The request for the bidding process for a shared rescue of “artesella” requires a concept as strong as the wrath of the wind that has offended her to death. For this reason, we have suggested evocative symbols that we believe are capable of answering the question: what is the key to understanding a relationship with the landscape?
We have chosen to insert the new buildings in a functional way to practice. Avoiding strong camouflaging, avoiding deep subsidence, avoiding entering the wood, but next to this.
The new architectural objects are arranged to admit some connection points to administer the landing with discretion. The plants in some sections become part of the architecture; the architectures from the interior open in search of the company of wood, they turn into wood.
The MUSEUM is expressed through a volume that interprets a piece of torn wood found in the place; when the tree falls, it divides and the wound can deepen to the point of ruining the heart.
A square trunk that rests on the ground to define a bridge with the mountain.
The exhibition concept is delegated to a slightly uphill path that inhabits the void of the pavilion where, in suspension, fragments objects, such as photos, films, sounds, relates the episode according to an evocative and at the same time educational project.
The ground floor inclined, in continuity with the exterior, almost an extension, is of clay; it is the only support plan.
In the center, “the soul” of the spruce puts the harmonic box in tension, it is the place where to strike the wood mass where you can still feel its vital resonance.
Part of the direction is left to light and darkness; in this specific case, light rains from above.
The bark with a ventilated wall function protects the enclosure and contains all systems.
The gesture of construction is translated with the violent fracture of the volume of the building, violated in its geometric rigor, it is joined again by hinges: an ambiguous machine to define grafts with the external and internal space, with light and darkness.
Breaking the object means, therefore, freeing ourselves from significant formal structures and recovering critical capacity towards the practices that concern us as active subjects, as inhabitants of the common goods. The two main access doors impose a tension towards the truth of work: doors that connect worlds, doors that allow us to focus our attention on space; the participation and exchange of users of Artesella friends comes into play.
The project stops being the solution of a problem or the exit to a “new museum”, but it becomes a reflection on its deeper meaning, almost a form of self-consciousness.
3 ATELIERS with different types for different uses and people, arranged here and there in the “furrow”, along the way there are forms made of thick wooden structures capable of creating safe reinforcements, where the transparent curtain is entrusted to the structural glass walls. The intermediate layer of the double glazing contains the secret of a window that, as desired, the inhabitant can open to the landscape, move to the point where his ego accompanies the scene and light. The way in which Habitat teams can be organized at will, will be able to choose the most suitable landscape for their sensation with the gesture. This window is the invention that is given to Arte Sella.
The idea of free space and availability, provides furniture with wheels to allow its use at discretion, as necessary.
Therefore, the inhabitant can establish a connection with the outside; dose the light and darkness to the right size and become a true icon of uniqueness.
Defending diversity by addressing the definition of free is the concept of these spaces.
All the accommodations, in the structure, find a point from which they gradually become a separate sign, a graft to the forest and the wall becomes a tree, becomes a paesagg-io (landscape).
A housing called “bridge” is high, it is designed to work in a vertical space and is equipped for vertical movements with lathes, ropes and jetties, closed on two sides by thick wooden walls. A second beyond the “stony furrow” functional mediator between the mountain and the valley, called “chinrest”, is hooked with a deep blow on the wall, it is made to receive in an interstice, an anfract where the mountain rises; it is a horizontal space that opens on the south side. The third, “scroll”, where as “tuning pegs”, new trees join the entrance, a space in search of a vacuum and its window, window or reading key?