力的 “放养型” 植物群落,在时间的推移中给人们带来自然的惊喜。同时,高峰期的植物生态系统也提醒着人们对自然环境的尊重,带来人与自然和谐共存的警示。
—
—
Présentation du projet - FR
L’expérienceLe jardin de la forêt tissée n’est pas destiné à être vécu culturellement ou conceptuellement. Son langage est universel, il est celui de l’expérience visuelle et tactile, et appelle une interprétation sensible. Dans le jardin de la forêt tissée, la richesse du paysage n’est pas immédiatement offerte aux yeux du visiteur ; elle nécessite une découverte.Le cœur du jardin pourra être vu à distance, depuis différents points. La distance prêtera au lieu un aspect énigmatique et onirique, comme s’il était une montagne dissimulant un nid tropical. Progressivement dévoiler le mystère que recèle le parc constituera l’élément clef du parcours.À distance, un nuage de voiles attirera l’attention du visiteur. À la lumière du soleil, il offrira un éclairage nuancé ; la nuit, il apparaîtra brillant et coloré. Et, de la même manière que nos villes nous dissimulent au quotidien leurs fondements géographiques, ce voilage intriguera tout en dissimulant. Pénétrant dans le jardin, le visiteur sera d’abord confronté à une atmosphère minérale. Plusieurs chemins parallèles se présenteront à lui, séparés par des voiles blancs qui joueront avec la perception en dévoilant ponctuellement la végétation. Imitant le phénomène naturel de la croissance, végétation et voilages gagneront en hauteur au fil du parcours. Une fois atteinte la limite intérieure du jardin, le visiteur aura finalement un point de vue élargi, dans la chambre tropicale. La végétation y grandira jusqu’à devenir physiquement inaccessible. Une atmosphère brumeuse sera obtenue grâce à un système d’humidification spectaculaire.Trois plateformes reliées par des escaliers permettront de dépasser les voilages et d’atteindre la cîme des arbres, créant alors une proximité avec le végétal. Depuis l’extérieur, les têtes des visiteurs, comme émergeant d’un nuage, viendront surplomber le maillage de voiles. Le franchissement du parc implique le passage d’une atmosphère artificielle, régulée par les voiles translucides, à une atmosphère plus naturelle. Dans ce parcours paysager, qui impose sa logique, le visiteur demeure cependant libre de cheminer à son gré. Le paysage résulte ainsi d’un écosystème dans lequel chaque élément contribue à l’ensemble, de façon cyclique.L’écologieL’écosystème évolue jusqu’à un état théorique d’accomplissement, le climax. Cette phase, correspondant au niveau maximal de développement, est la plus stable : énergie et ressources maintiennent activement cet état d’achèvement, l’équilibre est dynamique.Pour un endroit donné a lieu une progression écologique donnée, qui consiste en une série d’étapes. Ces étapes sont contraintes par un ordre fonctionnel et décrivent un cycle évolutif complet dans l’espace et dans le temps.  Le développement de l’écosystème passe par des étapes dites d’innovation, qui sont transitoires et donc instables, puis par des étapes de climax ou de para-clinax, qui sont celles de la stabilité et de l’achèvement du système. Dans la nature, le cycle, après une phase de climax, finit toujours par être victime d’une perturbation externe modifiant l’écosystème et le ramenant à un état premier d’innovation.

—
More info on
http://www.chla.com.cn/htm/2014/0801/215579.html
From the - Announcement for Creative Garden Award-winning Design Schemes The 10th China (Wuhan) International Garden Expo - 
Over 900 designers from over 30 countries and regions had signed up for this design competition.

THE FOREST TISSUE GARDEN - unveiling the process

Third Prize - International Garden Expo - HUBEI

KH_STUDIO with ATELIER EEM

Design Team : Alessandro delli Ponti, Francesca Liggieri, Marc Blume Verdiana Spicciarelli, Clelia Bartolomei, Elisa Puaggner

Consultant : Wen Qian Zhu

PROJECT PRESENTATION - EN

The FOREST TISSUE garden’s symbology is not cultural or theoretical but a perceptive one, it speaks the universal language of visual and tactile sensorial experience.
In the FOREST TISSUE Garden the environmental richness of the park is not fed to the visitor’s eye immediately, but is rather the result of a discovery path.
The garden will be seen from distant points of the expos’ limits as a stimulant enigma, a soft dream cloud or a mountain, hiding a tropical heart. Reaching and progressively unveiling the mystery it hides will be the key distinctive element of attraction of this Garden.
From the distance a cloud of veils will attract the visitors attention: - nuanced under daylight and brilliant and colorful at night, it will appear hiding something interesting. Just like our cities hide their natural and geographical roots from our every day’s comprehension.
Reaching the garden a rather mineral atmosphere will introduce the visitor to a series of parallel paths, separated by white veils that show and hide vegetation in a perceptive stimulating game.
As in the process of progressive natural growth, both vegetation and veils will grow in height as the visitors walks through them towards the mysterious centre of the garden.
Once reached the inner limit of the garden, there he will be finally able to enlarge his sight, in the tropical room. Here vegetation will grow to become sometimes physically inaccessible. A misty atmosphere will be feed by a spectacular humidification system. Three different stair platforms will allow to reach the trees height and get to overcome veils with their sight as well as getting in a closer and intimate relation with plants. From outside, visitors heads will emerge from the mist of veils as if stepping out of a cloud.
The visitors path is free and individual but it follows the logic of Landscape Process, allowing the visitor to move from a dominant artificial atmosphere made of parallel trans-lucid veils, towards a locus of a major natural event and physical freedom in the tropical heart of the garden.
Landscape in it self is the result of a process, a living system in which every ecosystemic layer is thought as a progressive and nurturing contribution to an overall environment.

PROJECT PRESENTATION - CH

关于感官
设计的初衷便源于纯粹现象学的空间体验,营造一种敏锐幽微而诗意的氛围。
从远处看不到植物,而是一片虚渺轻盈的纱质帷幕,日光下呈现差异微妙丰富的白色,绿意从半透明的中心隐
约透出;夜间灯光下则映射一片树影婆娑。探索之旅从进入园地的一刻开始。白纱错落间引导中心植物群的方
向,无数可能的平行路径带来的不确定性创造偶遇的惊奇。植物和纱质帷幕逐渐增加空间密度和高度,光线缓
慢变暗,渐入秘境,接受植物围抱的过程成为沉静心灵的洗礼。
这种非均质的空间排布具有一种时间性,赋予园地一个密语般的刺激重心,需要人全部感官的参与:明灭不定
的光影、泥土植物或水雾的气味、风过树叶的声音、自然和人造材质带来粗糙或细腻的触感甚至转化为口感。
空间如抽丝剥茧,慢慢到达中心。园地的另一种时间性更为漫长:中心植物群作为缓慢的生命运动经年累月继
续生长,逐渐成为一片小规模的原始森林。心理上的不可达性,被林间伸出地面登高的阶梯平衡。人们在转换
视角的同时,也与植物有了更亲密的接触。


关于生态
一个植物群落的生长过程,从发芽到达到各自的生长高峰期,这本身就是一种生态系统。
群落的成长是从开拓期到高峰期的一个渐变过程。开拓期的植物群落并不稳定,各种限制条件的影响明显。植
物群落的生长高峰期是一个稳定的阶段,一旦达到,群落内部的能量产生和消耗自然流转形成活跃的平衡,不
再需要外界人为维护,具有自净能力的微气候形成,这便是自然的运行规律。然而高峰期的群落如果受到人为
扰乱破坏,会重新回到脆弱不稳定的开拓期。
我们希望在园地中心营建这样一个生生不息有自我维护能力的 “放养型” 植物群落,在时间的推移中给人们带
来自然的惊喜。同时,高峰期的植物生态系统也提醒着人们对自然环境的尊重,带来人与自然和谐共存的警
示。

Présentation du projet - FR

L’expérience

Le jardin de la forêt tissée n’est pas destiné à être vécu culturellement ou conceptuellement. Son langage est universel, il est celui de l’expérience visuelle et tactile, et appelle une interprétation sensible. Dans le jardin de la forêt tissée, la richesse du paysage n’est pas immédiatement offerte aux yeux du visiteur ; elle nécessite une découverte.
Le cœur du jardin pourra être vu à distance, depuis différents points. La distance prêtera au lieu un aspect énigmatique et onirique, comme s’il était une montagne dissimulant un nid tropical.
Progressivement dévoiler le mystère que recèle le parc constituera l’élément clef du parcours.
À distance, un nuage de voiles attirera l’attention du visiteur. À la lumière du soleil, il offrira un éclairage nuancé ; la nuit, il apparaîtra brillant et coloré. Et, de la même manière que nos villes nous dissimulent au quotidien leurs fondements géographiques, ce voilage intriguera tout en dissimulant.
Pénétrant dans le jardin, le visiteur sera d’abord confronté à une atmosphère minérale. Plusieurs chemins parallèles se présenteront à lui, séparés par des voiles blancs qui joueront avec la perception en dévoilant ponctuellement la végétation. Imitant le phénomène naturel de la croissance, végétation et voilages gagneront en hauteur au fil du parcours.

Une fois atteinte la limite intérieure du jardin, le visiteur aura finalement un point de vue élargi, dans la chambre tropicale. La végétation y grandira jusqu’à devenir physiquement inaccessible. Une atmosphère brumeuse sera obtenue grâce à un système d’humidification spectaculaire.
Trois plateformes reliées par des escaliers permettront de dépasser les voilages et d’atteindre la cîme des arbres, créant alors une proximité avec le végétal. Depuis l’extérieur, les têtes des visiteurs, comme émergeant d’un nuage, viendront surplomber le maillage de voiles.
Le franchissement du parc implique le passage d’une atmosphère artificielle, régulée par les voiles translucides, à une atmosphère plus naturelle. Dans ce parcours paysager, qui impose sa logique, le visiteur demeure cependant libre de cheminer à son gré.
Le paysage résulte ainsi d’un écosystème dans lequel chaque élément contribue à l’ensemble, de façon cyclique.

L’écologie

L’écosystème évolue jusqu’à un état théorique d’accomplissement, le climax. Cette phase, correspondant au niveau maximal de développement, est la plus stable : énergie et ressources maintiennent activement cet état d’achèvement, l’équilibre est dynamique.
Pour un endroit donné a lieu une progression écologique donnée, qui consiste en une série d’étapes. Ces étapes sont contraintes par un ordre fonctionnel et décrivent un cycle évolutif complet dans l’espace et dans le temps.
Le développement de l’écosystème passe par des étapes dites d’innovation, qui sont transitoires et donc instables, puis par des étapes de climax ou de para-clinax, qui sont celles de la stabilité et de l’achèvement du système. Dans la nature, le cycle, après une phase de climax, finit toujours par être victime d’une perturbation externe modifiant l’écosystème et le ramenant à un état premier d’innovation.

More info on

http://www.chla.com.cn/htm/2014/0801/215579.html

From the - Announcement for Creative Garden Award-winning Design Schemes The 10th China (Wuhan) International Garden Expo - 

Over 900 designers from over 30 countries and regions had signed up for this design competition.

Alessandro delli Ponti and Camille Alwan are presenting 
Mannheim’s Connection at the European Forum 2014
——————
BERLIN - Akademie der Kunste
—
4th July 2014

Alessandro delli Ponti and Camille Alwan are presenting 

Mannheim’s Connection at the European Forum 2014

——————

BERLIN - Akademie der Kunste

4th July 2014

Alessandro delli Ponti and Camille Alwan are presenting “Mannheim’s Connection” at Europan France conference at CHAILLOT - Cité de l’Architecture et du Patrimoine de Paris. 11.4.2014
-
full program here:
http://www.europanfrance.org/actualites/single/29

Alessandro delli Ponti and Camille Alwan are presenting “Mannheim’s Connection” at Europan France conference at CHAILLOT - Cité de l’Architecture et du Patrimoine de Paris. 11.4.2014

-

full program here:

http://www.europanfrance.org/actualites/single/29

"Mannheim’s Connection" _ A relational Story
First Prize   -   EUROPAN XII                           
Team Leaders : Alessandro delli Ponti - Ilaria Novielli  
Consultants : Camille Alwan, Marc Blume
Collaborators : Clelia Bartolomei, Verdiana Spicciarelli

"Mannheim’s Connection" _ A relational Story

First Prize   -   EUROPAN XII                           

Team Leaders : Alessandro delli Ponti - Ilaria Novielli  

Consultants : Camille Alwan, Marc Blume

Collaborators : Clelia Bartolomei, Verdiana Spicciarelli

AIGP - Atelier International du Grand Paris

Atelier du Grand Paris

Alessandro delli Ponti at the AIGP

Paesaggio Urbano /// DOSSIER SPECIALE  GRAND PARIS III
di Alessandro delli Ponti
                                     Hard and Soft Infrastructures in Grand Paris
                                     Il riduzionismo infrastrutturale alla prova dei fatti.
                                     I casi di La Défense e del Périphérique.

Contiene tre interviste esclusive:
_AIGP (Ateliers Internationales du Grand Paris) _ Bertrand Lemoine, Direttore Generale
_OMA (Office for Metropolitan Architecture) _ OMA’s La Défense
_TVK Architectes Urbanistes_La Métropole du Périphérique
Paesaggio Urbano, 6, 2012    (pag. 55 - 91)

Paesaggio Urbano /// DOSSIER SPECIALE GRAND PARIS III

di Alessandro delli Ponti

                                     Hard and Soft Infrastructures in Grand Paris

                                     Il riduzionismo infrastrutturale alla prova dei fatti.

                                     I casi di La Défense e del Périphérique.


Contiene tre interviste esclusive:

_AIGP (Ateliers Internationales du Grand Paris) _ Bertrand Lemoine, Direttore Generale

_OMA (Office for Metropolitan Architecture) _ OMA’s La Défense

_TVK Architectes Urbanistes_La Métropole du Périphérique

Paesaggio Urbano, 6, 2012    (pag. 55 - 91)


INTERNATIONAL COMPETITION - Un Parco Urbano per Piazza d’Armi
HONORABLE MENTION
————
DESIGN TEAM:
Alessandro delli Ponti  
with  Federico Bernetti, Ferdinand Schmelzer, Marco Teofili, Davide Curatola Soprana, Ilaria Novielli, Paola Corciulo
-
CONSULTANTS:
Maestro Carlo Bernardini (Brera Academy)
Letizia Martinelli (Consultant - Bioclimatic Sustainability) 
Marc Blume (Consultant - Landscape)
-
PUBLICATIONS :
http://www.paisea.com/en/2012/08/urban-park-piazza-darmi-laquila/
http://arqfuture.com/
http://europaconcorsi.com/projects/204347-Parco-Urbano-di-Piazza-d-Armi-L-Aquila


INTERNATIONAL COMPETITION - Un Parco Urbano per Piazza d’Armi

HONORABLE MENTION

————

DESIGN TEAM:

Alessandro delli Ponti  

with  Federico Bernetti, Ferdinand Schmelzer, Marco Teofili, Davide Curatola Soprana, Ilaria Novielli, Paola Corciulo

-

CONSULTANTS:

Maestro Carlo Bernardini (Brera Academy)

Letizia Martinelli (Consultant - Bioclimatic Sustainability) 

Marc Blume (Consultant - Landscape)

-

PUBLICATIONS :

http://www.paisea.com/en/2012/08/urban-park-piazza-darmi-laquila/

http://arqfuture.com/

http://europaconcorsi.com/projects/204347-Parco-Urbano-di-Piazza-d-Armi-L-Aquila


Knowledge-Scapes an Interview with Herman Hertzberger

Alessandro delli Ponti meets Herman Hertzberger (RIBA Golden Medal 2012) in Amsterdam for an informal interview on knowledge spaces, and Spatial Temptation.
LE VISITEUR
n°18,  in October 2012
Knowledge-Scapes an Interview with Herman Hertzberger

Alessandro delli Ponti meets Herman Hertzberger (RIBA Golden Medal 2012) in Amsterdam for an informal interview on knowledge spaces, and Spatial Temptation.

LE VISITEUR

n°18,  in October 2012

GRAND PARIS 
Strategy vs. Impromptu


A Conference of Alessandro delli Ponti
University of Ferrara (IT), Department of Architecture
20.4.2012, 10h00

GRAND PARIS

Strategy vs. Impromptu



A Conference of Alessandro delli Ponti

University of Ferrara (IT), Department of Architecture

20.4.2012, 10h00

EUROPAN 11 _ REIMS
"The Collaborative Landscape"

Alessandro delli Ponti, Camille Alwan, Ilaria Novielli

EUROPAN 11 _ REIMS

"The Collaborative Landscape"


Alessandro delli Ponti, Camille Alwan, Ilaria Novielli

Paesaggio Urbano /// SPECIAL ISSUE  Knowledge Landscapes                   
                                   Notes for an anthro-political approach to architecture and the city 
                                   An interview with HERMAN HERTZBERGER
by Alessandro delli Ponti
Paesaggio Urbano, 1.2012
               -
Knowledge Landscapes and “Interpretativity”,  
 Notes for an Anthro-political approach to Architecture and the City
 “It’s only when the relational is revealed in the absolute space and time of social   and material life that politics starts living!”  Don Mitchell
 
Otterlo 1959, in the last turbulent days of the CIAM, Aldo Van Eyck called for a new way of looking to the space of the city, a way that should not disregard “the semantic universe of dream and soul”.
Those where the days in which the Modern’s Dogmas seemed to be rapidly crumbling, revealing, under the aging mask of the most unwavering certainties a “terrain vague”, that “something of subterranean, between wine and life” evoked by Tristan Tzara in his Parisian DADA (1) days.
Herman Hertzberger has been, since from the early sixties, a protagonist of those heteronomic forces that tried to build a new, alternative path to Modern.
Animated by the programmatic will to surpass the auto-referential certainties of disciplinary autonomy, he has followed an extraordinary personal and professional path, built through the collaboration with Aldo van Eyck, the review Forum, Team X, the debates with Alison and Peter Smithson, the exchanges with De Carlo, Rossi, and the foundation of the Berlage Institute, but most of all, realizing a corpus of buildings that substantiates coherently his peculiar approach to structuralism.
HH, though convinced that practical awareness and realizations are the real playground of architecture, has always cultivated a particular relation with the text of architecture, initially in the form of the pamphlet or of the article, as editor of the review Forum, and, then, offering to a wide public the monographic synthesis of his critical and designed reflections; we must remember his “Lessons of architecture” (Edizioni Laterza), “Articulations” (Prestel), and the recent series published in Holland by 010 Rotterdam, particularly “Space and Learning” (010, Rotterdam, 2009).
The edifice of his lessons is still an open construction site and the recent publications confirm his predilection for the leading theme of his critical reflection, that is to say: the relation between the Project and Knowledge Spatialization (mise en espace).
In this sense, the term Knowledge hands us with some interesting semantic feed-backs.
If in Scholar buildings the term can be seen banally as a system of codified information to be communicated to a given public, the Knowledge Hertzberger refers to has a deeper nature and relates to the development of the spatial-relational awareness of those who live in space.
Van Eyck’s relativistic revolution within the CIAM, and the contextual foundation of Team X, has opened the way for the integration of architecture in a deeper anthropologic structure, following the suggestions of de Saussure and Levi-Strauss.
Herman Hertzberger’s approach originally follows this research path, in the attempt to articulate the primatus of absolute typological spatiality with the revelation of their relational potential.
The Autonomy of Architecture is thus redefined by what HH calls “Spatial Interpretativity”, a notion that gives a leading role to usage and human components rather than focusing exclusively on the object’s tectonics and aleatory functionalism.
 
Interpretativity is thus to be meant as a category synthetising the dialectics between Interzia and Autonomia of spatial values, it’s a principle that illustrates the architects awareness of the “non-univocity” of forms, of their potential misinterpretation and reveals the hope, the project, of a “spatial-tentation” positively opened to the inhabitant’s voluntarism.
In this sense, the buildings for teaching become representative of the way HH looks at Architecture and the City.
The designers attention is not primarly concentrated on the space to be assigned to explicit knowledge and thus to ex cathedra teaching, but rather to that Psicologic Landscape (Focillon), the maieutic Structure, linking inhabitant to inhabitant, intellect to intellect, helping the emergence of a tacit, inter-individual knowledge that stands “between things” and founds the legitimacy of Space in the heart of its communitas.
Revindicating the primatus of the relational on the quantitative might appear as a neuter and “ecumenical” operation, but it actually reveals all its strength when we read in these terms the continuity between Hertzberger’s vision of architecture and of the city, transposing his projectual, architectural reflections on the condition of contemporary urbanity.
The distinction between the absolute, the relative and the relational conception of urban space proposed by Henri Lefevre and David Harvey, becomes thus a useful epistemic instrument to understand, at a urban scale, what HH demonstrates in his architecture.
If the in-between, the space between things and people, emerges as the founding dimension of the project, we must notice that this relational principle is conceived through the design’s spatial concreteness, in the Architects material and technical choices.
Techné becomes charged with profound social values and with a specific relational potential.
In this sense, to give a concrete example, different from those which will follow in the interview, we can associate the pauperistic choice of materials in HH’s projects of the sixties and seventies to Lina Bo Bardi’s approach (they’ve been cooperating on various workshops); in both these masters’ attitude, the materials-technical choice is not reducible to an artistic issue (Eduardo Subirats) but is rather a condition for an easier reappropriation, both in a practical-phisical sense, than in an imaginative and symbolic one. 
Listening to Hertzberger’s words becomes thus particularly interesting in a moment in which, in Europe, in reason of strategic-political wills of national and over national level, the policies of “culturalization” of the public realm are integrating in a vision of economic instrumentalization all the remaining creative forces (Eco), researching the improbable demonstration of Richard Florida’s paradigma and selling the operation as the construction of the new creative city, ending in the “in series” production of urban scenarios and singularities, ever more similar to review-like archetypes, to historic centres transformed in museums rather than being truly inhabited, exploring all the possible perversions of the originary Guggenheim effect.
What new possibilities are unveiled for the re-interpretation of these urban products? And which lesson can we get from Architecture?
The present crisis, and the wage launched by the necessity to envision a sustainable decreasing development, might demand us to find a new Continuity between Space, Architecture and the society that inhabitants them, a continuity that might leave behind the dictate of normative strings and procedimental “t-ordures” that pack usages in functions and these last in programs reducing the space of the city to a measured list of admissible lives and interpretations.
- Alessandro delli Ponti
Followed by an Interview and the Conclusions

Paesaggio Urbano /// SPECIAL ISSUE  Knowledge Landscapes                   

                                   Notes for an anthro-political approach to architecture and the city 

                                   An interview with HERMAN HERTZBERGER

by Alessandro delli Ponti

Paesaggio Urbano, 1.2012

               -

Knowledge Landscapes and “Interpretativity”, 

 Notes for an Anthro-political approach to Architecture and the City

 “It’s only when the relational is revealed in the absolute space and time of social   and material life that politics starts living!”  Don Mitchell

 

Otterlo 1959, in the last turbulent days of the CIAM, Aldo Van Eyck called for a new way of looking to the space of the city, a way that should not disregard “the semantic universe of dream and soul”.

Those where the days in which the Modern’s Dogmas seemed to be rapidly crumbling, revealing, under the aging mask of the most unwavering certainties a “terrain vague”, that “something of subterranean, between wine and life” evoked by Tristan Tzara in his Parisian DADA (1) days.

Herman Hertzberger has been, since from the early sixties, a protagonist of those heteronomic forces that tried to build a new, alternative path to Modern.

Animated by the programmatic will to surpass the auto-referential certainties of disciplinary autonomy, he has followed an extraordinary personal and professional path, built through the collaboration with Aldo van Eyck, the review Forum, Team X, the debates with Alison and Peter Smithson, the exchanges with De Carlo, Rossi, and the foundation of the Berlage Institute, but most of all, realizing a corpus of buildings that substantiates coherently his peculiar approach to structuralism.

HH, though convinced that practical awareness and realizations are the real playground of architecture, has always cultivated a particular relation with the text of architecture, initially in the form of the pamphlet or of the article, as editor of the review Forum, and, then, offering to a wide public the monographic synthesis of his critical and designed reflections; we must remember his “Lessons of architecture” (Edizioni Laterza), “Articulations” (Prestel), and the recent series published in Holland by 010 Rotterdam, particularly “Space and Learning” (010, Rotterdam, 2009).

The edifice of his lessons is still an open construction site and the recent publications confirm his predilection for the leading theme of his critical reflection, that is to say: the relation between the Project and Knowledge Spatialization (mise en espace).

In this sense, the term Knowledge hands us with some interesting semantic feed-backs.

If in Scholar buildings the term can be seen banally as a system of codified information to be communicated to a given public, the Knowledge Hertzberger refers to has a deeper nature and relates to the development of the spatial-relational awareness of those who live in space.

Van Eyck’s relativistic revolution within the CIAM, and the contextual foundation of Team X, has opened the way for the integration of architecture in a deeper anthropologic structure, following the suggestions of de Saussure and Levi-Strauss.

Herman Hertzberger’s approach originally follows this research path, in the attempt to articulate the primatus of absolute typological spatiality with the revelation of their relational potential.

The Autonomy of Architecture is thus redefined by what HH calls “Spatial Interpretativity”, a notion that gives a leading role to usage and human components rather than focusing exclusively on the object’s tectonics and aleatory functionalism.

 

Interpretativity is thus to be meant as a category synthetising the dialectics between Interzia and Autonomia of spatial values, it’s a principle that illustrates the architects awareness of the “non-univocity” of forms, of their potential misinterpretation and reveals the hope, the project, of a “spatial-tentation” positively opened to the inhabitant’s voluntarism.

In this sense, the buildings for teaching become representative of the way HH looks at Architecture and the City.

The designers attention is not primarly concentrated on the space to be assigned to explicit knowledge and thus to ex cathedra teaching, but rather to that Psicologic Landscape (Focillon), the maieutic Structure, linking inhabitant to inhabitant, intellect to intellect, helping the emergence of a tacit, inter-individual knowledge that stands “between things” and founds the legitimacy of Space in the heart of its communitas.

Revindicating the primatus of the relational on the quantitative might appear as a neuter and “ecumenical” operation, but it actually reveals all its strength when we read in these terms the continuity between Hertzberger’s vision of architecture and of the city, transposing his projectual, architectural reflections on the condition of contemporary urbanity.

The distinction between the absolute, the relative and the relational conception of urban space proposed by Henri Lefevre and David Harvey, becomes thus a useful epistemic instrument to understand, at a urban scale, what HH demonstrates in his architecture.

If the in-between, the space between things and people, emerges as the founding dimension of the project, we must notice that this relational principle is conceived through the design’s spatial concreteness, in the Architects material and technical choices.

Techné becomes charged with profound social values and with a specific relational potential.

In this sense, to give a concrete example, different from those which will follow in the interview, we can associate the pauperistic choice of materials in HH’s projects of the sixties and seventies to Lina Bo Bardi’s approach (they’ve been cooperating on various workshops); in both these masters’ attitude, the materials-technical choice is not reducible to an artistic issue (Eduardo Subirats) but is rather a condition for an easier reappropriation, both in a practical-phisical sense, than in an imaginative and symbolic one.

Listening to Hertzberger’s words becomes thus particularly interesting in a moment in which, in Europe, in reason of strategic-political wills of national and over national level, the policies of “culturalization” of the public realm are integrating in a vision of economic instrumentalization all the remaining creative forces (Eco), researching the improbable demonstration of Richard Florida’s paradigma and selling the operation as the construction of the new creative city, ending in the “in series” production of urban scenarios and singularities, ever more similar to review-like archetypes, to historic centres transformed in museums rather than being truly inhabited, exploring all the possible perversions of the originary Guggenheim effect.

What new possibilities are unveiled for the re-interpretation of these urban products? And which lesson can we get from Architecture?

The present crisis, and the wage launched by the necessity to envision a sustainable decreasing development, might demand us to find a new Continuity between Space, Architecture and the society that inhabitants them, a continuity that might leave behind the dictate of normative strings and procedimental “t-ordures” that pack usages in functions and these last in programs reducing the space of the city to a measured list of admissible lives and interpretations.

- Alessandro delli Ponti

Followed by an Interview and the Conclusions

THE  POSSIBILITY OF AN ISLAND
Notes for a Trans/National_Inter/Continental Mediterranean Capital City
 
Lampedusa is a spot geography in the geo-political barycentre of the Mediterranean Sea. It is an Italian island, 3 km large and 13 km long, with a permanent population of 6.340 units.
The CPT (centre for temporary migrants’ stay) is a 3000 mq militarised space in Lampedusa.
 
The CPT, for Italy’s spatial standards, could host 190 people.
 
The migration fluxes touching Lampedusa, in times of international crises (such that of the Nato-Libian war) is of 200.000 units, and promises to augment its charge in the future.
 
At the present moment, the CPT of Lampedusa is de-facto the     European Port for African Migration, the closest to both continents, the less controlled, a possible gateway to a declared or  undeclared life in Italy, Germany, Austria, France, Switzerland, England, Belgium or the Nederland, for many people escaping from thirst, hunger, wars and despair in its many forms. 
 
Lampedusa is now days, as a whole, a communitarian space, a “natural-right” geography, a 20 square Km hosting centre, and it’s local  population becomes directly implicated in the hosting process, the hosting process becomes a human-relational topic rather than a matter of absolute-space with a logistic-military problem to be solved. 
 
In cases of “human” overcharge, the administrative boundary is displaced up to the Franco-Italian or Italo-German frontier, and physical limits are transformed in burocratical concerns, the bio-political perspective is reaffirmed, the reflection scale becomes larger, the locus of migration management becomes secreted and bilateral, the single human unit is reduced to a number and to an obliged logistic path.
 
We state that Lampedusa can become the locus of the evolution from National-Militarism to International Cooperation !
Lampedusa can become a Shared Spatial Palimpsest between European Union and African Union.
Its Geography should be read as an Hyper-Public Space, a real Public Geography.
The Shared Palimpsest of the Relational Potential between distant languages, territories and distant law systems.
People will meet in the Geographical Infrastructure and maybe build a new cultural approach to trans-national integration.
 
This new capital-city needs a new and different grid-approach, an adaptative and infra-structural one, more Geo and less Graphical.
Grids are dimensionally determined, but its contents is a shared balance between functional nation driven units and local territorial topology, free of access for all.
Administrative Migration Management looses sense as well as Traditional “Administrative” Architecture. 
 
The collaborative Landscape is the spatial basis for trans-national work policies that help people from different nations decide to move elsewhere in reason of a demand offer you they’ll meet in Lampedusa.

THE  POSSIBILITY OF AN ISLAND

Notes for a Trans/National_Inter/Continental Mediterranean Capital City

 

Lampedusa is a spot geography in the geo-political barycentre of the Mediterranean Sea. It is an Italian island, 3 km large and 13 km long, with a permanent population of 6.340 units.

The CPT (centre for temporary migrants’ stay) is a 3000 mq militarised space in Lampedusa.

 

The CPT, for Italy’s spatial standards, could host 190 people.

 

The migration fluxes touching Lampedusa, in times of international crises (such that of the Nato-Libian war) is of 200.000 units, and promises to augment its charge in the future.

 

At the present moment, the CPT of Lampedusa is de-facto the     European Port for African Migration, the closest to both continents, the less controlled, a possible gateway to a declared or  undeclared life in Italy, Germany, Austria, France, Switzerland, England, Belgium or the Nederland, for many people escaping from thirst, hunger, wars and despair in its many forms.

 

Lampedusa is now days, as a whole, a communitarian space, a “natural-right” geography, a 20 square Km hosting centre, and it’s local  population becomes directly implicated in the hosting process, the hosting process becomes a human-relational topic rather than a matter of absolute-space with a logistic-military problem to be solved.

 

In cases of “human” overcharge, the administrative boundary is displaced up to the Franco-Italian or Italo-German frontier, and physical limits are transformed in burocratical concerns, the bio-political perspective is reaffirmed, the reflection scale becomes larger, the locus of migration management becomes secreted and bilateral, the single human unit is reduced to a number and to an obliged logistic path.

 

We state that Lampedusa can become the locus of the evolution from National-Militarism to International Cooperation !

Lampedusa can become a Shared Spatial Palimpsest between European Union and African Union.

Its Geography should be read as an Hyper-Public Space, a real Public Geography.

The Shared Palimpsest of the Relational Potential between distant languages, territories and distant law systems.

People will meet in the Geographical Infrastructure and maybe build a new cultural approach to trans-national integration.

 

This new capital-city needs a new and different grid-approach, an adaptative and infra-structural one, more Geo and less Graphical.

Grids are dimensionally determined, but its contents is a shared balance between functional nation driven units and local territorial topology, free of access for all.

Administrative Migration Management looses sense as well as Traditional “Administrative” Architecture.

 

The collaborative Landscape is the spatial basis for trans-national work policies that help people from different nations decide to move elsewhere in reason of a demand offer you they’ll meet in Lampedusa.

Alessandro delli Ponti and Ilaria Novielli invited to Europan’s european final forum for the “building strong stories” presentation.
22-27 / 9 / 2014, Pavia, Italy

Alessandro delli Ponti and Ilaria Novielli invited to Europan’s european final forum for the “building strong stories” presentation.

22-27 / 9 / 2014, Pavia, Italy

THE FOREST TISSUE GARDEN - unveiling the process
Third Prize - International Garden Expo - HUBEI
—
KH_STUDIO with ATELIER EEM
Design Team : Alessandro delli Ponti, Francesca Liggieri, Marc Blume Verdiana Spicciarelli, Clelia Bartolomei, Elisa Puaggner
Consultant : Wen Qian Zhu
—
—
PROJECT PRESENTATION - EN
The FOREST TISSUE garden’s symbology is not cultural or theoretical but a perceptive one, it speaks the universal language of visual and tactile sensorial experience.In the FOREST TISSUE Garden the environmental richness of the park is not fed to the visitor’s eye immediately, but is rather the result of a discovery path.The garden will be seen from distant points of the expos’ limits as a stimulant enigma, a soft dream cloud or a mountain, hiding a tropical heart. Reaching and progressively unveiling the mystery it hides will be the key distinctive element of attraction of this Garden.From the distance a cloud of veils will attract the visitors attention: - nuanced under daylight and brilliant and colorful at night, it will appear hiding something interesting. Just like our cities hide their natural and geographical roots from our every day’s comprehension.Reaching the garden a rather mineral atmosphere will introduce the visitor to a series of parallel paths, separated by white veils that show and hide vegetation in a perceptive stimulating game.As in the process of progressive natural growth, both vegetation and veils will grow in height as the visitors walks through them towards the mysterious centre of the garden.Once reached the inner limit of the garden, there he will be finally able to enlarge his sight, in the tropical room. Here vegetation will grow to become sometimes physically inaccessible. A misty atmosphere will be feed by a spectacular humidification system. Three different stair platforms will allow to reach the trees height and get to overcome veils with their sight as well as getting in a closer and intimate relation with plants. From outside, visitors heads will emerge from the mist of veils as if stepping out of a cloud.The visitors path is free and individual but it follows the logic of Landscape Process, allowing the visitor to move from a dominant artificial atmosphere made of parallel trans-lucid veils, towards a locus of a major natural event and physical freedom in the tropical heart of the garden.Landscape in it self is the result of a process, a living system in which every ecosystemic layer is thought as a progressive and nurturing contribution to an overall environment.

PROJECT PRESENTATION - CH
关于感官设计的初衷便源于纯粹现象学的空间体验,营造一种敏锐幽微而诗意的氛围。从远处看不到植物,而是一片虚渺轻盈的纱质帷幕,日光下呈现差异微妙丰富的白色,绿意从半透明的中心隐约透出;夜间灯光下则映射一片树影婆娑。探索之旅从进入园地的一刻开始。白纱错落间引导中心植物群的方向,无数可能的平行路径带来的不确定性创造偶遇的惊奇。植物和纱质帷幕逐渐增加空间密度和高度,光线缓慢变暗,渐入秘境,接受植物围抱的过程成为沉静心灵的洗礼。这种非均质的空间排布具有一种时间性,赋予园地一个密语般的刺激重心,需要人全部感官的参与:明灭不定的光影、泥土植物或水雾的气味、风过树叶的声音、自然和人造材质带来粗糙或细腻的触感甚至转化为口感。空间如抽丝剥茧,慢慢到达中心。园地的另一种时间性更为漫长:中心植物群作为缓慢的生命运动经年累月继续生长,逐渐成为一片小规模的原始森林。心理上的不可达性,被林间伸出地面登高的阶梯平衡。人们在转换视角的同时,也与植物有了更亲密的接触。
关于生态一个植物群落的生长过程,从发芽到达到各自的生长高峰期,这本身就是一种生态系统。群落的成长是从开拓期到高峰期的一个渐变过程。开拓期的植物群落并不稳定,各种限制条件的影响明显。植物群落的生长高峰期是一个稳定的阶段,一旦达到,群落内部的能量产生和消耗自然流转形成活跃的平衡,不再需要外界人为维护,具有自净能力的微气候形成,这便是自然的运行规律。然而高峰期的群落如果受到人为扰乱破坏,会重新回到脆弱不稳定的开拓期。我们希望在园地中心营建这样一个生生不息有自我维护能力的 “放养型” 植物群落,在时间的推移中给人们带来自然的惊喜。同时,高峰期的植物生态系统也提醒着人们对自然环境的尊重,带来人与自然和谐共存的警示。
—
—
Présentation du projet - FR
L’expérienceLe jardin de la forêt tissée n’est pas destiné à être vécu culturellement ou conceptuellement. Son langage est universel, il est celui de l’expérience visuelle et tactile, et appelle une interprétation sensible. Dans le jardin de la forêt tissée, la richesse du paysage n’est pas immédiatement offerte aux yeux du visiteur ; elle nécessite une découverte.Le cœur du jardin pourra être vu à distance, depuis différents points. La distance prêtera au lieu un aspect énigmatique et onirique, comme s’il était une montagne dissimulant un nid tropical. Progressivement dévoiler le mystère que recèle le parc constituera l’élément clef du parcours.À distance, un nuage de voiles attirera l’attention du visiteur. À la lumière du soleil, il offrira un éclairage nuancé ; la nuit, il apparaîtra brillant et coloré. Et, de la même manière que nos villes nous dissimulent au quotidien leurs fondements géographiques, ce voilage intriguera tout en dissimulant. Pénétrant dans le jardin, le visiteur sera d’abord confronté à une atmosphère minérale. Plusieurs chemins parallèles se présenteront à lui, séparés par des voiles blancs qui joueront avec la perception en dévoilant ponctuellement la végétation. Imitant le phénomène naturel de la croissance, végétation et voilages gagneront en hauteur au fil du parcours. Une fois atteinte la limite intérieure du jardin, le visiteur aura finalement un point de vue élargi, dans la chambre tropicale. La végétation y grandira jusqu’à devenir physiquement inaccessible. Une atmosphère brumeuse sera obtenue grâce à un système d’humidification spectaculaire.Trois plateformes reliées par des escaliers permettront de dépasser les voilages et d’atteindre la cîme des arbres, créant alors une proximité avec le végétal. Depuis l’extérieur, les têtes des visiteurs, comme émergeant d’un nuage, viendront surplomber le maillage de voiles. Le franchissement du parc implique le passage d’une atmosphère artificielle, régulée par les voiles translucides, à une atmosphère plus naturelle. Dans ce parcours paysager, qui impose sa logique, le visiteur demeure cependant libre de cheminer à son gré. Le paysage résulte ainsi d’un écosystème dans lequel chaque élément contribue à l’ensemble, de façon cyclique.L’écologieL’écosystème évolue jusqu’à un état théorique d’accomplissement, le climax. Cette phase, correspondant au niveau maximal de développement, est la plus stable : énergie et ressources maintiennent activement cet état d’achèvement, l’équilibre est dynamique.Pour un endroit donné a lieu une progression écologique donnée, qui consiste en une série d’étapes. Ces étapes sont contraintes par un ordre fonctionnel et décrivent un cycle évolutif complet dans l’espace et dans le temps.  Le développement de l’écosystème passe par des étapes dites d’innovation, qui sont transitoires et donc instables, puis par des étapes de climax ou de para-clinax, qui sont celles de la stabilité et de l’achèvement du système. Dans la nature, le cycle, après une phase de climax, finit toujours par être victime d’une perturbation externe modifiant l’écosystème et le ramenant à un état premier d’innovation.

—
More info on
http://www.chla.com.cn/htm/2014/0801/215579.html
From the - Announcement for Creative Garden Award-winning Design Schemes The 10th China (Wuhan) International Garden Expo - 
Over 900 designers from over 30 countries and regions had signed up for this design competition.

THE FOREST TISSUE GARDEN - unveiling the process

Third Prize - International Garden Expo - HUBEI

KH_STUDIO with ATELIER EEM

Design Team : Alessandro delli Ponti, Francesca Liggieri, Marc Blume Verdiana Spicciarelli, Clelia Bartolomei, Elisa Puaggner

Consultant : Wen Qian Zhu

PROJECT PRESENTATION - EN

The FOREST TISSUE garden’s symbology is not cultural or theoretical but a perceptive one, it speaks the universal language of visual and tactile sensorial experience.
In the FOREST TISSUE Garden the environmental richness of the park is not fed to the visitor’s eye immediately, but is rather the result of a discovery path.
The garden will be seen from distant points of the expos’ limits as a stimulant enigma, a soft dream cloud or a mountain, hiding a tropical heart. Reaching and progressively unveiling the mystery it hides will be the key distinctive element of attraction of this Garden.
From the distance a cloud of veils will attract the visitors attention: - nuanced under daylight and brilliant and colorful at night, it will appear hiding something interesting. Just like our cities hide their natural and geographical roots from our every day’s comprehension.
Reaching the garden a rather mineral atmosphere will introduce the visitor to a series of parallel paths, separated by white veils that show and hide vegetation in a perceptive stimulating game.
As in the process of progressive natural growth, both vegetation and veils will grow in height as the visitors walks through them towards the mysterious centre of the garden.
Once reached the inner limit of the garden, there he will be finally able to enlarge his sight, in the tropical room. Here vegetation will grow to become sometimes physically inaccessible. A misty atmosphere will be feed by a spectacular humidification system. Three different stair platforms will allow to reach the trees height and get to overcome veils with their sight as well as getting in a closer and intimate relation with plants. From outside, visitors heads will emerge from the mist of veils as if stepping out of a cloud.
The visitors path is free and individual but it follows the logic of Landscape Process, allowing the visitor to move from a dominant artificial atmosphere made of parallel trans-lucid veils, towards a locus of a major natural event and physical freedom in the tropical heart of the garden.
Landscape in it self is the result of a process, a living system in which every ecosystemic layer is thought as a progressive and nurturing contribution to an overall environment.

PROJECT PRESENTATION - CH

关于感官
设计的初衷便源于纯粹现象学的空间体验,营造一种敏锐幽微而诗意的氛围。
从远处看不到植物,而是一片虚渺轻盈的纱质帷幕,日光下呈现差异微妙丰富的白色,绿意从半透明的中心隐
约透出;夜间灯光下则映射一片树影婆娑。探索之旅从进入园地的一刻开始。白纱错落间引导中心植物群的方
向,无数可能的平行路径带来的不确定性创造偶遇的惊奇。植物和纱质帷幕逐渐增加空间密度和高度,光线缓
慢变暗,渐入秘境,接受植物围抱的过程成为沉静心灵的洗礼。
这种非均质的空间排布具有一种时间性,赋予园地一个密语般的刺激重心,需要人全部感官的参与:明灭不定
的光影、泥土植物或水雾的气味、风过树叶的声音、自然和人造材质带来粗糙或细腻的触感甚至转化为口感。
空间如抽丝剥茧,慢慢到达中心。园地的另一种时间性更为漫长:中心植物群作为缓慢的生命运动经年累月继
续生长,逐渐成为一片小规模的原始森林。心理上的不可达性,被林间伸出地面登高的阶梯平衡。人们在转换
视角的同时,也与植物有了更亲密的接触。


关于生态
一个植物群落的生长过程,从发芽到达到各自的生长高峰期,这本身就是一种生态系统。
群落的成长是从开拓期到高峰期的一个渐变过程。开拓期的植物群落并不稳定,各种限制条件的影响明显。植
物群落的生长高峰期是一个稳定的阶段,一旦达到,群落内部的能量产生和消耗自然流转形成活跃的平衡,不
再需要外界人为维护,具有自净能力的微气候形成,这便是自然的运行规律。然而高峰期的群落如果受到人为
扰乱破坏,会重新回到脆弱不稳定的开拓期。
我们希望在园地中心营建这样一个生生不息有自我维护能力的 “放养型” 植物群落,在时间的推移中给人们带
来自然的惊喜。同时,高峰期的植物生态系统也提醒着人们对自然环境的尊重,带来人与自然和谐共存的警
示。

Présentation du projet - FR

L’expérience

Le jardin de la forêt tissée n’est pas destiné à être vécu culturellement ou conceptuellement. Son langage est universel, il est celui de l’expérience visuelle et tactile, et appelle une interprétation sensible. Dans le jardin de la forêt tissée, la richesse du paysage n’est pas immédiatement offerte aux yeux du visiteur ; elle nécessite une découverte.
Le cœur du jardin pourra être vu à distance, depuis différents points. La distance prêtera au lieu un aspect énigmatique et onirique, comme s’il était une montagne dissimulant un nid tropical.
Progressivement dévoiler le mystère que recèle le parc constituera l’élément clef du parcours.
À distance, un nuage de voiles attirera l’attention du visiteur. À la lumière du soleil, il offrira un éclairage nuancé ; la nuit, il apparaîtra brillant et coloré. Et, de la même manière que nos villes nous dissimulent au quotidien leurs fondements géographiques, ce voilage intriguera tout en dissimulant.
Pénétrant dans le jardin, le visiteur sera d’abord confronté à une atmosphère minérale. Plusieurs chemins parallèles se présenteront à lui, séparés par des voiles blancs qui joueront avec la perception en dévoilant ponctuellement la végétation. Imitant le phénomène naturel de la croissance, végétation et voilages gagneront en hauteur au fil du parcours.

Une fois atteinte la limite intérieure du jardin, le visiteur aura finalement un point de vue élargi, dans la chambre tropicale. La végétation y grandira jusqu’à devenir physiquement inaccessible. Une atmosphère brumeuse sera obtenue grâce à un système d’humidification spectaculaire.
Trois plateformes reliées par des escaliers permettront de dépasser les voilages et d’atteindre la cîme des arbres, créant alors une proximité avec le végétal. Depuis l’extérieur, les têtes des visiteurs, comme émergeant d’un nuage, viendront surplomber le maillage de voiles.
Le franchissement du parc implique le passage d’une atmosphère artificielle, régulée par les voiles translucides, à une atmosphère plus naturelle. Dans ce parcours paysager, qui impose sa logique, le visiteur demeure cependant libre de cheminer à son gré.
Le paysage résulte ainsi d’un écosystème dans lequel chaque élément contribue à l’ensemble, de façon cyclique.

L’écologie

L’écosystème évolue jusqu’à un état théorique d’accomplissement, le climax. Cette phase, correspondant au niveau maximal de développement, est la plus stable : énergie et ressources maintiennent activement cet état d’achèvement, l’équilibre est dynamique.
Pour un endroit donné a lieu une progression écologique donnée, qui consiste en une série d’étapes. Ces étapes sont contraintes par un ordre fonctionnel et décrivent un cycle évolutif complet dans l’espace et dans le temps.
Le développement de l’écosystème passe par des étapes dites d’innovation, qui sont transitoires et donc instables, puis par des étapes de climax ou de para-clinax, qui sont celles de la stabilité et de l’achèvement du système. Dans la nature, le cycle, après une phase de climax, finit toujours par être victime d’une perturbation externe modifiant l’écosystème et le ramenant à un état premier d’innovation.

More info on

http://www.chla.com.cn/htm/2014/0801/215579.html

From the - Announcement for Creative Garden Award-winning Design Schemes The 10th China (Wuhan) International Garden Expo - 

Over 900 designers from over 30 countries and regions had signed up for this design competition.

Alessandro delli Ponti and Camille Alwan are presenting 
Mannheim’s Connection at the European Forum 2014
——————
BERLIN - Akademie der Kunste
—
4th July 2014

Alessandro delli Ponti and Camille Alwan are presenting 

Mannheim’s Connection at the European Forum 2014

——————

BERLIN - Akademie der Kunste

4th July 2014

Alessandro delli Ponti and Camille Alwan are presenting “Mannheim’s Connection” at Europan France conference at CHAILLOT - Cité de l’Architecture et du Patrimoine de Paris. 11.4.2014
-
full program here:
http://www.europanfrance.org/actualites/single/29

Alessandro delli Ponti and Camille Alwan are presenting “Mannheim’s Connection” at Europan France conference at CHAILLOT - Cité de l’Architecture et du Patrimoine de Paris. 11.4.2014

-

full program here:

http://www.europanfrance.org/actualites/single/29

"Mannheim’s Connection" _ A relational Story
First Prize   -   EUROPAN XII                           
Team Leaders : Alessandro delli Ponti - Ilaria Novielli  
Consultants : Camille Alwan, Marc Blume
Collaborators : Clelia Bartolomei, Verdiana Spicciarelli

"Mannheim’s Connection" _ A relational Story

First Prize   -   EUROPAN XII                           

Team Leaders : Alessandro delli Ponti - Ilaria Novielli  

Consultants : Camille Alwan, Marc Blume

Collaborators : Clelia Bartolomei, Verdiana Spicciarelli

AIGP - Atelier International du Grand Paris

Atelier du Grand Paris

Alessandro delli Ponti at the AIGP

Paesaggio Urbano /// DOSSIER SPECIALE  GRAND PARIS III
di Alessandro delli Ponti
                                     Hard and Soft Infrastructures in Grand Paris
                                     Il riduzionismo infrastrutturale alla prova dei fatti.
                                     I casi di La Défense e del Périphérique.

Contiene tre interviste esclusive:
_AIGP (Ateliers Internationales du Grand Paris) _ Bertrand Lemoine, Direttore Generale
_OMA (Office for Metropolitan Architecture) _ OMA’s La Défense
_TVK Architectes Urbanistes_La Métropole du Périphérique
Paesaggio Urbano, 6, 2012    (pag. 55 - 91)

Paesaggio Urbano /// DOSSIER SPECIALE GRAND PARIS III

di Alessandro delli Ponti

                                     Hard and Soft Infrastructures in Grand Paris

                                     Il riduzionismo infrastrutturale alla prova dei fatti.

                                     I casi di La Défense e del Périphérique.


Contiene tre interviste esclusive:

_AIGP (Ateliers Internationales du Grand Paris) _ Bertrand Lemoine, Direttore Generale

_OMA (Office for Metropolitan Architecture) _ OMA’s La Défense

_TVK Architectes Urbanistes_La Métropole du Périphérique

Paesaggio Urbano, 6, 2012    (pag. 55 - 91)


INTERNATIONAL COMPETITION - Un Parco Urbano per Piazza d’Armi
HONORABLE MENTION
————
DESIGN TEAM:
Alessandro delli Ponti  
with  Federico Bernetti, Ferdinand Schmelzer, Marco Teofili, Davide Curatola Soprana, Ilaria Novielli, Paola Corciulo
-
CONSULTANTS:
Maestro Carlo Bernardini (Brera Academy)
Letizia Martinelli (Consultant - Bioclimatic Sustainability) 
Marc Blume (Consultant - Landscape)
-
PUBLICATIONS :
http://www.paisea.com/en/2012/08/urban-park-piazza-darmi-laquila/
http://arqfuture.com/
http://europaconcorsi.com/projects/204347-Parco-Urbano-di-Piazza-d-Armi-L-Aquila


INTERNATIONAL COMPETITION - Un Parco Urbano per Piazza d’Armi

HONORABLE MENTION

————

DESIGN TEAM:

Alessandro delli Ponti  

with  Federico Bernetti, Ferdinand Schmelzer, Marco Teofili, Davide Curatola Soprana, Ilaria Novielli, Paola Corciulo

-

CONSULTANTS:

Maestro Carlo Bernardini (Brera Academy)

Letizia Martinelli (Consultant - Bioclimatic Sustainability) 

Marc Blume (Consultant - Landscape)

-

PUBLICATIONS :

http://www.paisea.com/en/2012/08/urban-park-piazza-darmi-laquila/

http://arqfuture.com/

http://europaconcorsi.com/projects/204347-Parco-Urbano-di-Piazza-d-Armi-L-Aquila


Knowledge-Scapes an Interview with Herman Hertzberger

Alessandro delli Ponti meets Herman Hertzberger (RIBA Golden Medal 2012) in Amsterdam for an informal interview on knowledge spaces, and Spatial Temptation.
LE VISITEUR
n°18,  in October 2012
Knowledge-Scapes an Interview with Herman Hertzberger

Alessandro delli Ponti meets Herman Hertzberger (RIBA Golden Medal 2012) in Amsterdam for an informal interview on knowledge spaces, and Spatial Temptation.

LE VISITEUR

n°18,  in October 2012

GRAND PARIS 
Strategy vs. Impromptu


A Conference of Alessandro delli Ponti
University of Ferrara (IT), Department of Architecture
20.4.2012, 10h00

GRAND PARIS

Strategy vs. Impromptu



A Conference of Alessandro delli Ponti

University of Ferrara (IT), Department of Architecture

20.4.2012, 10h00

EUROPAN 11 _ REIMS
"The Collaborative Landscape"

Alessandro delli Ponti, Camille Alwan, Ilaria Novielli

EUROPAN 11 _ REIMS

"The Collaborative Landscape"


Alessandro delli Ponti, Camille Alwan, Ilaria Novielli

Paesaggio Urbano /// SPECIAL ISSUE  Knowledge Landscapes                   
                                   Notes for an anthro-political approach to architecture and the city 
                                   An interview with HERMAN HERTZBERGER
by Alessandro delli Ponti
Paesaggio Urbano, 1.2012
               -
Knowledge Landscapes and “Interpretativity”,  
 Notes for an Anthro-political approach to Architecture and the City
 “It’s only when the relational is revealed in the absolute space and time of social   and material life that politics starts living!”  Don Mitchell
 
Otterlo 1959, in the last turbulent days of the CIAM, Aldo Van Eyck called for a new way of looking to the space of the city, a way that should not disregard “the semantic universe of dream and soul”.
Those where the days in which the Modern’s Dogmas seemed to be rapidly crumbling, revealing, under the aging mask of the most unwavering certainties a “terrain vague”, that “something of subterranean, between wine and life” evoked by Tristan Tzara in his Parisian DADA (1) days.
Herman Hertzberger has been, since from the early sixties, a protagonist of those heteronomic forces that tried to build a new, alternative path to Modern.
Animated by the programmatic will to surpass the auto-referential certainties of disciplinary autonomy, he has followed an extraordinary personal and professional path, built through the collaboration with Aldo van Eyck, the review Forum, Team X, the debates with Alison and Peter Smithson, the exchanges with De Carlo, Rossi, and the foundation of the Berlage Institute, but most of all, realizing a corpus of buildings that substantiates coherently his peculiar approach to structuralism.
HH, though convinced that practical awareness and realizations are the real playground of architecture, has always cultivated a particular relation with the text of architecture, initially in the form of the pamphlet or of the article, as editor of the review Forum, and, then, offering to a wide public the monographic synthesis of his critical and designed reflections; we must remember his “Lessons of architecture” (Edizioni Laterza), “Articulations” (Prestel), and the recent series published in Holland by 010 Rotterdam, particularly “Space and Learning” (010, Rotterdam, 2009).
The edifice of his lessons is still an open construction site and the recent publications confirm his predilection for the leading theme of his critical reflection, that is to say: the relation between the Project and Knowledge Spatialization (mise en espace).
In this sense, the term Knowledge hands us with some interesting semantic feed-backs.
If in Scholar buildings the term can be seen banally as a system of codified information to be communicated to a given public, the Knowledge Hertzberger refers to has a deeper nature and relates to the development of the spatial-relational awareness of those who live in space.
Van Eyck’s relativistic revolution within the CIAM, and the contextual foundation of Team X, has opened the way for the integration of architecture in a deeper anthropologic structure, following the suggestions of de Saussure and Levi-Strauss.
Herman Hertzberger’s approach originally follows this research path, in the attempt to articulate the primatus of absolute typological spatiality with the revelation of their relational potential.
The Autonomy of Architecture is thus redefined by what HH calls “Spatial Interpretativity”, a notion that gives a leading role to usage and human components rather than focusing exclusively on the object’s tectonics and aleatory functionalism.
 
Interpretativity is thus to be meant as a category synthetising the dialectics between Interzia and Autonomia of spatial values, it’s a principle that illustrates the architects awareness of the “non-univocity” of forms, of their potential misinterpretation and reveals the hope, the project, of a “spatial-tentation” positively opened to the inhabitant’s voluntarism.
In this sense, the buildings for teaching become representative of the way HH looks at Architecture and the City.
The designers attention is not primarly concentrated on the space to be assigned to explicit knowledge and thus to ex cathedra teaching, but rather to that Psicologic Landscape (Focillon), the maieutic Structure, linking inhabitant to inhabitant, intellect to intellect, helping the emergence of a tacit, inter-individual knowledge that stands “between things” and founds the legitimacy of Space in the heart of its communitas.
Revindicating the primatus of the relational on the quantitative might appear as a neuter and “ecumenical” operation, but it actually reveals all its strength when we read in these terms the continuity between Hertzberger’s vision of architecture and of the city, transposing his projectual, architectural reflections on the condition of contemporary urbanity.
The distinction between the absolute, the relative and the relational conception of urban space proposed by Henri Lefevre and David Harvey, becomes thus a useful epistemic instrument to understand, at a urban scale, what HH demonstrates in his architecture.
If the in-between, the space between things and people, emerges as the founding dimension of the project, we must notice that this relational principle is conceived through the design’s spatial concreteness, in the Architects material and technical choices.
Techné becomes charged with profound social values and with a specific relational potential.
In this sense, to give a concrete example, different from those which will follow in the interview, we can associate the pauperistic choice of materials in HH’s projects of the sixties and seventies to Lina Bo Bardi’s approach (they’ve been cooperating on various workshops); in both these masters’ attitude, the materials-technical choice is not reducible to an artistic issue (Eduardo Subirats) but is rather a condition for an easier reappropriation, both in a practical-phisical sense, than in an imaginative and symbolic one. 
Listening to Hertzberger’s words becomes thus particularly interesting in a moment in which, in Europe, in reason of strategic-political wills of national and over national level, the policies of “culturalization” of the public realm are integrating in a vision of economic instrumentalization all the remaining creative forces (Eco), researching the improbable demonstration of Richard Florida’s paradigma and selling the operation as the construction of the new creative city, ending in the “in series” production of urban scenarios and singularities, ever more similar to review-like archetypes, to historic centres transformed in museums rather than being truly inhabited, exploring all the possible perversions of the originary Guggenheim effect.
What new possibilities are unveiled for the re-interpretation of these urban products? And which lesson can we get from Architecture?
The present crisis, and the wage launched by the necessity to envision a sustainable decreasing development, might demand us to find a new Continuity between Space, Architecture and the society that inhabitants them, a continuity that might leave behind the dictate of normative strings and procedimental “t-ordures” that pack usages in functions and these last in programs reducing the space of the city to a measured list of admissible lives and interpretations.
- Alessandro delli Ponti
Followed by an Interview and the Conclusions

Paesaggio Urbano /// SPECIAL ISSUE  Knowledge Landscapes                   

                                   Notes for an anthro-political approach to architecture and the city 

                                   An interview with HERMAN HERTZBERGER

by Alessandro delli Ponti

Paesaggio Urbano, 1.2012

               -

Knowledge Landscapes and “Interpretativity”, 

 Notes for an Anthro-political approach to Architecture and the City

 “It’s only when the relational is revealed in the absolute space and time of social   and material life that politics starts living!”  Don Mitchell

 

Otterlo 1959, in the last turbulent days of the CIAM, Aldo Van Eyck called for a new way of looking to the space of the city, a way that should not disregard “the semantic universe of dream and soul”.

Those where the days in which the Modern’s Dogmas seemed to be rapidly crumbling, revealing, under the aging mask of the most unwavering certainties a “terrain vague”, that “something of subterranean, between wine and life” evoked by Tristan Tzara in his Parisian DADA (1) days.

Herman Hertzberger has been, since from the early sixties, a protagonist of those heteronomic forces that tried to build a new, alternative path to Modern.

Animated by the programmatic will to surpass the auto-referential certainties of disciplinary autonomy, he has followed an extraordinary personal and professional path, built through the collaboration with Aldo van Eyck, the review Forum, Team X, the debates with Alison and Peter Smithson, the exchanges with De Carlo, Rossi, and the foundation of the Berlage Institute, but most of all, realizing a corpus of buildings that substantiates coherently his peculiar approach to structuralism.

HH, though convinced that practical awareness and realizations are the real playground of architecture, has always cultivated a particular relation with the text of architecture, initially in the form of the pamphlet or of the article, as editor of the review Forum, and, then, offering to a wide public the monographic synthesis of his critical and designed reflections; we must remember his “Lessons of architecture” (Edizioni Laterza), “Articulations” (Prestel), and the recent series published in Holland by 010 Rotterdam, particularly “Space and Learning” (010, Rotterdam, 2009).

The edifice of his lessons is still an open construction site and the recent publications confirm his predilection for the leading theme of his critical reflection, that is to say: the relation between the Project and Knowledge Spatialization (mise en espace).

In this sense, the term Knowledge hands us with some interesting semantic feed-backs.

If in Scholar buildings the term can be seen banally as a system of codified information to be communicated to a given public, the Knowledge Hertzberger refers to has a deeper nature and relates to the development of the spatial-relational awareness of those who live in space.

Van Eyck’s relativistic revolution within the CIAM, and the contextual foundation of Team X, has opened the way for the integration of architecture in a deeper anthropologic structure, following the suggestions of de Saussure and Levi-Strauss.

Herman Hertzberger’s approach originally follows this research path, in the attempt to articulate the primatus of absolute typological spatiality with the revelation of their relational potential.

The Autonomy of Architecture is thus redefined by what HH calls “Spatial Interpretativity”, a notion that gives a leading role to usage and human components rather than focusing exclusively on the object’s tectonics and aleatory functionalism.

 

Interpretativity is thus to be meant as a category synthetising the dialectics between Interzia and Autonomia of spatial values, it’s a principle that illustrates the architects awareness of the “non-univocity” of forms, of their potential misinterpretation and reveals the hope, the project, of a “spatial-tentation” positively opened to the inhabitant’s voluntarism.

In this sense, the buildings for teaching become representative of the way HH looks at Architecture and the City.

The designers attention is not primarly concentrated on the space to be assigned to explicit knowledge and thus to ex cathedra teaching, but rather to that Psicologic Landscape (Focillon), the maieutic Structure, linking inhabitant to inhabitant, intellect to intellect, helping the emergence of a tacit, inter-individual knowledge that stands “between things” and founds the legitimacy of Space in the heart of its communitas.

Revindicating the primatus of the relational on the quantitative might appear as a neuter and “ecumenical” operation, but it actually reveals all its strength when we read in these terms the continuity between Hertzberger’s vision of architecture and of the city, transposing his projectual, architectural reflections on the condition of contemporary urbanity.

The distinction between the absolute, the relative and the relational conception of urban space proposed by Henri Lefevre and David Harvey, becomes thus a useful epistemic instrument to understand, at a urban scale, what HH demonstrates in his architecture.

If the in-between, the space between things and people, emerges as the founding dimension of the project, we must notice that this relational principle is conceived through the design’s spatial concreteness, in the Architects material and technical choices.

Techné becomes charged with profound social values and with a specific relational potential.

In this sense, to give a concrete example, different from those which will follow in the interview, we can associate the pauperistic choice of materials in HH’s projects of the sixties and seventies to Lina Bo Bardi’s approach (they’ve been cooperating on various workshops); in both these masters’ attitude, the materials-technical choice is not reducible to an artistic issue (Eduardo Subirats) but is rather a condition for an easier reappropriation, both in a practical-phisical sense, than in an imaginative and symbolic one.

Listening to Hertzberger’s words becomes thus particularly interesting in a moment in which, in Europe, in reason of strategic-political wills of national and over national level, the policies of “culturalization” of the public realm are integrating in a vision of economic instrumentalization all the remaining creative forces (Eco), researching the improbable demonstration of Richard Florida’s paradigma and selling the operation as the construction of the new creative city, ending in the “in series” production of urban scenarios and singularities, ever more similar to review-like archetypes, to historic centres transformed in museums rather than being truly inhabited, exploring all the possible perversions of the originary Guggenheim effect.

What new possibilities are unveiled for the re-interpretation of these urban products? And which lesson can we get from Architecture?

The present crisis, and the wage launched by the necessity to envision a sustainable decreasing development, might demand us to find a new Continuity between Space, Architecture and the society that inhabitants them, a continuity that might leave behind the dictate of normative strings and procedimental “t-ordures” that pack usages in functions and these last in programs reducing the space of the city to a measured list of admissible lives and interpretations.

- Alessandro delli Ponti

Followed by an Interview and the Conclusions

THE  POSSIBILITY OF AN ISLAND
Notes for a Trans/National_Inter/Continental Mediterranean Capital City
 
Lampedusa is a spot geography in the geo-political barycentre of the Mediterranean Sea. It is an Italian island, 3 km large and 13 km long, with a permanent population of 6.340 units.
The CPT (centre for temporary migrants’ stay) is a 3000 mq militarised space in Lampedusa.
 
The CPT, for Italy’s spatial standards, could host 190 people.
 
The migration fluxes touching Lampedusa, in times of international crises (such that of the Nato-Libian war) is of 200.000 units, and promises to augment its charge in the future.
 
At the present moment, the CPT of Lampedusa is de-facto the     European Port for African Migration, the closest to both continents, the less controlled, a possible gateway to a declared or  undeclared life in Italy, Germany, Austria, France, Switzerland, England, Belgium or the Nederland, for many people escaping from thirst, hunger, wars and despair in its many forms. 
 
Lampedusa is now days, as a whole, a communitarian space, a “natural-right” geography, a 20 square Km hosting centre, and it’s local  population becomes directly implicated in the hosting process, the hosting process becomes a human-relational topic rather than a matter of absolute-space with a logistic-military problem to be solved. 
 
In cases of “human” overcharge, the administrative boundary is displaced up to the Franco-Italian or Italo-German frontier, and physical limits are transformed in burocratical concerns, the bio-political perspective is reaffirmed, the reflection scale becomes larger, the locus of migration management becomes secreted and bilateral, the single human unit is reduced to a number and to an obliged logistic path.
 
We state that Lampedusa can become the locus of the evolution from National-Militarism to International Cooperation !
Lampedusa can become a Shared Spatial Palimpsest between European Union and African Union.
Its Geography should be read as an Hyper-Public Space, a real Public Geography.
The Shared Palimpsest of the Relational Potential between distant languages, territories and distant law systems.
People will meet in the Geographical Infrastructure and maybe build a new cultural approach to trans-national integration.
 
This new capital-city needs a new and different grid-approach, an adaptative and infra-structural one, more Geo and less Graphical.
Grids are dimensionally determined, but its contents is a shared balance between functional nation driven units and local territorial topology, free of access for all.
Administrative Migration Management looses sense as well as Traditional “Administrative” Architecture. 
 
The collaborative Landscape is the spatial basis for trans-national work policies that help people from different nations decide to move elsewhere in reason of a demand offer you they’ll meet in Lampedusa.

THE  POSSIBILITY OF AN ISLAND

Notes for a Trans/National_Inter/Continental Mediterranean Capital City

 

Lampedusa is a spot geography in the geo-political barycentre of the Mediterranean Sea. It is an Italian island, 3 km large and 13 km long, with a permanent population of 6.340 units.

The CPT (centre for temporary migrants’ stay) is a 3000 mq militarised space in Lampedusa.

 

The CPT, for Italy’s spatial standards, could host 190 people.

 

The migration fluxes touching Lampedusa, in times of international crises (such that of the Nato-Libian war) is of 200.000 units, and promises to augment its charge in the future.

 

At the present moment, the CPT of Lampedusa is de-facto the     European Port for African Migration, the closest to both continents, the less controlled, a possible gateway to a declared or  undeclared life in Italy, Germany, Austria, France, Switzerland, England, Belgium or the Nederland, for many people escaping from thirst, hunger, wars and despair in its many forms.

 

Lampedusa is now days, as a whole, a communitarian space, a “natural-right” geography, a 20 square Km hosting centre, and it’s local  population becomes directly implicated in the hosting process, the hosting process becomes a human-relational topic rather than a matter of absolute-space with a logistic-military problem to be solved.

 

In cases of “human” overcharge, the administrative boundary is displaced up to the Franco-Italian or Italo-German frontier, and physical limits are transformed in burocratical concerns, the bio-political perspective is reaffirmed, the reflection scale becomes larger, the locus of migration management becomes secreted and bilateral, the single human unit is reduced to a number and to an obliged logistic path.

 

We state that Lampedusa can become the locus of the evolution from National-Militarism to International Cooperation !

Lampedusa can become a Shared Spatial Palimpsest between European Union and African Union.

Its Geography should be read as an Hyper-Public Space, a real Public Geography.

The Shared Palimpsest of the Relational Potential between distant languages, territories and distant law systems.

People will meet in the Geographical Infrastructure and maybe build a new cultural approach to trans-national integration.

 

This new capital-city needs a new and different grid-approach, an adaptative and infra-structural one, more Geo and less Graphical.

Grids are dimensionally determined, but its contents is a shared balance between functional nation driven units and local territorial topology, free of access for all.

Administrative Migration Management looses sense as well as Traditional “Administrative” Architecture.

 

The collaborative Landscape is the spatial basis for trans-national work policies that help people from different nations decide to move elsewhere in reason of a demand offer you they’ll meet in Lampedusa.

About:

info@khstudio.org



Architecture, Landscape, Urban Design, Events and Strange Ideas called Theory.

KH_STUDIO is a cross-disciplinar group of young European Professionals deeply interested in new collaborations and ideas exchanges.
It is a flexible and evolutive meeting point invented and nurtured, since 2010, by Alessandro delli Ponti, Davide Curatola Soprana and Marco Teofili.
Its phisical foundations are set in Rome and Paris.
In 2013 Camille Alwan, architect and urban designer integrated the Parisian unit of KH.

Old and new friends are welcomed to start a new adventure together !

Following:

IFC
***
WWF