Venice city vision

New york city theater

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Ny City Theater

Università IUAV Venezia A.A 2010-2011

Progettazione sostenibile del territorio

Prof. Giuseppe Longhi

con: arch. Anna Omodeo, arch. Andrea PennisiValue of Differences Creative Network

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5

COMPETITION PROPOSAL

COURSE PRESENTATION

LEARNING RESOURCES

NY City Planning & Designs

Design ModelsHY Municipal RezoningHY Development CoorporationsHY Planning SimulationsHY Connection with Central ParkTrans Hudson Rail Tunnel FluxesTrans Hudson Rail Tunnel sectionsNew Penn Stations:Hurson RIver ParkHigh Line

Metabolic ModelsMetabolismFood PrintThe Secret GardenNY Steady State

Generative ModelsGenerator Cedric PriceFun Palace Cedric Price

Temporary TheaterIl teatro del Mondo Aldo RossiInflatable TheaterBiotic Structure

The Savill Building, Windsor Great ParkFablab House IACCThe Cloud MIT

STUDENTS PROPOSALS

Tools and StrategiesMetabolic Flows Social DynamicsCreativity DynamicsSmart ResourcesBuilt EnvironmentGovernance Network

Space & Theater DynamicsFirst Sketch DesignSpace Matrix OpportunityTheater EvolutionsTheater ActivitySpace Theater RelationshipsSpace Theater TransformationsSustainable Design StrategySustainable Energy Target

Final DesignYou are the TheaterImport-Export 2.0Flexibility3

Ecoeffective CityTreeaterUP. on StageCreative SprawlCultural Ecology

Archmedium

Giuseppe Longhi

Anna OmodeoAndrea Pennisi

M. Artico, A. Cumerlato A. Balugani, A. Braggion, M. Michieli, L. Miotti, L. Savioli, M. TenaceA. Balugani, A. Braggion, M. Michieli, L. Miotti, L. Savioli, M. TenaceC.Faccio, A. Feliciotti, G. Formentin, M. GattiC.Faccio, A. Feliciotti, G. Formentin, M. GattiN. Collazuol, A. De Sisti, D. Macor

Arch. Andrea PennisiM. Artico, A. CumerlatoG. Asmundo, N. Aveni, C. Corubolo, L. Durighello, V. Lampariello, F. SalvaraniL. Nicoletto, D. Maiullari, E. Paladin, A. VenerusL. Mattioli, S. Merlo, G. Stella, G. PantaniL. Mattioli, S. Merlo, G. Stella, G. PantaniG. Asmundo, N. Aveni, C. Corubolo, L. Durighello, V: Lampariello, F. SalvaraniG. Asmundo, N. Aveni, C. Corubolo, L. Durighello, V: Lampariello, F. Salvarani

G. Asmundo, N. Aveni, C. Corubolo, L. Durighello, V: Lampariello, F. SalvaraniA. Balugani, A. Braggion, M. Michieli, L. Miotti, L. Savioli, M. TenaceM. Artico, A. CumerlatoN. Collazuol, A. De Sisti, D. MacorL. Mattioli, S. Merlo, G. Stella, G. PantaniL. Nicoletto, D. Maiullari, E. Paladin, A. VenerusC.Faccio, A. Feliciotti, G. Formentin, M. GattiM. Caneve, M. Mascarello, M. Bresolin, A. Donin, A. Favero, L. Lanzi

Index

6

The architets Anna Omodeo and Andrea Pennisi are course tutorsand editors of this book.The book is managed thank to the platform “VoD – Value of Differences “.VoD was born in the late ‘80s, thanks to the students Forum promoted by prof. Giuseppe Longhi, to facilitate an interactive dialogue between students, teachers and communities.VoD aims are:- promoting intra-generational equity; - stimulating reflection about creative communication and design;- sharing knowledge and social responsibility;- developping processes of long life education in the field of urban design. Arch. Anna Omodeo is web manager of VoD.Thank to Alice Braggion and Alessandro Carabini for the editing support.

organization

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Programm

The New York Theatre City is fused between architecture

and urbanism between the necessity to offer functional and

quality sites for the activities developed in them, and the duty

of becoming a new space for the city. Because of that, in this

occasion, it will be vital, not only the adequate solution of the

buildings, but their placement and dialogue between themselves,

the city, the river, etc.

Public

• Parks and gardens with public access

• Routes that will allow the user to go in the campus as

well as through it, without any

• difficulty during the urban paths.

• An outdoor area to perform occasionally for 250 people

approximately.

Main room

Reception for the audience

• Entrance Foyer. 200m2

• Box Offices (7 booths) and information centre.

• W.C. services. 40m2

Show room

• Main performance room with a capability for 700 people.

Stage of 12m x 12m. Borders of 6m each side. Rehearsal

space Rehearsal room for musicians with the adequate

acoustical conditions. 250m2

• Acrobatical discipline rehearsal room (min. height: 10m).

700m2.

• 3 rooms for rehearsal of groups between 2 to 6 people.

25m2 each room.

Theatre workers

• 2 individual dressing rooms. 15m2 each.

• 2 group dressing rooms with a capacity of 30 men and

Introduction New York is, without a doubt, one of the main contemporary capitals of the world. The image of the city has arrived to every corner of the earth thanks to important icons such as the Statue of Liberty, the Empire State Building or the Brooklyn Bridge, but also thanks to its people and culture. Soho neighbourhood, Wall Street, and of course, Broadway, amongst others, are known worldwide for different reasons.

Broadway is considered, alongside with London’s West End, as the leading exponent of commercial theatre in the English speaking language. From the end of the XIX century, Broadway turned into the theatrical centre, not only in New York, but in the whole of the United States. The modern musical developed in different phases: from the Show Boat (1927), to the jazz fantasies in the 30s, and the dramatic musicals of the 40s like Oklahoma! (1943), Carousel (1945) and South Pacific (1949).

The first musical that lasted a while was The Elves (1857), with 50 performances. All of them were always behind London’s shows until Laura Keene’s humoristic musical Seven Sisters (1960) broke every record with 253 performances. In 1943 Oklahoma!’s great success reached 2212 performances.

Nowadays, Broadway has become a tourist attraction that brings people from all over the world, and making, according to the Broadway Theatre League, 1020 million dollars, approximately. The digit is just counting the tickets sold during the year between 2009-2010.

It is very hard to find new plays in Broadway’s authentic theatres, and it’s shows are basically based in the British musical theatre and have famous Hollywood stars in the main roles just to captivate the audience.

This fact has made it to become very difficult to find new shows, and as time passes, it gets harder. Theatres don’t see the necessity to look for new plays because Broadway’s touristic effect ensures a full house for as long as they want. A proof of this is The Phantom of the Opera, with its 20 years on Broadway and more than 9000 performances; it is followed by Cats, with more than 7000 performances; Les Miserables with more than 6500; A Chorus Line, with 6000; Oh! Calcuta, 600; Beauty and the Beast, 5400; and an infinite list of successful shows following them.

This monopoly of big productions in the main theatres makes it very difficult for an independent play, or one with a small budget, to be presented in those big stages. That pioneer spirit that distinguished Broadway at the beginning is, thus, lost.

Proposal ArchMedium wants to propose the design of the “New York Theatre City”. It is an urban theatre campus where smaller companies can dispose of rehearsal spaces, and the new spectacles can show themselves to the world offering an always young, new and different cultural activity. At the same time, the campus is intended to turn itself into an incubator for new tendencies and talent, a place where theatres all over the world can go to,

Archmedium proposal

88

30 women. 120m2 each.

• Maintenance and technical area

• Area for the storage of tools and materials. 60m2

• 4 workshop rooms. 50m2 each. Multipurpose workshop

for assembling the stage scene, ecc...

• Technical area for audio and light control. 80m2

Secondary rooms

Reception for the audience

• Entrance Foyer. 200m2

• Box offices (5 booths), and information centre.

• W.C. services. 40m2.

Show rooms

• Secondary show room A with a capacity of 400 people.

• Secondary show room B with a capacity of 300 people.

• Secondary show room C with a capacity of 150 people.

• Stages B and C must have flexibility and must be easy to

re-arrange. Rehearsal area (for the 3 rooms)

• Rehearsal room for musicians with the adequate

acoustical conditions. 140m2

• Acrobatical discipline rehearsal room (min. height: 10m).

500m2.

• 3 rooms for rehearsal of groups between 2 to 6 people.

25m2 each room.

Theatre workers

• 6 group changing rooms with a capacity of 15 men and

15 women. 60m2 each.

• Complex administrative area

• Director’s office (20m2)

• 4 administration offices. 15m2 each.

• Meeting room. 30m2.

Maintenance and technical area

• Area for the storage of tools and materials. 60m2

• 4 workshop rooms. 50m2 each. Multipurpose workshop

for assembling the stage scene, ecc...

• Technical area for audio and light control. 80m2.

to obtain fresh ideas, and, why not, offer that sought job contract that can skyrocket a play to stardom. This time, however, that play will not be a well known company, but the younger ones who fight for a place in the tough world of show business, and who may want to look for their place out of New York, in countries where theatre hasn’t yet become a main entertainment feature, and where the people are anxious to see more dancers, musicians and actors doing their magic on stage.

For New York City, the campus must become a public space, where the citizens can go to and take a walk in an artistic environment out of the crowded Broadway area. They can also go in to one of the multiple rooms the complex has to offer, to be astonished with a new piece of fantasy placed on stage, for a couple of hours.

The plot The plot chosen for the development of the project is an industrial area that has a privileged location within Manhattan, and is waiting for a new project to help it reinvent itself in the city, as neighbour locations have made.

It’s setting is to the west of the island and between the 30th and 33th streets, and 11th and 12th avenues. The plot is located in an area of renovation. Surrounding the area, new high standing residential buildings were made; a few meters to the north, the Jacob Javits Convention Center has been attracting people to the area for years, now; on its west side, the renovation of the sea walk in front of the Hudson river and its docks is practically finished; and in less than a year, the High-Line park will be completed, making this plot precisely where one of its limits end.

Currently the site is used by the railroad company for the cleaning and maintenance of the damaged cars, but over the years has also become a junkyard for disused wagons that lie there deteriorating more and more over time. These facilities probably had an strategic sense as the end of the line of the “High Line” when it was working, but since its closure the proportion of occupied area is too large for the use it receives; so for this exercise we will assume that the activities of the railroad company are focused on the piece of land between the streets 30, 33 and 11 and 10 Avenue.

CharacteristicsEven though the ground itself is plain, its encounter with the surrounding streets is given at different levels, so the sections and level changes will have to be resolved so there is a fluid transition between the city and the campus.The encounter between the 33rd street and 11th avenue is the tallest spot. From here on, both streets descend to the west and south, respectively, until reaching practically ground zero of the land. The 30th street and 12th avenue remain almost plain on the same level in the plot’scontiguous path.

Ideas competition for the creation of “New York Theater City” ArchiMedium Proposal Program

http://en.archmedium.com/Concursos/End_NYTC/Summary.php

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Learning Resources

10

Il corso si propone di fornire gli strumenti teorici per sviluppare, innovare e gestire un processo di progettazione urbana ed architettonica sostenibile, e di sperimentare tali elementi sul campo partecipando al concorso New York City Theater.La parte teorica sottolinea l’importanza di coniugare nel processo progettuale Atomi e Bit (materia e flussi di comunicazione), integrando le tradizionali regole di spazio dell’urbanistica e le classiche ‘misure’ dell’architettura, con la dimensione dell’immateriale e del virtuale. Questa visione dello spazio ‘dilatata’ nell’immateriale rappresenta un fattore importante per una progettazione capace di soddisfare gli obiettivi della sostenibilità, in quanto permette: • di accelerare la dematerializzazione, con la diminuzione di materia nel processo progettuale e l’ottimizzazione del metabolismo delle risorse naturali e sociali;• la sperimentazione di nuovi rapporti di socialità, grazie alle relazioni virtuali possibili con le reti e gli strumenti di TLC ad alta capacità;• la trasformazione morfologica degli spazi, in relazione ai cambiamenti prodotti dai nuovi processi di trattamento della materia e dalle relazioni immateriali.Il principio di sosteniblità, spiegato attraverso la coesistenza di atomi e bit, mette in relazione una molteplicità di elementi sociali, fisici e naturali; questo richiede di superare il sistema di scrittura del progetto lineare, a favore di un sistema di scrittura olistico, collaborativo e creativo, capace di recepire simultaneamente la molteplicità degli apporti ed interagire attraverso feedback.

Tema di progettoI fondamenti della sostenibilità sono sperimentati nello sviluppo di un progetto urbanistico complesso, che prende spunto dal tema del concorso per studenti proposto da Archmedium: “New York City Theater”. Questa opportunità rappresenta per gli studenti la possibilità di connettere i complessi temi della sostenibilità con luoghi, spazi, numeri, possibiltà, persone, ecc..., in un processo di continua sperimentazione.

OrganizzazioneIl corso si propone di organizzare una comunità (studenti, docenti, ecc..) compatta e coerente che affronta i temi dello sviluppo sostenibile in modo interattivo grazie ad una serie di supporti classici (il lavoro frontale delle lezioni e di laboratorio in aula) e telematici-interattivi:• Moodle: http://vod.blogsite.org/vod/index.php?option=com_wrapper&view=wrapper&Itemid=145 postazione di e-learning, che permette la gestione on-line del lavoro, la possibilità di comunicazione del lavoro con il blog;• VoD: http://www.vod.blogsite.org/vod/ una piattaforma multiservizi attrezzata per ia didattica a distanza.

Course presentation

11

NY City Planning

12

design models

Il concorso New York City Theater propone la trasformazione delle aree di proprietà della Hudson Eastern Rail Yard, prossime a Broadway, in campus teatrale dedicato alla sperimantazione. La proposta si inserisce in una parte della città in cui sono pianificate importanti trasformazioni: il rinnovo della Penn Station, il raddoppio del Trans Hudson rail tunnel, di connessione con il New Jersey, l’aumento della biodiversità con la riqualificazione delle rive del fiume Yudson, l’ampliamento del corridoio ecologico verso Central Park. Inoltre nell’area di concorso la municipalità prevede la realizzazione di un distretto finanziario ad altissima densità. Questo intervento sarà gestito dalla società pubblico privata Hudson Yard Development Corporation. Tutti questi elementi hanno portato gli studenti del corso a due riflessioni principali riguardanti: la complessità della città (NYC complexity) e il modello di teatro (Theater Idea):NYC complexity: la città di New York si caratterizza soprattutto per la complessità del suo mix funzionale e l’attrattività che esercita sui flussi globali. Questo sistema caotico è gestito dal NY City Plannig Deparment attraverso il NYCityPLAN, che prevede uno sviluppo armonico malgrado l’alta densità e la complessità delle interazioni tra le forze di sviluppo economico, sociale e politico. La comprensione di questo sistema non è semplice e spesso sfugge a chi non vive la città stessa, pertanto gli studenti hanno cercato di ricostruire gli elementi chiave sopra descritti come premessa alle proposte formali di progetto.Theater Idea: Broadway, simbolo storico del teatro della città di New York, è in crisi per la difficoltà di lanciare nuovi spettacoli di avanguardia. Con queste parole si apre il bando di concorso, ma quando lo stesso enuncia le caratterstiche tecniche del progetto, spazi e funzioni continuano a fare riferimento a linguaggi del passato (sale prove, palco, posti a sedere, servizi, ecc...), senza tenere conto delle nuove potenzialita creative della città e delle modalità innovative d’uso degli spazi anche in relazione alle nuove tecnologie di comunicazione. New York infatti genera infinite possibilità di attrazione grazie all’uso di nuove tecnologie che permettono di comunicare e attrarre idee in tempo reale. L’uso della rete semplifica di molto tutti i livelli di comunicazione e produzione delle idee, dando la possibilità di produrre in ogni parte del mondo e divulgare più spettacoli contemporaneamente ad un numero infinito di persone, che possono essere o non essere fisicamente all’interno dell’Yudson Yard. Il nuovo teatro non sarà quindi deliminato da spazi chiusi, ma sarà un “teatro del mondo” (recuperando idealmente il famoso progetto di Aldo Rossi per la prima Biennale di Architettura) con un alto tasso di interconnessione.Queste riflessioni hanno portato allo sviluppo di un modello olistico di progettazione, capace di sfruttare le potenzialità della complessità e delle opportunità della città, articolato in sei diverse forze guida interconnesse: Social Dynamics, Metabolic Flows, Creative Dynamics, Smart Resources, Governance Network, e Built Enviroment.

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NYCT Driving Forces

TheaterCreativity + Urban Farm

Natulal Enviroment

New KnowledgeOpen Theater

TheaterTollerance + Creativity

The succes of the Braodway’s show has reduced the creative possibiities of theater in NYC. Reduced ability to import new ideas and expressive work in the show focused on the production of classical plays.

The high-income word populations growth the risk of famine. Is needed to change lifestyle and way of producing...• energy production• small foor print• food production

The NYCT OROJECT wants to open - side by Braodway - a new cycle of creativity related to the theater able to offer new jobs to different peope (artist) from other places...• knowledge import• knowledge production• knowledge export

• Biotic Space• Food Productions• Energy Productions

• Ospitatilty• Different Kind of People• Ideas

Formal Spaces Informal Spaces

Phisical Spaces Digital Spaces

Hight Tech Low Tech

The NYCT PROJECT wants to open – near Broadway - a new creative cycle for the theater able to offer new jobs to different peope coming from other places. The theater will import, produce and export new knowledge.

The new theater metabolism will be inspired to increase the area foodprint in a design concept as “closed system”. For this priorities are: - increasing biodiversity;- food auto-production;- no waste; - renewable energy production.

• Biotic Spaces• Food Production• Energy Production

• Hospitality• Different Kind of People• New Ideas

The Broadway’s shows successes has reduced the theater creative chances in NYC. Today needs to import new ideas and expressive work overtaking the shows focused on the production of classical plays.

Natural Environment

14

NYCT Sustainability paradigma Education, Knowledge

interactions

Exchanges

Iperconnectio

ns

City

Stakeholders

Crea

tivi

ty

Smart Resources

Urban Metabolism

HardwareSoftware

WorkGoodsServiceCommunicationsNetworkingResearch

CitizenPubblic organizationsAssociationsEnterpriseCommunities

U-workU-careU-commerceU-entertainmentUsafetyU-learning

Phisical resourcesNatural resourcesClimate changeLandscape, BeautyArt, LeasureWellness, Health

15

NYCT holistic design model

Creative Dynamics

NYC Theater

People involved in the project

Qualities of the peopleCapability to stay connectRelationship

KnowledgeResearchConnectionsTheater hisoryTheater futures

Smart Resourcesu-worku-careu-commerceu-entertainmentu-safetyu-learning

Social DynamicsDemographic trendHuman capitalEquity

Metabolic FlowsEcosystem dynamic,Food chainMetabolic strategyfor the design

Built EnvironmetMunicipal strategyCluster strategyEcosystem servicesand new urban landscapeAtoms&Bit morphologies

Governance NetworkInstitutional structuresInformal structuresOrganizations

Institutional and informal structuresand organizations

Mental Map of institutions involvedin design process

Map of Mangment organizationalmodel

Map of knowledge structuresin manhattan

Map of the institutions connectdwith reserch in the �eld of art an theater

Map of the net in the �eld of art and theater

NYC Waterfront

The new green connectionCentral Park-Penn Stations

The new waterfront rehabilitations

The tunnel and the New Penn Station

The “Theater Area” rehabilitations

16

hudson Municipal Rezoning

17

hudson development corporation

18

hudson Planning Simulations

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hudson Connection with Central Park

20

Trans hudson Rail Tunnel Fluxes

21

Trans hudson Rail Tunnel sections

22

New Penn Station

23

hudson RIver Park

24

high line rehabilitation

25

Metabolic Models

26

Il metabolismo della città di New York è dato dalla combinazione tra metabolismo naturale e quello socio-economico. I flussi di energia, materia ed elementi socio-economici si combinano e attraversano la città (input), poi vengono trasformati in energia utile, strutture fisiche, socialità e rifiuti (output)..La città di New York sul principio del metabolismo sviluppa due progetti FoodPrint e New York Steady State entrambi affrontano il problema della sussistenza alimentare in ralazione della capacità di carico e all’improta ecologica e propongono strategie sostenibili di auto sostentamento.Food PrintNel 1856, GeorgeDodd,uno storico vittoriano, scrisse: “La fornitura di cibo per una grande città è tra i più notevoli dei fenomeni sociali, pieno di istruzioni su tutti i lati.” Il progetto Foodprint hanno confermato la verità di questa dichiarazione, poichè propone di risoprire la propria città utilizzando il cibo come una guida, ne conviene una morfologia ridisegnata atrraverso i sistemi alimentari.. La città diventa autosufficiente per la produzione di cibo e riesce a soddifare i biogni della sua popolazione riducendo il consumo di risorse.I fondatori del Foodprint Project hanno inteso il loro progetto come un’esplorazione dei modi in cui città e cibo si modellano tra loro.Dare da mangiare ad una città (qualsiasi città) è una sfida di design complessa che prevede interazione di diverse discipline scentifiche e ha come risultato finale lo modifa della morfologia della città. Le alternative che sono state costruite negli ultimi venti o trenta anni in tutto il Nord America - sono state costruite con pochi soldi e solo su su base volontaria, del tutto precaria, provengono da esperienze diverse come agricoltura biologica e sono modellati dalle esigenze di una specifica comunità. Quello che FoodPrint popone è un intervento di pianificazione globale della città che coinvolga tutti i livelli di produzione e consumo di cibo.Anche se” molte amministrazioni comunali sono più avanti dei governi statali o nazionali in termini di innovazione dei sistemi alimentari, “ in ogni città l’individuo è ancora indissolubilmente legato a un entroterra agricolo globale che opera su scala molto più vasta e di difficile controllo.New York Steady StateLo Stato (Steady) di New York City è un piano alternativo per New York basato su questa affermazione: è possibile per la città a diventare quasi completamente autosufficiente all’interno dei suoi confini politici? Il nostro progetto presuppone che la chiave per la sostenibilità sia trovata riorientanto drasticamente il modo in cui raccogliamo ed utilizziamo le risorse umane e naturali ponendo la domanda: e se si decide di fare affidamento su ciò che è accessibile nelle vicinanze, all’interno della città stessa? La città è New York, ospita 8 milioni di persone, coprendo un territorio di circa 790 chilometri quadrati. Per attuare questa strategia si è deciso di intervenire su nove elementi di progetto - energia, edilizia, movimento, economia sociale, acqua, cibo, aria, rifiuti, clima, e produzione - ciascuno di essi valuta la storia e lo sviluppo del sistema, la domanda corrente e l’aprovvigionamento di New York City come punto di partenza per reinventare il metabolismo della nostra città. Sarà messo in moto lo sviluppo di una cultura urbana sostenibile attraverso l’introduzione di indicatori dinamici e target da raggiungere.. La timeline per la trasformazione di New York diventa lo strumento di valutazione delle nostre azioni e stesso tempo lo strumento educational di divulgazione.

Metabolism

27

Metabolism

olciciR + osuiR

enoi zi sopnoceD

Riso

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natu

rali

Risorse fisiche

Risorse immateriali

Output

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Sab

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Vege

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Lecc

eta

Can

neti

Sup. impermeabili

Costruito

Rete stradale

Rete Ferroviaria

Sup. Semipermeabili

Rifiuti urbani

Rifiuti industriali

Emissioni

da trasporto

Emissioni

da costruito

Soddisfazionedei cittadini

Tasso di rigenerazione

Servizidell’ecosistema

Prelievo di materia Manipolazione Gnerazione di rifi

uti

R

igen

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28

Food Print

29

The secret Garden

30

NY steady State

31

Generative Model

32

Architecture and Cybernetic: Cedric Price

Fra i grandi interpreti empirici delle nuove opportuntità oerte dalla cibernetica e dall’informatica all’architettura e all’urbanistaca è Cedric Price1, ilquale propone un’architettura dell’improvvisazione, che, grazie alle sollecitazioni degli utenti, è in grado di adattarsi alla costante evoluzione deiprogrammi grazie all’apprendimento, all’anticipazione, alla capacità di adattamento. Le proposte progettuali di Price nascono dalla sua sensibilità alleprofonde trasformazioni sociali e territoriali iniziate nella seconda metà degli anni ’60, che andavano concretizzandosi in profondi processi di deindustrializzazionee disoccupazione. L’esito è la proposta di soluzioni progettuali basate su provvisorietà, improvvisazione e interattività, altamenteadattabili alla volatilità delle condizioni economiche e sociali, rispetto al tempo e allo spazio. Nel tempo dell’incertezza e dell’instabilità, il lavoro di Pricerappresenta un nuovo approccio alla progettazione, basato sul riconoscimento del valore dell’improvvisazione, quindi senza ne nel processo dicostruzione, riassemblaggio, smantellamento.Per far fronte ad una profonda crisi sociale ed economica, gli edici e la progettazione territoriale che egli proponeva erano nalizzati all’aumento delsapere: il suo modello di riferimento era l’organizzazione spontanea del teatro di strada. Dalla combinazione di questi elementi Price trae spunto per laproposta:di edici, ispirati al modello del carroponte, in grado di modicarsi in relazione al variare degli obiettivi e dei programmi degli utenti (il più noto è “Funpalace”). L’input per la trasformabilità era dato dalle indicazioni sulle preferenze e modalità d’uso degli spazi indicate dai cittadini, le quali, grazie ad unaselva di sensori e computer erano in grado di fornire le indicazioni operative e i feed-back per la trasformazione in tempo reale degli edici e degliimpianti;di strutture territoriali complesse, come nel caso di Potteries Thinkbelt, in grado di sviluppare nuovi sistemi di organizzazione sociale, economica eproduttiva. Le strutture erano articolate in elementi statici (la rete ferroviaria e le basi logistiche) destinati a gestire, grazie a una rete interattiva alimentatae controllata dai nuovi computer e dalle tecnologie emergenti delle informazioni, un sistema di unità didattiche mobili, che sfruttavano le opportunitàdei carri container. Le unità mobili erano come informazioni quantistiche, le basi logistiche di un ampio sistema di circuiti di computer. La PotteriesThinkbelt denisce un nuovo genere di monumentalità architettonica, non un grande edicio statico, ma un articolato campo di oggetti discreti e dieventi diusi, simile alla struttura di un circuito elettronico;di modelli organizzativi evoluti: le proposte progettuali di Price, sono alimentate da un’ampia agenda di opportunità costruita sul sistema di preferenzedegli utilizzatori. Questo implica la capacità da parte del gestore del progetto di illustrare agli ignari cittadini/utenti le nuove opportunità oerte daiprogetti. Con la proposta “Generator” nasce il moderno sistema di gestione degli interventi complessi grazie alla presenza di due gure: i “polarizzatori” ei “facilitatori”, per catalizzare on-site le dinamiche interpersonali e le esigenze logistiche degli utilizzatori. Ai “polarizzatori” spetta il compito di incoraggiaregli utenti a sfruttare le nuove opportunità del progetto e di stimolare le loro interazioni, ai “facilitatori” quello di fornire istruzioni per rendereoperativi i desideri degli utenti, addestrandoli ad usare i singoli impianti e a sensibilizzarli alle opportunità del luogo.Price intuì che le nuove modalità di sviluppo richiedevano un’architettura temporanea ed agile, capace di adattarsi non solo agli inevitabili cambiamenti,ma di favorire ed anticipare le trasformazioni sociali.

1 Hans Ulrich Olbrist (a cura di), Re:CP Cedric Price, LetteraVentidue, Siracusa, 2011

33

Cedric Price: Generator

34

Cedric Price: Fun Palace

35

temporary Theater

36

Si vuole ricordare come il racconto dell’architettura in occasione della prima Biennale di Architettura (1980), diretta da Paolo Portoghesi sia affidato a una doppia dimensione di flusso, quella della via di terra, rappresentata dall’allestimento della “Strada Nuovissima” alle Corderie dell’Arsenale, e della via di mare, rappresentata dal percorso da Venezia a Dubrovnich del “Teatro del mondo” progettato da Aldo Rossi. L’idea di realizzare per questa esposizione una vera e propria via lunga 70 metri all’interno dell’Arsenale, è nata a Berlino, racconta Paolo Portoghesi, dove, (...) scoprimmo un meraviglioso LunaPark chiuso in un recinto con una piazzetta circondata da stands che imitavano con materiali effimeri facciate di case, il pianterreno al vero e gli altri piani in scala 1 :2 : una paradossale risposta ad un bisogno di città, di spazio chiuso ed accogliente al centro di uno dei crocevia dell’architettura moderna”. La progettazione è stata affidata a 20 architetti, ad ognuno di essi è stato richiesto di progettare una “facciata” pensando alla strada come un sequenza di case, ognuna da intendere come propria dimora, ambiente di lavoro, casa di abitazione o semplicemente come affaccio di un edificio collettivo destinato ad incontri di lavoro. Ricorda ancora Portoghesi “Si è voluto con questo rendere possibile una verifica immediata da parte dei visitatori, di quel ritorno alla strada come elemento costitutivo della città, che è uno dei termini fondamentali della ricerca postmoderna”. La costruzione proposta da Portoghesi conferma un punto fondativo dell’architettura, l’inscindibile connessione tra lo stare e l’essere connessi, dove l’appartenere a un luogo significa esere cittadini del mondo. Idea storica che accompagna la progettazione dal mito fondatore della città greca, riconducibile alla connessione fra Hestia, dea del focolare, quindi dello stare, ed Hermes, dio dei commercianti, e quindi dei naviganti, fino a i giorni nostri, con l’elegia della strada operato da jane Jacobs in vita e morte della grande città.Ma il fatto che negli anni ‘80 il racconto dell’architettura sia effettuato ricorrendo esclusivamente a strumenti fisici, ignorando i nuovi sistemi di connessione immateriali e le nuove prospettive, sia per la città, sia per gli edifici, che derivano dalla fusione fra materiale e immateriale sono testimonianza di un ritardo culturale destinato a pesare in modo rilevante sul non molto distante declino che colpirà la nostra comunità.Nell’impostazione del progetto si stimolano gli studenti verso forme stabili integrate con elementi di provvisorietà e immaterialità, per adeguare un bagaglio culturale altrimenti minato da un ritardo che potrebbe pesare in modo determinante sulla loro formazione, e, di conseguenza, sul loro futuro.

A floating architecture: la stada nuovissima+il teatro del mondo

37

Aldo Rossi: Il teatro del Mondo

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Glen Howells Architects: The Savill Building, Windsor Great Park

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Tectoniks Ltd.: Inflatable Theater

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Iaac: Fablab House

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Peter schladermund: improvisation

The Candelas are two fiberglass prefab shells that sit at the World’s Fair Marina, just north of the Mets new stadium. These relics of the 1965/5 World’s Fair were designed by architect and industrial designer Peter Schladermundt (not Felix Candela as the names and nearby signs might lead you believe).

42

MIT sensable city: The cloud

43

Tools and strategies

44

Driving Forces

La città di New York presenta una struttuta caotica caratterizzata da una trama molto simile alla costruzione delle mappe mentali. La definizione delle forze guide, che ne ididentificheranno le potenzialità, saranno guidate dalla struttura e dalle aspirazioni delle risorse umane in rapporto con strutture fisiche, virtuali/immateriali, naturali e di governance.L’assetto fisico del progetto sarà dato dall’interrelazione questi differenti layer :• Dinamiche sociali, motore del progetto sostenibile è la coesione sociale ed il suo incremento, si analizzano le sinergie che si generano nella città utilizzando

una serie di parole chiave (creatività, coesione, amenità, connessione, ecc..). Queste parole permetto di identificare un serie di parametri che oltre a fornire gli elementi quantititativi ne identificano anche la loro localizzazione spaziale. In questo modo si riscono a individuare i luoghi con maggior flusso di creatività e coesione che posso interagire con il nostro progetto di città teatro.

• Dinamiche delle risorse naturali, costituisce la base di un progetto sostenibile, la nostra missione principale è l’aumento della biodiversità, in sintonia con gli obiettivi che il piano della città di New York porpone e le convenzioni internazionali. L’identificazione dei flussi di biodiversità e la loro definizione morfologica sono il primo elemento che viene definito di seguito vengono proposte una serie di strategie necessarie al loro aumento come la diminuzione delle superfici impermeabili, l’aumento della produzione di cibo, il potenziamento e la connesione con i corridoio di biodiversità verso il Central Park, ecc...

• Dinamica delle cratività, la densità e la diversità delle risose umane permetto a New York di essere una delle città più creative al mondo sencondo gli studi di Florida in “ Creative City” pertanto si sono identificate le potenzialità della creatività che interagivano con il teatro, si sono identificati spazialmente i flussi creativi e le loro dimamiche ed infine si sono definite le strategie di attrazione verso il nostro progetto.

• Dinamiche delle risorse fisiche, New York deve confrontarsi con la gestione di flussi sempre più complessi e densi di infrastrutture che per anni hanno avuto la supremazia sulle risorse naturali e che sono la fonte del maggio numero di output nel metabolismo della città. Questa densità che in un primo momento se si analizza a tecnologie costanti rappresenta un elemento di svantaggio, diventa un’ opportunità in quanto da l’avvio a nuove strategie di rinnovo della città in cui l’edificato è l’infrastruttura tramite l’uso delle nuove tecnologie diventano sempre più simili a esseri vinenti che non impattano ma che al contrario poducone energia e cibo. ;

• Dinamiche delle risorse immateriali, dettata dalle potenzialità di risorse naturali, come l’aria ed il vento, e dalle nuove tecnologie di comunicazione. La sinergia fra queste risorse dà l’opportunità di integrare la rivoluzione digitale con la rivoluzione verde, aprendo nuove prospettive al progetto, esito di un percorso culturale che va da Kevin Linch fino a Mitchell. Le tecnologie immateriali, oltre ad avere importanti effetti sull’organizzazione sociale, grazie alla dematerializzazione contribuiscono alla diminuzione del livello di carico degli interventi, generando benefici effetti quali l’abbassamento dell’impronta ecologica e del livello delle esternalità negative in termini di emissioni e inquinamento. La città teatro di New York grazie all’uso delle TLC potra diminuire l’uso di risorse natuali e massimizzare al massimo le sue capacità di dialogo con il mondo.;

• Dinamiche della governance, si sono identificate le maggiori forze guida che interagiscono per lo sviluppo della città. Il NY City Plan definisce la strategia globale, la municipalità e i suoi dipartimenti sviluppano le strategie specifiche come lo sviluppo del progetto dell’Yudson Yard e una rete complessa di investitori e promotori pubblici e privati partecipa allo sviluppo dei progetti.

45

metabolic flow

46

social dynamics

47

MANHATTANPopulation 1,634,795Density(1000p/sqmile) 71.3

MIDTOWNPopulation 145,155Density(1000p/sqmile) 50.1

STUYVESANT TOWN / TURTLE BAYPopulation 149,132Density(1000p/sqmile) 90.9

UPPER WEST SIDEPopulation 207,754Density(1000p/sqmile) 63.9

UPPER EAST SIDEPopulation 232,241Density(1000p/sqmile) 112.7

FINANCIAL DISTRICTPopulation 152,633Density(1000p/sqmile) 47.7

GREENWICH VILLAGE / SOHOPopulation 152,633Density(1000p/sqmile) 47.7

LOWER EAST SIDE / CHINATOWNPopulation 168,794Density(1000p/sqmile) 97.0

CLINTON / CHELSEAPopulation 145,155Density(1000p/sqmile) 50.1

MORNINGSIDE HEIGHTS / HAMILTON Population 123,363 Density(1000p/sqmile) 93.5

CENTRAL HARLEM Population 125,875 Density(1000p/sqmile) 86.8

EAST HARLEM Population 126,609 Density(1000p/sqmile) 53.9

WASHINGTON HEIGHTS / INWOOD Population 1,634,795 Density(1000p/sqmile) 71.3

M

48

Creativity dynamics

49

50

Smart resources

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GREENPIX:Energy and screen wall

HOLOGRAM TECHNOLOGY:Holographics in making theater

PIEZOELETRIC GENERATOR:Stepping up for energy

TOUCH SENSATION

SEE SENSATION

LISTEN SENSATION

SMELL SENSATION

ENERGY PRODUCTION

U-CONNECTION:energy by led

SCREEN:flexible and cleare

52

Built environment

53

CENTRAL PARK

BATTERY PARK

HIGH LINE PARK

HUDSON PARK

1 Penn Station2 Moynihan Station

5 Hudson Park

WELL DEFINED PLACEEXCITING EXPERIENCEINVOLVING EXPERIENCESOCIALIZATIONIMPROVVISATIONCHARACTER CONNECTION

WELL DEFINED PLACEEXCITING EXPERIENCEINVOLVING EXPERIENCESOCIALIZATIONIMPROVVISATIONCHARACTER PARK CITY

1 Penn Station2 Moynihan Station

5 Hudson Park

WELL DEFINED PLACEEXCITING EXPERIENCEINVOLVING EXPERIENCESOCIALIZATIONIMPROVVISATIONCHARACTER CONNECTION

WELL DEFINED PLACEEXCITING EXPERIENCEINVOLVING EXPERIENCESOCIALIZATIONIMPROVVISATIONCHARACTER PARK CITY

6 Hudson Yard 7 Hight line

WELL DEFINED PLACEEXCITING EXPERIENCEINVOLVING EXPERIENCESOCIALIZATIONIMPROVVISATIONCHARACTER SUSPENDED PARK

WELL DEFINED PLACEEXCITING EXPERIENCEINVOLVING EXPERIENCESOCIALIZATIONIMPROVVISATIONCHARACTER URBAN DENSITY

6 Hudson Yard 7 Hight line

WELL DEFINED PLACEEXCITING EXPERIENCEINVOLVING EXPERIENCESOCIALIZATIONIMPROVVISATIONCHARACTER SUSPENDED PARK

WELL DEFINED PLACEEXCITING EXPERIENCEINVOLVING EXPERIENCESOCIALIZATIONIMPROVVISATIONCHARACTER URBAN DENSITY

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governance network

55

Space & Theater Dynamics

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design development

Il complesso dei concetti che hanno ispirato la progettazione hanno portato alla sperimentazione di un modello di progettazione articolato nelle seguenti fasi:• messa a punto della prima fase di ideazione grazie all’elaborazione di una matrice delle opportunità esito del confronto fra punti di forza e di debolezza del sistema metropolitano, del quadrante urbano su cui insiste il progetto, dei diversi modelli di erogazione degli spettacoli;• studio dell’interazione tra lo spazio fisico e la produzione teatrale, con particolare attenzione a quale fosse il confine del nostro teatro. Da subito è emerso che il confine non poteva essere l’ area stessa, in quanto la sua dimensione avrebbe escluso una serie di opportunità, con il pericolo di riproporre il modello Broadway, pertanto si è convenuto che la città di New York fosse il confine fisico mentre il mondo con la sua possibilità di esportare ed importare saperi diversi fosse quello virtuale. Questo porta a un progetto ad alta intensità di “import/export” in grado di intercettare in tempo reale le spinte esogene che provengono dal mondo;• per lo sviluppo degli edifici del teatro sono state adottate le seguenti strategie: edifici adattabili “on demand” e in grado di funzionare 24h/24, ispirati al “fun palace” di Price, che era adattabile in funzione delle esigenze degli utenti;• per lo sviluppo dell’eco-efficienza del si sono adottate le soluzioni 0carbon-0Waste, quindi: produzione di energia: ogni edificio dovrà avere un bilancio positivo in quanto produzione e consumo di energia. A questo fine si utilizzeranno sistemi distribuiti composti da impianti solari e di micro cogenerazione;produzione di cibo: il progetto deve garantire il soddisfacimento del fabbisogno alimentare per la popolazione che lavora stabilmente nel sistema teatrale; gestione dei rifiuti: il progetto prevede il recupero e il riuso dei materiali per acqua e fognatura: Il progetto prevede l’utilizzazione dell’acqua piovana e l’ottimizzazione dei sistemi di scarico; minimizzare la produzione di rifiuti. Per la gestione ordinaria si adotterà un sistema pneumatico e di cassonetti a scomparsa sul modello del quartiere BO02 di Stoccolma.

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first design sketch

58

Space matrix opportunities

CONCENTRATOil programma è soddisaftto in un edi�cio, il resto è libero...

COPERTURAle funzioni si svolgono sotto una grande copertura...

PROVVISORIOfunzioni in spazi tempora...

AGORA’organizzazione attorno ad un centro...

PONTEil teatro si svolge nello spazio di collega-mento...

.STRADAil NYCT si svloge lungo una strada i cui poli sono il Green River Side e il New Pen Station...

SUPERIMMATERIALla dimensione immateriale del NYCT è predominante rispetto a quella �sica...

SOTTOle attività si svolgono sotto il livello del terreno, sopra è verde...

INCORPORATOnei grattaceli previsti dal piano attacco le funzioni �siche previste...

S W

O T

chiarezza della distrubuzione degli spazi

vasta area libera non adatto alle novità

poca �essibilitàa variazioni di programma

S W

O T

chiarezza della distrubuzione degli spaziconnessione

vasta area libera non adatto alle novità

poca �essibilitàa variazioni di programma

S W

O T

chiarezza della distrubuzione degli spaziriconoscibilitàpermeabilità

area liberademocratico

non adatto alle novità

poca �essibilitàa variazioni di programma

S W

O T

ampio super�cie biotica

esportare ris. naturali, cibo...

poca visibilitàdi�cile portare le persone

costi elevati

S W

O T

assecondo le previsioni di piano

economico

riconnnetto i �ussi del teatro ai �ussi generici della città (residenza + u�ci+ etc...

è richesta quali�cata gestione della prossimità di funzioni

non ha autonomia dal resto della città

S W

O T

funzioni sono al coperto da intemperie

copertura/ membrana per produrre energia

sistema non è riconvertibile a basso costo

scarsa bioticitàcostoso

S W

O T

accessibilità elevatagrande dinamicità di �ussi

espansione su altre direzioniintegrazione con la città

di�coltà a far permanere le persone

scarsa centralità e rappresentatività

S W

O T

�essibilitàeconomicità

cambiamento poco aperto alle novità tecnologi-che

bassa tecnologiadimensione locale

chiuso

S W

O T

interrelazioni col mondo

interlocutori potenzialmente in�niti

incertezza sul teatro del futuro

alto livello di organizzazione eventi digitali

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CITTA’ E SPAZIO PUBBLICO USATI COME SCENA. TEATRO PROVVISORIO E SMONTABILE.

unlimited

PUBLIC SPACE

I M M A G I N I , V I D E O , S U O N O , DISCORSO, OGGETTI IN GRADO DI RISPONDERE AL MOVIMENTO E AL GESTO.

unlimited

TECHNOLOGY

EDIFICIO TEATRALE FUNZIONA-

LE A SPETTACOLI MULTIMEDIALI.

limited

BUILDING

OPPOSIZIONE SCENA/PLATEA, QUADRO/OSSERVATORE.

limited

BUILDING

AD OGNI GENERE, AD OGNI LINGUAGGIO ESPRESSIVO, IL SUO SPAZIO.

limited

BUILDING

DIVISIONE TRA DRAMMATURGIA E EDIFICIO TEATRALE.

SOCIAL

unlimited

PerformanceCONVERSATION

HistoryTHEATER

ConfigurationRELATION

CapabilityPEOPLE INVOLVED

ANTICHITA

’

MEDIOEVO

TECH-TH

EATER

SYDNEY OPERA HOUSE Utzon

TEATRO PEDAGOGICO E POLITICO Bertolt Brecht

TEAT

RO T

OTA

LE G

ropi

us-P

isca

tor

Theater evolutions

60

perform attractexport

Theater activities

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Space theater relationships

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Space theater transformations

THEATRE

OUTPUT

function

originalmaterial

recyclability

oak

bamboo

chip

rotation

mobile theatre

translation

expansion

opening

subdivision

coexistence

closing

permeability

energy saved

material

permanenttheatre

mobile theatre

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Sustainable Design strategies

awarness & education

sustainable site

energy & atmosphere

water efficency

innovation in design

locations & linkages

materials & resources

regional priority

indoor enviromentalquality

minimize building's impact on ecosystems

minimize building's impact on waterways

undeveloped land

stormwater runoff control

reduction of light pollution

reduction of heat island effect

reduction of erosion

smarter use of water inside

smarter use of water outside

water-conscious landscaping

improve building’s performance

holistic approach

promote walking access

open spaces access

physical activity outdoor

promote time outdoors

waste reduction

waste reuse

waste recycling

waste reduction at procuct’s source

energy-wise strategies

natural daylight

natural views

use green features

minimize ventilation blockage

carbon reduction

promote natural ventilation

energy use monitoring

efficient appliances

smart lighting design

renewable sources of energy

clean sources of energy

- 50% building’sCO2 emissions

+ 50% use ofrenewable resources

70% ofwater save

- 1186 tons/yof CO2 emissions

- 60% energy comsumption

metabolic flows

64

promote w

alking accessopen spaces access

promote urban transportation

increase green areas

bike sh

aring

- 1186 TONS/YOF CO EMISSIONS

energy-wise strategiesclean sources of energy

improve building’s performance

waste red

uction

natural daylight

use green features

prom

ote na

tura

l ven

tilat

ion

stormwater runoff control

was

tewat

er tec

hnol

ogie

s

water-con

scious lan

dscaping

use of water

efficient appliances

water use reduction

- 60% ENERGYCONSUMPTION

70% OFWATER SAVE

energy targetsSustainable energy targets

65

Students Proposals

66

Main project goalsThe project morphology derives from the concepts of concentration and permeability, and has the aim to maintain and improve the existing pedestrian routes from Penn Station to Hudson Yards, connecting them to the green corridor. The form is intended to be a volume that comes out from under the 11th Avenue. The concentration of buildings on one side of the area allows creating a large biotic surface on the front.The dominating volumes containing the main halls are placed facing the Hudson River and embracing the large open space for big events. Additional smaller volumes are sprawled around them. They have different functions, such as multi-functional and flexible rooms, workshop spaces and residences that can be re-arranged as reharsal spaces. The spaces in between the buildings are characterized by a complex spatiality, they are meant to host spontaneous live performances and to put in contact the passer-spectator with the performer. Therefore simoultaneous shows can take place inside and outside the venues at every time of day. All the surfaces including the roofs are livable or interactive: there are transparent surfaces that allow the view of what’s going on inside reharsal spaces, multimedia walls that broadcast events and hologram platforms that allow the tridimensional projection of shows. These create a virtual ubiquitous theatre space and enables hyper-connectivity and import/export of creativity.

Human resourcesOur project is a place thought to maximly increase human resources. The of the large biotic surface and the built spaces are designed to improve people interaction, cultural exchange and social cohesion.

InnovationThe project wants to exploit the immaterial resources with technologic innovation such as interactive walls that display what is happening inside the theatre and, at the same time, the content contribution from other brodcasters.These walls allow to display various simultaneous performaces too, multiplying the possibilities of representation.

Environmental qualityThe choice of densifying all buildings by 11th Avenue allows to concentrate the human apport to the urbanized area of Manhattan, keeping the rest of the site as natural as possible. This leaves the maximum open space facing the river and creates a “green corridor” between the High Line and the new parks planned in the Hudson Yards. Even in the built area the biotic surface is not canceled but simply shift on a higher plane, thanks to the green roofs.

Economic benefitsIn contrast to the traditional theatre who attracts people only during the brief show time, our project is ment to become an aggregation centre thought to be lived 365 days a year, being a city park, a workshop place and an hospitality structure for artists.Impact on background context The project establishes an unusual connection with the city skyline: the new buildings develope horizontally in contrast with the traditional Manhattan vertical rising. The pedestrian routes from Penn Station are maintened, so that passers become spectators of the performances which take place simultaneously at various levels, including the roof-top. This way the existing city skyline becomes a living stage and background for shows.

Honorable Mentions

AACDLS Venice: Giovanni Asmundo, Nicoletta Aveni, Claudio

Corubolo, Laura Durighello, Valeria Lampariello, Francesco

Salvarani

You are the theater

OUTSIDE/

VARIETY

CREATIVITY

INSIDE/

OSPITALITY

HARDWARE SOFTWARE

SPACE NO SPACE

Morphology | concentration and permeability• Form. Intended to be volume coming out from under the 11th Avenue• Concentration. Densifying all buildings by 11th Avenue allows to concentrate the human apport to the urbanized area of Manhattan• Permeability. Improving pedestrian routes from Penn Station to Hudson Yards and connecting to the green corridor

Spaces | in/out �exibility• Main halls. Facing the Hudson River and embracing the large open space for big events• Smaller volumes. Multi-functional and flexible rooms, workshop spaces and residences that can be re-arranged as reharsal spaces• Spaces in between. Complex spatiality. Host spontaneous live performances and put in contact the passer-spectator with the performer

Surfaces | less hardware more software• Transparent surfaces to see what’s going on inside reharsal spaces• livable roofs• multimedia walls to broadcast events• hologram platforms for tridimensional projection of shows

Conclusions | No need for space. Theatre is everywhere. You are the theatre. • Virtual ubiquitous theatre space• Hyper-connectivity• Import/export of creativity

FOOD

ENERGY

RAIN WASTE

SUN

DRINKING WATER

METABOLISM

theatres 2315 m²

workshops 819 m19 m²²

artists residensidensidencces es 960 m60 m²

shared facilitiacilities s ffor artissts' rresidensidences s 22222288 m88 m88 m88 m88 m88 m²

entry/y/y media /media / stoorre 180 me 180 m²²

laboratories 6626 m6 m²²

acrobatical discipline cipline rrehehearrssal al rroom 1oom 1oom 1oom 12200 m00 m²²

music rooms 140 m²restaurant 500 m²

foyer 500 m²

administration sation spacees 144 ms 144 ms 144 ms 144 m²²

y

p

y

shops

67

OUTSIDE/

VARIETY

CREATIVITY

INSIDE/

OSPITALITY

HARDWARE SOFTWARE

SPACE NO SPACE

Morphology | concentration and permeability• Form. Intended to be volume coming out from under the 11th Avenue• Concentration. Densifying all buildings by 11th Avenue allows to concentrate the human apport to the urbanized area of Manhattan• Permeability. Improving pedestrian routes from Penn Station to Hudson Yards and connecting to the green corridor

Spaces | in/out �exibility• Main halls. Facing the Hudson River and embracing the large open space for big events• Smaller volumes. Multi-functional and flexible rooms, workshop spaces and residences that can be re-arranged as reharsal spaces• Spaces in between. Complex spatiality. Host spontaneous live performances and put in contact the passer-spectator with the performer

Surfaces | less hardware more software• Transparent surfaces to see what’s going on inside reharsal spaces• livable roofs• multimedia walls to broadcast events• hologram platforms for tridimensional projection of shows

Conclusions | No need for space. Theatre is everywhere. You are the theatre. • Virtual ubiquitous theatre space• Hyper-connectivity• Import/export of creativity

FOOD

ENERGY

RAIN WASTE

SUN

DRINKING WATER

METABOLISM

theatres 2315 m²

workshops 819 m19 m²²

artists residensidensidencces es 960 m60 m²

shared facilitiacilities s ffor artissts' rresidensidences s 22222288 m88 m88 m88 m88 m88 m²

entry/y/y media /media / stoorre 180 me 180 m²²

laboratories 6626 m6 m²²

acrobatical discipline cipline rrehehearrssal al rroom 1oom 1oom 1oom 12200 m00 m²²

music rooms 140 m²restaurant 500 m²

foyer 500 m²

administration sation spacees 144 ms 144 ms 144 ms 144 m²²

y

p

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shops

68

Main project goalsBy establishing three levels of creativity ‘functionally interdependent, but spatially separated, the project proposes the creation of an urban campus where the formal theater, experimental and informal come together and give rise to spatial difference’ each adapted to accommodate different socialities. The flexibility of these spaces allows the definition of an annual and daily schedule of events and performances that can adapt and reconfigure based on the needs of actors and spectators. The upgrading of the existing highline, the link with the flows of people in the Hudson River Park and at the same time, the destination of this emptiness as urban green space, allow the project to fit on an urban scale and network with other green areas of the city. The design of the project identifies the area of the western rail yards, the focal point of different streams, creativity loop to lower Manhattan and green and biotic network to Central Park, whose potential are amplified through the design of public spaces designed as part essential in the project.

Human resourcesThe goal is to create a node within the network of intellectual relationships in Manhattan, a creative platform in which people interact and intertwine relations would otherwise be impossible in these areas in the margins compared to Broadway.

InnovationThis area is intended as a creative place of hospitality of the technological and cultural creativity in New York. Into it, the space 2.0 and the ongoing definition of the city in real time make possible the use of high efficiency services: the immaterial infrastructures lead the interactivity to social organization, a load level reduction on the environment and particularly the development of new forms of entertainment involving the whole world through the network and creating multiple relationships. Everything plays a multifunctional role generating services and socializing, without consuming energy but producing it.

Environmental qualityIn the NYCT area, we restore a nonstop biotic environment that flows from the Hudson River to the urban area. The metabolic formulation of the project aims at limiting the collection of raw materials, limit and dispose wastes, reducing CO2 emissions, merging technosphere with biosphere. The goals are the reduction of the ecological footprint and the food self-sufficiency linked with the foodprint program, promoting sustainable transport and animals and plants species preservation.

Economic benefitsThe New York City Theatre has a great value-added because it provides high quality interactive services, not only it contributes to raise the rate of culture and performances but it also positively improves the exchanges of knowledge between New York and the whole world. In the area, we promote self-financing programs, fair trade and ethical purchasing groups.

Finalist

NYCT Performances: Aurora Balugani, Alice Braggion, Marta

Michieli, Lucia Miotti, Lidia Savioli, Marina Tenace

import-export 2.0

69

70

Main project goalsBy establishing three levels of creativity ‘functionally interdependent, but spatially separated, the project proposes the creation of an urban campus where the formal theater, experimental and informal come together and give rise to spatial difference’ each adapted to accommodate different socialities. The flexibility of these spaces allows the definition of an annual and daily schedule of events and performances that can adapt and reconfigure based on the needs of actors and spectators. The upgrading of the existing highline, the link with the flows of people in the Hudson River Park and at the same time, the destination of this emptiness as urban green space, allow the project to fit on an urban scale and network with other green areas of the city. The design of the project identifies the area of the western rail yards, the focal point of different streams, creativity loop to lower Manhattan and green and biotic network to Central Park, whose potential are amplified through the design of public spaces designed as part essential in the project.

Human resourcesThe goal is to create a node within the network of intellectual relationships in Manhattan, a creative platform in which people interact and intertwine relations would otherwise be impossible in these areas in the margins compared to Broadway.

InnovationThe smart use of resources and allows the virtual exchange of information aboutevents or theatrical events of the schedule, and similarly increases exponentially involve people through the use of Web 2.0. The formal facade of the theater thinking,as a media building, will support multimedia technology.

Environmental qualityThe regeneration of natural capital is manifested through the creation of a low-densityurban park where the green is contaminated with the three forms of drama in a different way each time. The lowering of the ecological footprint is manifested in an attempt to broaden its range of influence to the entire financial district in comparingthe effects of capital-natural-artificial social relation to the plan proposed by the municipality.

Economic benefitsRelapses occur within the artificial capital in raising the value of the built environment and building near the project goal shared by the NY PLAN: A Greener GREATER NY “green area 10 minutes walk”, in relation to climate change in view the future of the metropolis.

MAC group PRO: Matteo Artico, Alberto Cumerlato

Flexibility3

71

GEN

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FEB MAR APR MAY JUN JUL AUG SEP OCT NOV DEC

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http://vod.blosite.org 1

“New York City Theater”

Progettazione sostenibile del territorio 2010-2011

Prof. Giuseppe LonghiArch. Anna Omodeo

Arch. Andrea Pennisi

METABOLISM

CREATIVITY DINAMYCS

Flexibility3FLEXIBILITY OF THE LEVELS

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Recreation route

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HUDSON YARD MASTERPLAN, WHY NOT!Hudson Yard Plan New York Theater City

Artificial capital1 mobility2 waste3 FAR4 shadows5 connectivity

Human capital6 ospitality7 creativity8 interactivity9 flexibility of the program10 cultural activity11 people

Natural Capital12 climate change13 footprint14 foodprint15 air quality16 biodiversity

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socialita’

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utilizzo di risorseimpatto sull’aria

impatto dei rifiuti solidiimpatto sull’acqua

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regional gateway

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high line park

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cold winter winds from the northwestcool summer breezes from the south

foodprint

pier 76

warehouses

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http://vod.blosite.org 1

“New York City Theater”

Progettazione sostenibile del territorio 2010-2011

Prof. Giuseppe LonghiArch. Anna Omodeo

Arch. Andrea Pennisi

GEN

ore 8.00 ore 16.00 ore 22.00

FEB MAR APR MAG GIU LUG AGO SET OTT NOV DEC

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Sale da teatro convenzionali

Teatro sperimentale

Sperimentazione teatrale Teatro spontaneo Sale Prove Arte Musica Recitazione Fotografia

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Smart Theater Teatro in streaming Ologrammi Personal theater Teatro di strada

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Teatro formale

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Teatro sperimentale

Teatro informale

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METABOLISM

CREATIVITY DINAMYCS Flexibility3 FLEXIBILITY OF THE LEVELS

Teatro formale

Sale da teatro convenzionali con possibilità di utilizzare le facciate in modo interattivo

Teatro sperimentale

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HUDSON YARD MASTERPLAN, WHY NOT

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Human capital6 ospitality7 creativity8 interactivity9 flexibility of the program10 cultural activity11 people

Natural Capital12 climate change13 footprint14 foodprint15 air quality16 biodiversity

1

2

3

4

56-7-8-910

11

1314

15

16

metro 7urban park

penn station

worker

inhabitants

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offices

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giudizio complessivo da 1 a 5

componenti principali

9

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Flat floor Studio Theater Bipolar

Small temporary exhibitions Big rappresentation Big exposition Flat and free floor

Small temporary exhibitions Big rappresentation Urban farm Urban park

Sandwich

General purposeBy establishing three levels of creativity ‘functionally interdependent, but spatially separated, the project proposes the creation of an urban campus whe-re the formal theater, experimental and informal come together and give rise to spatial difference’ each adapted to accommodate different socialities.The fexibility of these spaces allows the defnition of an annual and daily schedule of events and per-formances that can adapt and reconfgure based on the needs of actors and spectators.The upgrading of the existing highline, the link with the fows of people in the Hudson River Park and at the same time, the destination of this emptiness as urban gre-en space, allow the project to ft on an urban scale and network with other green areas of the city.The design of the project identifes the area of the we-stern rail yards, the focal point of different streams, creativity loop to lower Manhattan and green and biotic network to Central Park, whose potential are amplifed through the design of public spaces desig-ned as part essential in the project.

Design goalsHuman resources, cohesion, socialThe goal is to create a node within the network of intellectual relationships in Manhattan, a creative platform in which people interact and intertwine relations would otherwise be impossible in these areas in the margins compared to Broadway. inno-vationThe smart use of resources and allows the virtual exchange of information aboutevents or theatrical events of the schedule, and similarly increases ex-ponentially involve people through the use of Web 2.0.The formal facade of the theater thinking,as a media building, will support multimedia technology.Environmental QualityThe regeneration of natural capital is manifested through the creation of a low- densityurban park where the green is contaminated with the three forms of drama in a different way each time. The lowering of the ecological footprint is manifested in an attempt to broaden its range of infuence to the entire fnancial district in comparingthe effects of capital-natural-artifcial social relation to the plan

Relapses occur within the artifcial capital in raising the value of the built environment and building near the project goal shared by the NY PLAN: A Gree-ner GREATER NY “green area 10 minutes walk”, in relation to climate change in view the future of the metropolis.

artisti e attori gestiscono lo spazio come un veroe proprio laboratorio

Livello dove regna l’infor-male e la libertà del pa-linsesto, saranno gli olo-grammi e gli smartphone i protagonisti

MANHATTAN ECOLOGICAL FOOTPRINT

Ensure that all New Yorkers live within a 10-minute walk of a park

INITIATIVE & GOALS 2030 FLEXIBILITY3OVERALL FOOTPRINT

Make existing sites available to more New Yorkers

Increase quality of green space

Improve life quality of inhabitans

Reduce Co2 emission

Raise 02 production

Reduce Chelsea neighborhoodecological footprint

Provide more multi-purpose fields

GREEN THE CITYSCAPESINCREASE

NATURAL CAPITAL

Complete underdeveloped destination parks

Create or enhance a public plaza in every community

UPPER MANHATTAN

15%

40%

45%LOWER MANHATTAN

MIDTOWN MANHATTAN

http://vod.blosite.org 1

“New York City Theater”

Progettazione sostenibile del territorio 2010-2011

Prof. Giuseppe LonghiArch. Anna Omodeo

Arch. Andrea Pennisi

CHELSEA NEIGHBORHOODPopulation 145,155

- 25% ECOLOGICAL FOOTPRINT

MANHATTANPopulation 1,634,795Density(1000p/sqmile) 71.3

MIDTOWNPopulation 145,155Density(1000p/sqmile) 50.1

STUYVESANT TOWN / TURTLE BAYPopulation 149,132Density(1000p/sqmile) 90.9

UPPER WEST SIDEPopulation 207,754Density(1000p/sqmile) 63.9

UPPER EAST SIDEPopulation 232,241Density(1000p/sqmile) 112.7

FINANCIAL DISTRICTPopulation 152,633Density(1000p/sqmile) 47.7

GREENWICH VILLAGE / SOHOPopulation 152,633Density(1000p/sqmile) 47.7

LOWER EAST SIDE / CHINATOWNPopulation 168,794Density(1000p/sqmile) 97.0

CLINTON / CHELSEAPopulation 145,155Density(1000p/sqmile) 50.1

MORNINGSIDE HEIGHTS / HAMILTON Population 123,363 Density(1000p/sqmile) 93.5

CENTRAL HARLEM Population 125,875 Density(1000p/sqmile) 86.8

EAST HARLEM Population 126,609 Density(1000p/sqmile) 53.9

WASHINGTON HEIGHTS / INWOOD Population 1,634,795 Density(1000p/sqmile) 71.3

M

MANHATTAN ECOLOGICAL FOOTPRINT

Ensure that all New Yorkers live within a 10-minute walk of a park

INITIATIVE & GOALS 2030 FLEXIBILITY3OVERALL FOOTPRINT

Make existing sites available to more New Yorkers

Increase quality of green space

Improve life quality of inhabitans

Reduce Co2 emission

Raise 02 production

Reduce Chelsea neighborhoodecological footprint

Provide more multi-purpose fields

GREEN THE CITYSCAPESINCREASE

NATURAL CAPITAL

Complete underdeveloped destination parks

Create or enhance a public plaza in every community

UPPER MANHATTAN

15%

40%

45%LOWER MANHATTAN

MIDTOWN MANHATTAN

http://vod.blosite.org 1

“New York City Theater”

Progettazione sostenibile del territorio 2010-2011

Prof. Giuseppe LonghiArch. Anna Omodeo

Arch. Andrea Pennisi

CHELSEA NEIGHBORHOODPopulation 145,155

- 25% ECOLOGICAL FOOTPRINT

12 pm9 am

AUDIENCE ACTORS

3 pm

new york city theatre

design competition

Curtain Bike parking Art installation Water

Lights Screen Performance Vertical green

Proscenium

Indoor space solution

Outdoor space solution

Thrust Arena Traverse

Flat floor Studio Theater Bipolar

Small temporary exhibitions Big rappresentation Big exposition Flat and free floor

Small temporary exhibitions Big rappresentation Urban farm Urban park

Sandwich

Audience

Actors

1

2

3

FORMAL THEATRE

EXPERIMENTAL THEATRE

INFORMAL THEATRE

ACTORS + AUDIENCE

ACTORS & AUDIENCE

ACTORS = AUDIENCE

LOW DENSITY URBAN PARK

improvisational performancesstreet art

FIVE PATIOS - STUDIOS

rehearsal roomart expositions

media exhibitionsmusic and dance performances

OUTSIDE AREA

theatre performances

RESTAURANT

MAIN PERFORMANCE ROOM

mediafacadesentrance foyer

show room 700 people

SECONDARY PERFORMANCE ROOM

mediafacadesentrance foyer

show room 400 people

URBAN PARK PERFORMANCE ROOM

mediafacades show room 450 people

1

2

3

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Main project goalsMain goal is the design of a urban theatre-campus where the small theatre companies could use a space for rehersals and theatrical exibitions. This space must allow the new types of exibitions, allowing at the same time a cultural supply always new, young and in constant evolution. The project aims to provide a “classic” space for the “classic” theater and its facilities with a range of non conventional theatrical spaces based on flexibility, reversibility, Hyperconnectivity and hospitality.The new New York Ecoeffective Theatre City will produce and export a new knowledge about the different types of theatrical performance in a space with a lower ecological footprint and with a positive food production.The exportation of types of theatrical performance will be done both physically and virtually: physically through an open space working 24h, virtually through immaterial resources from New York Ecoeffective Theatre City to others parts of New York City or of the world wich are connected.

Human resourcesThe project aims to provide an open space working 24h 365 days per year. The space wants to be flexible and open to improvisation and it also want to be able to provide opportunities democratically to all theatrical forms. In this way the space allows cultural exchanges and exportation of knowledge worldwide through the immaterial resources.

InnovationMain innovation is the use of a natural infrastructure allowed by the new techniques of genetic engineering. This bio-structure is able to give a structural support to the theatrical structures. These second type of structures are based on the principle of disassembly, in this way the spaces for the theater are able to be adapted according to weather, to seasons and to any kind of theatre programs.

Environmental qualityMaximum naturalization with a minimum quantity of waterpoof surfaces that makes it possible to recycle rainwater. Insertion in the area of food production, indoor in a vertical farm, indoor and outdoor in agricoltural circles with stagional greenhouses. Utilization of a part of the vertical farm for water indoor bio-depuration of the wastewater of New York Ecoeffective Theatre City and of the nearest parts of Manhattan. System of biomass microgeneration in the basament of the tower. Utilization of native plants and of a new biostructure with the creation of a new natural habitat. Sales of fresh, local and healty food.

Economic benefitsEconomic indrect benefits through the reduction of ecological footprint and through the improvement of the quality of city life and of the urban environment. Economic direct benefits through the utilization of the new services and facilities and throught the attraction of a new cultural and theatrical tourism and the food production. Savings when the area will be abandoned from the theatre because of the reversibility of the structures of the theatre and because of the lack of permanent buildings.

Finalist

MA DE &CO: Nicola Collazuol, Alice De Sisti, Daniele Macor

Ecoeffective city

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Main project goals0.TREE+THEATER=TREEATER : Inspired by a vision of Joachim Mitchell and experimental study of HVKN, the project Treeatre designs theatrical space as a self-generating biotic structure capable of holding together biotic and food production with the creative and theatrical risources.1.SUSTAINABLE MATERIALS+DEMATERIALIZATION+FLEXIBILITY: the reduction of the ecological footprint is pursued through a biotic building material at zero embodied energy, the minimal and flexible nature of space allows the theater to get organized so intrusive among the eight hypothetical vertical farm. 2.HUMAN RESOURCE+CREATIVITY: an alternative to cultural offerings of Broadway , so weak in experimentation and innovation, the functional program of Treeatre provide for the implementation of the theatrical spaces fixed with small and flexible rooms, movable and transformable to respond more effectively to the needs of dematerialisation multimedia theater that research is facing in recent decades. 3.GREEN NETWORK+HIGHER PEOPLE FLOW: the flow treeater acts as a catalyst who insist inconnecting the green inner side with the system of Hudson river park. 4.VERTICAL FARM+FOODPRINT: the ecological footprint of the population is reduced thanks to a surplus of local food production achieved through eight vertical farm designed having as reference other hypothetical foreshadowing of the project site.

Human resourcesThe achievement of a shared social welfare is the primary goal of the project NYCT, human resource appeared from start up in the design process, leading to the creation of an area of strong cultural attraction alternative to Broadway, able to respond efficiently to the demand for hospitality theater companies interested staying in the campus.

InnovationThe NYCT attracts young troupes capable of producing highly innovative events aimed at a range of users as large and diversified as possible. Promotes innovation in the field of food production: the assumption that justifies the Urban Farm and the higher productivity, resulting from the adoption of the sophisticated technology of the spacecraft.

Environmental qualityConnecting Hudson River’s shore to Central Park, the Theater park reinforces the system of natural resources (and therefore the capacity to absorb CO2).

Economic benefitsThe NYCT stimulates creativity, and thus achieve the highest level of product innovation stage to ensure market competitiveness of the cultural product. He plans to achieve the perfect food self-sufficiency of residents in the Hudson Yard District ensuring a good supply food even to a surplus of about 130,000 people Group: Laura mattioli, Silvia Merlo, Giuseppe Stella, Guido

Pantani

Treeater

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Main project goalsL’obiettivo generale è quello di provare ad immaginare per una parte di città in trasformazione un nuovo scenario che riesca, partendo dal concetto di teatro come strumento di dialogo diretto in una società che prende coscienza di se stessa, a proporre un nuovo modo di vivere manhattan coinvolgendo e incrementando le risorse umane, in un processo ideativo e creativo.Uno degli scopi è anche quello di proporre temi legati alla gestione di risorse naturali promuovendo la bioticità e cercando di immaginare un organismo che punti ad ottimizzare il metabolismo attraverso la minimizzazione dell’inquinamento e della produzione di riuti, limitando il prelievo di risorse e cercando di preservare la biodiversità.L’attrazione di risorse umane parte dall’idea che l’eccezionalità morfologica urbana, l’unicità funzionale dell’edicio ,(in quanto non solo luogo dello spettacolo ma campus di produzione artistica) , il suo essere conclusione di una riessione sul network culturale e creativo legato all’highline e la possibilità di utilizzo di nuove tecnologie legate alla comunicazione, possano divenire elementi di riconoscibilità attrattiva nellacittà e permettere al NYCT di divenire piattaforma culturale connessa alla rete globale . Il nuovo “Teatro” per NY non è concepito unicamente come luogo per lo spettacolo ma come visione urbana in grado di proporre dinamiche nuove legate alla socialità e al concetto di Campus, in cui lo spettacolo diviene momento di sperimentazione attiva reinterpretando il rapporto tra spettatore e attore , in uno spazio in grado di dilatarsi e dare luogo all’improvvisazione.

Human resourcesLa sperimentazione artistica nasce dall’incontro e dalla contaminazione di tradizioni e culture diverse. Il progetto mira ad aumentare la socialità e la creatività attraverso spazi informali e essibili aperti pubblici del parco e del campus.

InnovationL’idea di Campus punta ad interpretare il rapporto tra la città di manhattan e la promozione della bioticità mettendo al centro della progettazione le risorse umane, il rapporto con le risorse naturali e la loro gestione.

Environmental qualityL’ area dell’Hudson Yard è trasformata da vuoto residuale a parco. Fulcro tra l’Hudson River Park, il nuovo corridoio verde a nord verso il Central Park e l’high line, il parco incrementa la supercie biotica cercando di divenire parte della rete ecologica . La struttura del campus ha un metabolismo contenuto, si autoalimenta con fonti rinnovabili e sfrutta un sistema di recupero dell’acqua.

Economic benefitsL’incremento della qualità ambientale e le attrezzature pubbliche connesse al campus teatrale, aumentano il valore delle aree limitrofe, oggi compromesse dal carattere infrastrutturale dell’Hudson Yard. Honorable Mentions

Revolution 9: Luca Nicoletto, Daniela Maiullari, Emanuele

Paladin, Anna Venerus

UP, on stage

77

78

Main project goalsImagine an area off of Broadway that offers to the experimental companies of the whole world a way to explore innovative forms of entertainment. Imagine an informal and hospitable space, which exploit any kind of diversity and is ready to welcome any news with flexibility, which opens up to improvisation, to the involvement of the viewer. Imagine the theater returning to its roots: a traveling theater, free, highly evocative and not determined in its forms of expression, not bound inside the walls of the theater-building as we know it. It has to be considered as an export commodity, in which men are called to give life to a laboratory with the purpose of import ideas and spread knowledge.According to the notice, the project area had been given as totally available, without considering the plan of the municipality of NYC to transform this area into the new financial center. Pretend not to consider this statement, in our opinion seemed to consider the project as utopia. We are persuaded that the free, informal and non-hierarchical nature of our proposal can involve and contaminate also spaces very different for uses and functions. We want make everybody aware of the possibilities of the use of physical space, especially in the appreciation of the level zero: a surplus of social, natural and urban values.

Human resourcesThis site aims to be a hub of productivity and creativity: a world in which any constraint to free expression is categorically abolished and in which new technologies will fully develop the human resource. Let’s figure out spaces in which the public response and the artist proposal are the actual generators of the project: they are impossible to predetermine because they are the result of creativity of whoever expresses in this area, lives it or simply crosses it by chance.

InnovationTry to figure out a theater experiment that is no more expressed in discreet but operates in a continuum of space and time thanks to high-capacity interconnects. The holographic representation, the chances of the technology of sound, the screen display of performances in real time, take up the challenge to the ubiquity of our time: globalHyperconnectivity is the winning card in order to create a worldwide theater.

Environmental qualityThe project is organized around a rare good which is the land and therefore aims to have a low environmental impact and to increase production of food and energy. The key driver is the intention to increase biotic factors: the aim is to turn the area into park, a new terminal of a future green belt, of which the Hudson Yard is actually a part. At the same time, the theme of the Urban Farm of Art aims to build up a community that produces art, culture and food.

Economic benefitsThe exploitation of unlimited resources such as sun, tides and wind make the area a producer of alternative energy. The possibility of using large vertical and horizontal surfaces helps to reduce the foodprint, particularly high in Manhattan. Encourage a lifestyle directed to nature and sociality leads to a significant advantage in terms of mental and physical health, which translates indirectly on the economics for the municipality. PlaNet: Christian Faccio, Alessandra Feliciotti, Giovanni

Formentin, Massimo Gatti

Creative sprawl

79

CREATIVE SPRAWLMAKING SPACES

EVOLUTION OF THE THEATER SPACES Throughout its history theater space definition constantly grew up to the detriment of the relationship between actor and spectator. Sperimental theatre breaks off this trend conceiving a new flexible space in which there is no edge separating the stage from the audience. Since then the Campus Theater started to live.

Imagine an area off of Broadway that offers to the experimental companies of the who-le world a way to explore innovative forms of entertainment. Imagine an informal and hospitable space, which exploit any kind of diversity and is ready to welcome any news with flexibility, which opens up to improvisation, to the involvement of the viewer. Imagine the theater returning to its roots: a traveling theater, free, highly evocative and not determined in its forms of expression, not bound inside the walls of the theater-bu-ilding as we know it. It has to be considered as an export commodity, in which men are called to give life to a laboratory with the purpose of import ideas and spread knowledge.According to the notice, the project area had been given as totally available, without con-sidering the plan of the municipality of NYC to transform this area into the new financial center. Pretend not to consider this statement, in our opinion seemed to consider the project as utopia. We are persuaded that the free, informal and non-hierarchical nature of our proposal can involve and contaminate also spaces very different for uses and fun-ctions. We want make everybody aware of the possibilities of the use of physical space, especially in the appreciation of the level zero: a surplus of social, natural and urban values.

Daily the project will host different kinds of users and so we wanted to create an open, flexible space able to accommodate a huge variety of functions, such as relaxation, sport activities, politics manifestations and many type of events, in addition to the theatrical activities. Actors, spectators and simple citizens will love to spend their time here in the different times of day and year.FLOWS CARDIOGRAM

007-KVL International competition for the New York Theater City

80

Main project goalsThe project aims to create a new style of Creativity, addressed to each target person who wants to experience it.Artistic creativity, with the multi-sectoral event programming, and design of spaces equipped(dynamic structures to accommodate any type of event, with reference to the project “Action Theatre”);biotic creativity, with the creation of spaces for study and development of food-plant, with the aim of reducing the carbon footprint, make the area self-sufficient, and re-create a more harmonious with the natural resources. The new ideology of the theater will be disclosed to the city, with the development of a subway line that will issue in the area with interactive stations, equipped with monitors to watch video, listen to music, creating paintings and touch many other activities related to theater in the world

Human resourcesCreating a hub of interaction, exchange and dissemination of ideas, expression and imagination, between people Of different nationalities, lifestyles and ways of thinking. It has developed a new center of active sociality, a heart for the cohesion of the people involved.

InnovationThe intention is to create a hi-tech park in the countryside. We used the hanging screens structures, platforms and interactive touch, to connect the area with the rest of the world, and expresses every idea, every movement of people into something tangible, visible by everyone in every area.

Environmental qualityThe objective was to increase capacity with the growing of food biotic structures temporary, and in the surrounding skyscrapers, the implementation of the natural habitat for flora and fauna with the repopulation of the same, and the recovery and protection of natural resources.

Economic benefitsThe focus has been in the planning field of energy and food, increased usability of the area with the organization of initiatives to attract commercial / artistic and mutual coexistence with the residential and administrative areas already planned by the municipality.

Green Touch: Annalisa Righetti

A green drop in a gray sea

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82

Main project goalsNew York City Theater is also innovative as it differs from the the theater of the pre-digital age and the digital age, since it doesn’t use energy to maintain itself the same everywhere, but it uses it to adapt with flexibility and relevance to the local physical and mental places in which it goes through, in order to make the ecological conversion socially desirable. In our theater, the city itself and the human bodies become interactive structures , able to mediate with the machines thanks to the availability of advanced digital technologies, which will tend increasingly towards miniaturization, until they will be totally incorporated. The city becomes an instrument for observe, which interacts in real time with the environment, allowing a square or a park to expand and invade the vehicles areas, following the citizens needs.

Human resourcesThe encounter between several people generates more creativity, more ideas per square meter, more critical mass and therefore more opportunities for the future. Increasing the value of human resources will increase the population and births.

InnovationTry to figure out a theater experiment that is no more expressed in discreet but operates in a continuum of space and time thanks to high-capacity interconnects. The holographic representation, the chances of the technology of sound, the screen display of performances in real time, take up the challenge to the ubiquity of our time: globalHyperconnectivity is the winning card in order to create a worldwide theater.

Environmental qualityWe bring in an artificial environment the concept of biodiversity through the introduction of vertical / urban farms and large green biotic areas, which are going to infiltrate the existing urban fabric by creating upstairs and downstairs scenarios.

Economic benefitsWe create a dynamic model in perpetual evolution capable of power itself by exploiting the natural resources, increasing productivity and thus reducing expenses.

Squeezed Building: Marina Caneve, Marina Mascarello, Massimo

Bresolin, Alessandro Donin, Alberto Favero, Letizia Lanzi

cultural ecology

83urban

biotic

accessibility

dematerialization

digitalplatform

network &

feedback

connectivitycommunity ubiquitous

renewableenergy

biodiversity

materials

social cohesion

creativity

integration

expressivity

welcome

recycling

physical resources

humanresources

natural resources

intangibleresources

resources

theater

north america

usa

south americaaustralia

africa

asiaeurope

provenances

from..?

world

of

central park 95.000

broadway35.000

MoMa8.000

radio city music hall6.000

new york public library6.000

empire state building9.600

madison square garden20.000

penn station600.000

high line park10.000

physical resources2.000

human resources8.000

natural resources2.000

intangible resources 8.000 +∞

ATTRACTIONSphysical

human

intangible

natural

territorial surface 76 082 mqtotal foodprint 7 000 haDeficit 6 987 ghae

Territory pro-capita production 0,000625 ghaDeficit pro-capita local 0,349375 gha

FOODPRINT

objectivesHuman resources, cohesion, so-cial relationsThe encounter between several people gene-rates more creativity, more ideas per square meter, more critical mass and therefore more opportunities for the future. Increasing the value of human resources will increase the population and births.Technological/Theatrical Inno-vationThis is no “atom” theater, but a post-digital one, achieved through the use of new techno-logies with a deep consideration regarding less material use, reuse and recycling and by introducing variables dematerialized scena-rios.Environmental qualityWe bring in an artificial environment the con-cept of biodiversity through the introduction of vertical / urban farms and large green biotic areas, which are going to infiltrate the existing urban fabric by creating upstairs and down-stairs scenarios.

riproduction of performances in different places

physicalinteraction between actors

in the same place

multimedial

interactiveinteraction

between performances

Deficit / surface 560 times

The main purpose is to encourage and support creativity

by using a kind of theater which promotes biotic at the same time. New York City Theater is also innovative as it differs from the the theater of the pre-digital age and the digital age, since it doesn’t use energy to maintain itself the same everywhere, but it uses it to adapt with flexibility and relevance to the local physical and mental places in which it goes through, in order to make the ecological conversion socially desirable. In our theater, the city itself and the human bodies become

interactive structures , able to mediate with the machines thanks to the availability of advanced digital technologies, which will tend increasingly

towards miniaturization, until they will be totally

incorporated. The city becomes an instrument for observe, which interacts in real time with the environment, allowing a square or a park to expand and invade the vehicles areas, following the citizens needs.

purposes

economical benefitsWe create a dynamic model in perpetual evo-lution capable of power itself by exploiting the natural resources, increasing productivity and thus reducing expenses.

i’m possible!

impossible...

EVO

2000

2050

CR

EATIVITY D

YNA

MIC

Sinteractive

multimedial

phisycal

informal

biotic space

SUSTA

INA

BILITY

biotic space

vertical farm

rain

solar energydance energy floor

workshop | 2000 mq

hotel | 6000 mq

campus | 3000 mq

mediateca | 500 mq

risto | bar | 1000 mq

theatervv | 5400 mq

theater

biotic space

cultural ecology

art and culture as catalysts for sustainable developement