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Periodicomensile/Spedizioneina

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lediMilano

856

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2003

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Outside Italy

You can subscribeto domus usingthe card oppositeor telephone+39 0282472276

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45 hotel allinsegnadel design per vacanzedavvero esclusive:Herbert Ypma ridefinisce icanoni dellospitalittradizionale in un volumeda collezione.256 pagine,527 illustrazioni39.000 lire

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Due facce

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24 Domus Febbraio February 2003

Klein e Dytham, due architetti

europei che lavorano a Tokyo, sonospecializzati in progetti pi vicinial design che allarchitetturaconvenzionale. Hanno firmato alcuneinstallazioni di piccole dimensioni madi grande impatto, studiate per ilfrenetico contesto giapponese, cheesplorano con arguzia e sofisticatetecnologie le vaste possibilitdellinterazione e dellinformationtechnology. Linstallazione per la sededella Bloomberg a Tokyo (a lato) unelegante raffinamento della loroattivit. Klein e Dytham sono peranche architetti, e non tutto ilGiappone ha laspetto del set di Blade

Runner: lo dimostra, con eleganteeconomia di mezzi, la casa sul marerecentemente completata. Sospesa susottili colonne per sfruttare al massimoun sito in ripida pendenza, lacostruzione gode di spettacolari vistesul mare e sul paesaggio circostante.Two sides of Japan

Klein Dytham is a practice establishedby two European architects working inTokyo. They have specialised inprojects that are closer to design thanconventional architecture, in particulara series of small scale, attentiongrabbing installations geared to thefrenetic Japanese context that have

explored with wit and technicalsophistication the possibilities ofinteractivity and informationtechnology. Their new installation forBloombergs Tokyo office, facingpage, is an elegant refinement of thisstrand in their work. But they arearchitects too, and not all Japan lookslike a set from Blade Runner, as thesea front house they have recentlycompleted demonstrates withdelicacy and an elegant economy ofmeans. Its cantilevered on stilts tomake the most of a steep sloping site,and capitalise on the spectacularviews over water and the landscape.

del Giappone

mon

itor

La vetratura da

pavimento a soffitto si

adatta allambiente

grazie alluso di pannelli

a maglia di rete

Floor to ceiling glazing is

made environmentally

possible by the use of

sliding mesh screens

Fotografiadi/PhotographybyKatsuhisa

Kida

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26 Domus Febbraio February 2003

Gli spazi Maharam

somigliano pi a gallerie

darte che al tipico

showroom

Maharam spaces look

more like art galleries

than conventional

showrooms

Fotografiadi/PhotographybyChristophKicnerer

Museoi t

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28 Domus Febbraio February 2003

Il nuovo museo dellUniversit dello

Utah, progettato da Jorge Silvetti eRodolfo Machado e costruito aimargini di Salt Lake City, occupa unposto privilegiato, alla fine della zonapedonale che fa da asse principale alcampus. Nel progetto abbiamotenuto in grande considerazionequesto dato, e provato a sfruttare lecaratteristiche della sua posizione dioggetto libero, che si staglia contro lemontagne. Machado e Silvetti, cheuniscono la pratica allinsegnamentoad Harvard, conferiscono al progetto,aggiudicato per concorso, unaraffinatezza rara nellarchitetturacontemporanea americana, segnata

oggi da unindustria ediliziadequalificata e dipendente dal gestoformale. Machado e Silvetti offrono alcontesto e allambiente naturale unarisposta modellata con gentilezza ecomposta con cura.The Museum in the mountains

Jorge Silvetti and Rodolfo Machadosnew museum for the University ofUtah on the edge of Salt Lake Cityoccupies a privileged position, at thehead of the central mall that forms themain axis of the campus. Weacknowleged this in the design, andtried to exploit its unique position as afreestanding object against the back

drop of the mountains. Machado andSilvetti, who combine teaching atHarvard with architectural practice,give their work a delicacy and refinedquality that is rare in contemporary

American architecture with itsdomination by a deskilled buildingindustry and its dependence on thegesture. The Utah museum, a projectthat they won through competition, isat the opposite pole from that kind ofarchitecture. They have opted insteadfor a gently modelled, carefullycomposed response to the contextand the natural setting.

in montagna

Una delicata tavolozza

di colori sottolineala composizione di

Machado e Silvetti

A subtle palette of

colours accentuates

Machado and Silvettis

composition

m

onitor

Fotografiadi/PhotographybyMichaelMo

ran

Tessere il metallo

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30 Domus Febbraio February 2003

Larchitettura di Dominique Perrault

una curiosa, paradossale mistura dimonumentale ed effimero, i suoi edificisono ridotti virtualmente a nulla:trasparenze e stratificazioni danno lorola qualit evanescente di una bolla disapone. Dal 1989, quando si aggiudicato il concorso per la TrsGrande Bibliothque a Parigi, Perraultha cercato di ottenere questi effetti sularga scala, introducendo inarchitettura lambiguit del tessuto nelvelare e svelare un corpo o unastruttura. Impiegando tecniche emateriali inconsueti, ha finalmentetrovato unazienda tessile tedesca:la GKN, nata per produrre filtri per

industria chimica, un settore dovelestetica irrilevante. Con Perrault,tuttavia, essa si addentrata nei nuoviterritori dellarchitettura.

Weaving in metal

Dominique Perraults architecture isa curious and paradoxical mixture ofthe monumental and the ephemeral.He reduces his buildings to virtuallynothing, the simplest possible forms,concentrating on transparencies andlayering that gives them the almostvanishing quality of a soap bubble.Ever since he won the competition todesign Pariss new national library in1989 he has explored ways of

achieving this immaterial effect on alarge scale. He looked for ways tointroduce the ambiguity of fabric intoarchitecture, and the way that it canboth veil and reveal a body orstructure. To do it in a practical way,he looked to make use of unfamiliartechniques and materials and found aGerman metal weaving company,GKN to do it. GKNs expertise was inmaking products to which aestheticconcerns were completely irrelevant:they made filters for the chemicalindustry. But with Perrault they haveembarked on the new territory ofarchitecture.

La proposta presentata

da Perrault al concorso

per la costruzione del

nuovo museo Pinault a

Parigi (sotto) prevede di

avvolgere lintera

struttura in un velo a

maglia di rete, usando

varianti dei tessuti

metallici, visibili in alto

Perraults submission for

the competition to build

the Pinault museum in

Paris, below, would have

wrapped the entire

structure in a mesh veil,

using variants on the

metal fabrics above

Fotografiadi/PhotographybyChristophKic

herer

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A new heart forMelbourne

Fotografia di/Photography byJohn Gollings

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64 Domus Febbraio February 2003

Sotto le alte torri del centro finanziario

di Melbourne, Federation Square

rappresenta un momento di respiro,

uno spazio aperto nel cuore della citt

al di sopra dei binari della ferrovia

Under the gaze of the high-rise towers

of Melbournes financial district,

Federation Square is an injection of

open space into the centre of the city

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66 Domus Febbraio February 2003

In Federation Square sono

raggruppate istituzioni culturali,

come, per esempio, il Centro

Australiano per lImmagine in

Movimento (a destra), e spazi di uso

pubblico, sia interni che a cielo aperto

Federation Square combines cultural

institutions such the AustralianCentre for the Moving Image, right,

with public space, both indoors

and out

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La struttura reticolare in vetro e acciaio

crea dei giochi dombra geometrici sulla

facciata della Galleria Nazionale dello

Stato di Victoria

The glass and steel reticular structure

creates a geometric pattern of light and

shade on the front of the National

Gallery of Victoria

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Cosafarediun

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fare diunparco

Sulla scia della fama di Enric Mirallescome inventore di spazi pubblici perBarcellona, il Parco dei Colori (postumo)conferma la sua grande energiacreativa e la fede nella collaborazionecon le comunit urbane.

Testo di Pernilla MagnussonEnric Miralles new park on the edgeof Barcelona, completed posthumously,is a reminder of his creative energyand his determination to work withlocal communities.Text by Pernilla MagnussonFotografia di/Photography byDuccio Malagamba

A newkind ofpark

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e tutti egualmente importanti. unpaesaggio sociale in cui lassenzadi gerarchie consente il determinarsidi situazioni nuove e di nuoverelazioni, che riflettono la sua naturae le sue finalit di interventosquisitamente urbano.

A newkind of park

La vegetazione

distribuita in blocchi

compatti, adatti a

reggere il confronto con il

duro contesto urbano

Vegetation is grouped in

compact blocks, forceful

enough to stand up to the

tough urban context

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80 Domus Febbraio February 2003

A new kind of park

Spains vote-hungry local politicianshave been unanimous in theirenthusiasm for using urban

regeneration as a means of self-promotion, and they haveopportunistically gone about securingthe maximum subsidies for their citiesfrom Madrid and Brussels. The recipeis the same from Barcelona and Bilbaoto Valencia and Santiago deCompostela. But it is the size of thecity that ultimately determines thescale of the intervention, and thequalities of specific commissions areshaped by the individual judgementsof local communities. Havingpreviously worked successfully on theurban edge, the late Enric Miralles andhis partner Benedetta Tagliabue were

commissioned in 1994 for one suchregeneration project, the upgrade of aperipheral slice of Mollet del Valls, anot very appetizing dormitory town inthe industrial belt of Barcelona, tenkilometres northeast of the Catalancapital. The result, which took sevenyears to realize, is the Park of Colours.I want to make a park that people caneat, Miralles is said to have exclaimedwith his typical passionate enthusiasmduring the design process. Whetherthis comment is anecdotal or not,some of the first-draft sketches of theproject show a figurative map ofdifferent everyday situations, playfully

represented as coloured patches thatresemble large fruits. Tagliabue, co-author of the project, recalls theinfluence of a David Hockney drawingfrom the China series, the artistsnarrative of an imaginary trip.The park in Mollet, which initiallyincluded a building for a communitycentre and a childrens play centre,occupies approximately 10,000square metres, once an expanse ofanonymous land between theresidential areas of Santa Rosa andPlana Lled. The areas lack of anyspecific characteristics demanded a

redefinition of the site; a new set ofurban codes helped transform it froma marginal place into a shared publicrealm capable of meeting the highexpectations of local residents. Theinitial condition of the project, whichexisted more in the ambition of thecommunity than in the actuality of thesite, was treated as a notion of social

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82 Domus Febbraio February 2003

site, was treated as a notion of sociallandscape a recombination of newtopography to create a meeting placeand stage for public activities.

Although the Park of Colours offersvarious approaches, depending on thepoint of arrival, the overall experienceis of entering a dreamlike space.Whether entering from the west,gradually descending into the parkthrough its layered surfaces, or fromthe east, discovering the park little bylittle through the trees, your steps areguided by the frozen landscape. Thisartificial topography lifts the area oncedestined for the community centre inthe northwest corner of the site above ground, setting up ameandering path around the park anddefining spaces for activities or rest

along the way. Halfway around theborder, the vista widens to a balconybefore turning into a wide accessramp to the park. From this point, witha garden unfolding beneath you, thefamiliar childish invitation shall weplay? irresistibly suggests itself.Immediately below, a flight of stepsclimbs the air above the multicolouredfloor of the outdoor theatre. Screenson pillars designed to resemble graffitistrokes, as if the graffiti was the onlypart left of an eroded wall, circlearound the theatre before marching offinto the park. The light siftingdelicately through the screens,creating varying zones of sun andshade, redefines the zones of activityaccording to the hour of the day or thetime of year.With the cemetery at Igualada,Miralles had been experimenting withwhat he described as the way thatdifferent conditions of time can beexpressed by form. Just as in thecemetery, the radical geometry of thePark of Colours gives you a sensationof moving through timeless space.This interrelation between differentMiralles projects, a literal translation ofinformation from one plan to another,

Piastrelle di ceramica

rivestono le vasche

dacqua e le fontane che

in estate contribuiscono

ad alleviare la calura.

Nella pagina a lato:

lilluminazione risolta

con lampade che

sembrano alberi

Ceramic tiles mark out

pools and fountains that

alleviate the summer

heat. Opposite page:

lighting units are treated

as artificial trees

puts the design into a wider context.The park is an authentic display ofdifferent time shapes, of variednotions of the passage of time, mostingeniously resolved in the idea of aplace where it rains every morning,evoked by the traces of water left bythe discontinuous spurts of thefountains. Their rounded shells,

Pannelli in cemento

traforato, sospesi su esili

pilastri, compongono una

schermatura in alcune

zone del parco

Perforated cement

panels, hung from

slender pillars, form

screens in some parts of

the park

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84 Domus Febbraio February 2003

covered with blue ceramic, glitterthrough the trees like small pools ofpetrified water.

Poetic allusions to the notion of timeare refreshingly contrasted with thedeliberate clumsiness of the urbanfurniture. In the same way that thememory of a beautiful dream orunforgettable voyage gets its beautyfrom the passage of events, the parksscenery is not appealing because ofthe physical appearance of individualobjects. The design provokes you toengage with the sense of scale in aplayful game of details, alternatelymaking you feel too small, danglingyour feet above the ground whileseated on one of the benches, or toobig, coming up too close to one of the

sturdy, gnome-like lampposts.Throughout the park, the vegetation istreated as a structural element.Grouped by species, the trees likesmall artificial forests contribute tothe functional divisions of the park:mulberries align the childrensplayground up on the balcony, willowssurround the fountains down belowand eucalyptuses pair up along theperimeter.

As in the work of Antoni Gaud orJos Maria Jujol, the semanticcontamination between the natural(vegetation) and the artificial (furniture)combines to create a fantasyland,which at times gets a bit tiresome. Itsa dream, but whose dream? In thecase of the Park of Colours, Mirallesinsisted on the important role that hiscontinuous dialogue with theneighbourhood had on the evolution ofthe project. The festive character ofthe place is derived from its socialtopography. Its a way of overcomingthe deficiencies in the original site tomeet the desires of a place ofencounter.I visited the park at its opening, awarm, dark night in July when it wasfull of people enjoying Fura dels

p

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La festafinita

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finitaCome e perch laTransavanguardia hacambiato larte italiana,secondo StefanoCasciani

Stefano Cascianiconsiders how andwhy Transavanguardiachanged Italian art

Fotografie di/Photography bySalvatore Licitra

Thepartysover

Mimmo Paladino ritratto nel suo

studio di Milano nel 1983: lopera cui

sta lavorando stata trasformata in

un altro quadro

Mimmo Paladino portrayed in his

Milan studio in 1983. The work he is

doing has been transformed into

another painting

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