La vita come tu la vuoi: Realizza il tuo progetto più bello: te stesso (I grilli) (Italian Edition)

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Live better and manage your hypersensitivity and emotions Hypersensitivity, a vast subject: This state is an integral part of the personality of the gifted, it is a neurophysiological reality. It is an attempt to explain what tree thinking or analog thought is about linear or sequential thinking. The gifted and love 1This fear will stop him. But his desire for love, his idealistic side will often push him beyond.

It is a very great strength. Because if we have our weaknesses, we also have strengths. The pleasure of nipples in menNipple Gay Mark is a young Gay that the pleasure of nipples puts in a trance. Click here to learn how to experience endless orgasm with your nipples? Stories and Testimonials about Tired of ManipulatorsHello it's been almost 3 years that I'm with a girl, she is 8 years older than me, At first she was adorable even too much, I'm wary already since the beginning!

Flee me I follow you, follow me I flee: The methodHow do you understand the behavior of a person who tends to run away when you get closer and vice versa? Therefore the digital process needs to be synchronized with its tectonic basis and construction logic. Are digital and analog computation forms the only two methodologies for exploring future scenarios? In considering the role of the proto-type in architecture, it is important to be clear about the current status of research in architecture today. There is very few if any contemporary forms of sustained means of proto-typing within practice.

Other design related disciplines work solely through prototyping such as the automotive industry for example, and exhaust this prior to any release of a design to the public. In architecture this manner of development is not existing though necessary to progress and pursue innovation. For me it is very important within practice and academia to construct a knowledge based framework to pursue ideas. We would like to move from representational forms of understanding towards more performative forms of engage computational design.

This shift the attention from a model of something to a model for something and this I find challenging and exciting as a design methodology. At the DRL we active engage in what I call a form of Digital Materialism which is an active feedback that one gets in this continual design and testing model that operates through proto-typing.

The knowledge afforded through this way of working is very important as it allows to reconsider the role of the digital an embrace time-based forms of analysis and forecasting rather pre-structured ideas of digital animation in architecture. This pursuit of the proto-typical and a scenario based approach to design has guided the work of our current agenda Proto-Design. The idea of a constantly reconfigurable formation has become matter of reorganization throughout time.

Organizational behaviour investigates the notion of a bottom-up system arguing for the assemblage and reconfiguration between one and more. These scenarios requires an adaptable architecture, responsive to the environment conditions. Marshall McLuhan had said that if you are interested in the future, look to our present because we live in the past. There was an optimism then that was societal and look towards the future as a promise of something better that would be accessed through technological and social revolution.

Today it is something different for many, though I would only encourage students and practitioners to remain optimistic and understand that we are enabled to technologically to do what in the past remained thought experiments. The two projects of my studio last year in the DRL that you mention were looking to reconsider the role of the laboratory from clinical condition divorced from the subject of enquiry to a hyper-contextual implant within an environment.

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In my studio we though to rethink onsite material and formation as an important aspect to these remote architectures that are deployable and operate within extreme environments. This is an embedded self assembled architecture that would need to reconsider the generalised concepts of infrastructure, stability and materiality. The studio made a great effort to reach out to the experts who could assist us in the design search. What came about in our conversation were the need for radical ideas that could foster new means of addressing these complex scenarios.

What may appear as future scenarios to many are actually current research that is actively being developed. The space project for example developed a research of robotic self assembly. The architecture was one of formation constructed through forces. Its use of space junk actively addressed a space travel problem and creatively exploited it as a building material. It is part of a larger agenda within the DRL to reach out to other fields and embrace a more inter-disciplinary and collective project.

Paolo Rossi (attore)

The future is now. Becoming Animal Project Site: Vehicle is a collaboration with artist Krzysztof Wodiczko. The vehicle is an enabling instrument that stimulates public dialogue through a mobile environment for collective conversation. The project engages the design of a cultural prosthetic that facilitates an emotive engagement with war veterans as an act of healing and communication. The design of the prototype takes the form of transformable machine that metamorphoses from a war machine to messenger conceptualized as a Seraph.

Immaginate le nostre colossali discariche municipali come una risorsa importante per costruire i nostri spazi urbani e periurbani futuri. Come entreranno in equilibrio intensificazione urbana e sistema di smaltimento dei rifiuti? In questo caso, i rifiuti non sono solamente ricliclati attraverso meccanismi infrastrutturali, ma ricliclati perpetuamente. New York attualmente produce Queste automatizzazioni sarebbero tecniche usate comunemente nei sistemi di compattazione dei rifiuti.

I blocchi di materiale di scarto possono essere predefiniti, usando la geometria computazionale, in modo da formare coperture, archi, strutture, finestre e qualsiasi pattern di cui ci sarebbe bisogno. Piuttosto che imitare la natura, noi la usiamo per creare il nostro progetto. Stiamo studiando diverse tecnologie viventi per creare materia veramente viva. Vogliamo essenzialmente che il prodotto cresca e sia riassimilato dal suo ambiente. Per ora, il modello concettuale consiste essenzialmente in una pelle di maiale con una durata di conservazione considerevole.

Pratica schemi totalizzati di coinvolgimento dalla maniglia alla democrazia. Questi campi hanno bisogno di un filtro multiforme di ragionamento per incorporare una profonda conoscenza del luogo. I would like to meet Joachim in person, to interview him in front of a beer maybe in New York,where he lives and works enjoy his acute answers, deal with his proverbial irony in addition to his expertise I focus on questions Talking about fab tree houses, at what stage of development is the project, how long until we see the final prototype?

Are you working on a large scale application of this technology? We propose a method to grow homes from native trees and plants. This enables dwellings to be fully integrated into an ecological community. As a direct contribution to the ecosystem they support an economy comprised of actual living products not reconstituted or processed materials. Imagine a society based on growing trees for housing, rather than cutting down trees for the industrial manufacture of timber. Ultimately this project assures both the reduction and removal of greenhouse gasses from the atmosphere.

A methodology new to buildings yet ancient to gardening is introduced in this design pleaching. Pleaching is a method of weaving together tree branches to form living archways, lattices, or screens. The trunks of inosculate, or self-grafting, trees, such as Elm, Live Oak, and Dogwood, are the load-bearing structure, whilst the branches form a continuous lattice frame for the walls and roof. Above all, the construction of this home can be achieved at a minimal price, requiring only some time to complete its structure.

The accomplishment of these homes will begin as an experiment, and it is envisioned that thereafter, the concept of renewal will take on a new architectural form, one of interdependency between nature and people. In tropical climates, a complete home will grow in years. In this sense the waste of materials is a good starting point to rethink the relationship between city and entropy, what do you think about this? Imagine our colossal municipal landfills as sensible resource sheds to build our future urban and peri-urban spaces.

What kind of effort is required to reuse their bountiful contents? Now that the bulk of humanity has chosen to settle in urbanized areas, waste management needs a radical revision. For hundreds of years we designed cities to generate waste. Now it is time that we begin to design waste to regenerate our cities. What are the possibilities for urban environments after our aged infrastructure is recalibrated? How might urban intensification and waste mix? In this case, waste is not faintly recycled through infrastructural mechanisms but instead up cycled in perpetuity.

Outsized automated 3-D printers could be modified to rapidly. These potential automatons would be entirely based on existing techniques commonly used in industrial waste compaction devices. The blocks of waste material could be predetermined, using computational geometries, in order to fit domes, archways, lattices, windows, or whatever patterns would be needed. Eventually, the future city would make no distinction between waste and supply. Can you talk to us about the victim less shelter? Biology is the architecture — instead of mimicking nature we use actual nature to create our projects.

We are investigating different alive techniques to create truly living matter. This chair for children is a 1: We essentially want the product to become fully grown and assimilated in its environment. Prior experiments include a victimless shelter from pig cells and Mycoform structures. The In Vitro Meat Habitat is an architectural proposal for the fabrication of 3D printed pig cells to form real organic dwellings. We used sodium benzoate as a preservative to kill yeasts, bacteria and fungus.

Other materials in the model matrix are; collagen powder, xanthan gum, mannitol, cochineal, sodium pyrophosphate, and recycled PET plastic scaffold. As of now, the concept model consists of essentially very expensive fitted cured pork or articulated swine leather with an extensive shelf life.

Urbaneering Brooklyn , City of the Future ph. The center of this city is not historic cathedrals or office towers but its infrastructure. Who is the primary authority in the making of utopia or any extraordinary future city? An Urbaneer is a burgeoning discipline based on urban design that can negotiate the complex mix of technology, theory and practice that embraces the re-invention of the city to exceed the needs of the planet. Today, this nascent interdisciplinary field is in a state of radical development. Urbaneering undertakes a diverse range of projects as a prescription for maximal design.

It practices totalized schemes that rethink all scales of involvement from the doorknob to the democracy. In the past Urban design has mostly been interdisciplinary, but it has not been revamped since its formal inception. The next city needs a new breed of communicator. A person skilled in the art of cites beyond the typical utopists, planners, civil engineers, and architects in the present day.

These fields need a multifaceted filter of reason to incorporate a profound knowledge of place. Urbaneers look to merge the edification and expertise needed to reform the city of today for the utopia of tomorrow. Mitchell Joachim is one of the brightest minds America in the area of urban and architectural design in recent times ecological key, with a long experience in the field of design, expertise and open-mindedness make him a thorough professional OMA has always shown sensitivity proposing solutions, beyond merely technical aspects.

How did you decide to become an architect? When I was younger, I knew that I wanted to have a job with a strong connection to society. At the time, Architecture seemed like the only way to engage society that would still allow you to create something—so I became an architect— but today I can think of many other ways… AD: In what ways has your architectural thinking evolved since you were a student and what factors influenced this process? When I was a student, I thought at the time that it would be important for me to have a particular belief or style—a specific ideology.

As a result, I am more interested in the specific reactions in any given project. I think that has been my main eye-opener. Economy and Politics have always been strongly connected to architecture. Do you consider this as a hindrance or motivation? For me, the relationship between architecture, economy, and politics had a strong impact on my career.

From these experiences, I have seen this both as a hindrance and motivation and in response I have always tried to find the potential within each moment. Should architects look into the future, trying to predict it, or should they rather focus on the present and push it towards the right future direction?

I think it is difficult to do one without considering the other. It is problematic to focus only on the future without an understanding of what is possible in the present. Conversely, it is often a problem that architecture can get caught up in imagining the future without specifying a way to take action within the present. When do you consider architecture as a cause and when as a cure? I wish that architecture always has an impact on its surroundings and at the same time that it always addresses certain issues—from difficult site conditions to larger social or economic questions.

Do you believe there is still something new that can be expressed through architecture, or has everything already been said? Focusing on newness alone in architecture is problematic. It is important that architecture is not designed based on whether something has been said or not — but based on the right argument at the right moment and an understanding of how to create a strong relationship with what has been said before.

Does one necessarily exclude the other? How do you think we can preserve our identity using globalization as an opportunity? I think in order to maintain a strong identity it is important to balance an understanding of both the global and local situation. By focusing on the relationship between these two realities, it seems possible to maintain specific identities through the context that globalization can provide.

Prima di scrivere la mia intervista a Shohei Shigematsu, direttore di OMA NY, ho ripreso un testo che lessi anni fa e che ha fortemente influenzato la mia crescita professionale. Economia e politica hanno sempre avuto un forte legame con l'architettura. Il rapporto tra architettura, economia e politica ha avuto un forte impatto sulla mia carriera. Molti momenti chiave della mia vita hanno coinciso con periodi di crisi: Per esperienza quindi direi ostacolo e motivazione allo stesso tempo, in risposta mi sono sempre preoccupato di vedere il potenziale in ogni circostanza. Naturalmente, la continua evoluzione delle tecnologie esistenti ed i nuovi metodi di progettazione stanno creando diverse forme di espressione in architettura.

Non credo, tuttavia, che questo significhi necessariamente che stiamo dicendo qualcosa di nuovo. L'uno deve necessariamente escludere l'altro? Facendo riferimento al pensiero di Bjarke Big , pensi che ciascuno debba agire in contrapposizione ad idee e movimenti precedenti o in sinergia? Beh, credo nel darwinismo Milstein Hall, Ithaca, NY ph. Questo numero di CityVision si concentra sul concetto di paleofuturo, vale a dire: Ad ogni modo, se la musica ti sta disturbando, adesso puoi interromperla. Tuttavia la canzone mi piace. Io razionalmente sono me stessa. Hai ancora sogni che desideri realizzare in futuro?

Crescendo ho sentito dire che nella vita si deve piantare un albero, scrivere un libro e avere dei. A questo vorrei aggiungere costruire la propria utopia. Finora, ho piantato centinaia di alberi. Esco per cena, ma non ti do una data. Per favore puoi riprodurre il brano che ho allegato a questa intervista? Che cosa hai imparato oggi? EF You can try. Is your intellectual action aimed toward the change of the world or only the change of your nearest group? My nearest group is the world, and yes, I enjoy being in it every day. Sometimes I dance in the subway.

I rationally let myself be. There is an essential mistake in this song that is to equate monarchy to heroes. Nevertheless I love the song. The question presupposes I can have an idea about what my ancestors-predecessors thought, and that in and of itself is a fiction.

Moreover, I can barely know what my contemporaries think about the future. If yes which ones? Growing up I heard that in life one should plant a tree, write a book and have children. To that I would add construct your own utopia. So far, I planted hundreds of trees. Is there a question you want to ask me or anybody else? What did you learn today? Nei progetti presentati, e visionabili alla pagina www. La proposta vincitrice del gruppo composto da Eirini Giannakopoulou e Stefano Carera SCEG da Vigone TO con Hilario Isola e Matteo Norzi Isola e Norzi da Kent Av Brooklyn NY opera con piglio dissacrante, mantenendo anche nella grafica scelta lo spirito newyorkese, caratterizzato da sarcasmo intelligente e apertura mentale a ogni categoria culturale - incarnato dalla celeberrima rivista New Yorker - ma rovesciando letteralmente NY nella sua consistenza materiale.

New York CityVision is the third contest on the cities of the future promoted by the laboratory of architecture CityVision. These architecture challenges time to time have created real popular workshops, pushing people from all over the world especially among young architects to embark on real brainstorming on a possible future, taking symbolic cities such as Rome, Venice and New York as experimental fields.

The goal is to find the answers to the problems of an urban society, the greatest are dramatically shared by everyone: All this has allowed us to understand how the architect is now having to deal with a creeping crisis that has a strong impact on his work in the world, the consequences are numerous: After verifying the non-fulfillment of an ideal future, the participants were asked to peek into the hypothetical future, or to go back in time to avert a negative phase-key, or a combination of the two themes. In the projects submitted and viewable on cityvision-competition.

Central Park is spared, whereas before it was a green rectangle in the dense city it now becomes excavation square, subtraction metaphor of memory, while the tall symbolic buildings, like the Empire State, emerge only on the upper floors from which you enter in other reversal and can be visited within, recalling the images of papal Rome before the archaeological excavations: The project of Enrico Pieraccioli from Prato PO and Claudio Granato from Noci BA , which was awarded the second place, foresees the rising of temperatures and water, but also the physical salvation of the city of New York, which became Human Heritage Site, thanks to a huge, mute, anonymous and geometric structure, that surrounds and protects it, almost a kind of terrarium for ants: A laboratory within the same contest, assumes that, conceptually, the perpetual forms generated by two mirrors placed opposite one another.

How did you put together the competition team? What was the idea behind merging the different disciplines architecture and art? After decades of distance, art and architecture seem again to be disciplines able to deeply inspire each other. The competition proposal was born by the joint effort of contemporary art collaborative duo, Isola and Norzi, together with a couple of architects SCEG.

The ideas behind the project developed through some sort of role game. Artists were there to foresee the scenario, architects would try to find solutions for. But as often happens when the group has fun working together, there is no need of playing by the rules and given roles can be exchanged. As per the theme of the Biennale , the project is a common ground of dialogue and participation. What was the generative process of the project?

I can see the team sharing ideas at night in some warehouse on Kent Avenue, like small talks among the different people composing the team…… W: Like so many other Europeans, some of the components of our team have to Brooklyn a few years ago. We have the privilege to watch the show of the skyline of Manhattan everyday just through the window of our studio on Kent Av, nevertheless NYC still appears puzzling if not inscrutable, yet so fascinating.

The generative process of the project went through weekly Skype conference calls, but it was a Mediterranean weekend all together around a dining table and a few wine bottles that made the final boards come to life. The boards were very fascinating ….. To me it appeared like an architect that just made his masterpiece and decided to retire, composing the last scene at his drafting table. Saul Steinberg is renowned for the drawings that appeared on The New Yorker for nearly six decades. Not many people remember that he graduated in Architecture at the Politecnico di Milano in , and surely the great range of his work is still very much to be re-discovered.

He was a modernist without portfolio, constantly crossing boundaries into uncharted visual territory. Moreover in another famous drawing of his, a man traces a large spiral. But as the spiral moves downward, it metamorphoses into right foot, left foot, then the outline of a body, until finally reaching the hand Each time we face the horror vacui of a blank A4 to sketch a new idea, we feel this same need of self introspection.

Steinberg did not represent what he saw; rather, he depicted people, places, and even numbers or words in styles borrowed from other art, high and low, past and present, as means to explore social and political systems, human foibles, geography, architecture, language and, of course, art itself. That is why we felt borrowing his drafting table to compose our own boards for a competition about a vision for the future of New York City was the proper contest to pay homage to his genius.

On the boards you show another era, so to say, drawing tools.

What are the design tools you use in your profession? Is the entry totally digitally produced? We strongly wanted to keep a distance from any kind of sci-fi imaginary related to NYC. Everything is digital nowadays, but the digital esthetic of 3d modeling seemed inadequate to support such an utopian and abstract proposal.

We have felt the need to express something of the identity of New York City which would place past quoting Steinberg , present our own workshop and future the vision on a level of continuity, in which the use of irony and simple drawing tools would help communicating a less terrifying version of what lies ahead for the metropolis and the environment.

Come avete formato il vostro team? Le idee alla base del progetto sono state sviluppate come in una sorta di gioco di ruolo. Riesco a immaginare il team che si scambia le idee durante la notte in qualche magazzino di Kent Avenue, come un semplice colloquio tra le diverse persone che compongono il team Come tanti altri europei, alcuni dei componenti del nostro team si sono spostati a Brooklyn, qualche anno fa.

Le tavole erano molto affascinanti Inoltre, in un altro suo famoso disegno, appare un uomo che traccia una grande spirale. Ma nel momento in cui la spirale si muove verso il basso, si trasforma in piede destro, piede sinistro, poi nel contorno di un corpo, fino a giungere alla mano che impugna la matita che sta disegnando la linea. Quali sono gli strumenti di progettazione utilizzati nella vostra professione? Abbiamo fortemente voluto prendere le distanze da qualsiasi tipo di sci—fi immaginario legato a New York. Things here change very fast, although others never change.

With such spirit in mind, we have interpreted the competition as a homage to Romanian—born American artist, architect, cartoonist and illustrator, Saul Steinberg — Showing the supposedly limited mental geography of Manhattanites, it has become iconic as a representation of one of the most influential and perhaps the last ideal city ever to exist.

Futuro, presente e passato sono sempre stati concetti fondamentali in ogni fase di sviluppo che la storia di New York City ha affrontato. Le cose qui cambiano molto in fretta, anche se gli altri non cambiano mai. You are basically stating that everything you want to preserve for the future generation is New York City with everything in it. Your project is visually compelling. How much did the radical architecture visions of Superstudio impact the development of your idea? The Superstudio, and Radical culture, influenced our formation that took place within the Florentine University.

Positivism of Radical, as well as for the Japanese Metabolists, manifested itself in an architecture produced in a single act, through a work of total urbanization, dictated by an advancement and development from a functional safety resulting from the Rationalist culture, in a future vision. If the Radicals had the intent to expand the space, our proposal aims to preserve and protect in order to expand over time.

Which kind of research did you make prior to design? Is your proposal a rejection to design? We try to treat architecture as an organism and we work on connections between existing and contemporary, creating a kind of graft that blends the spaces. This is the substantial research we apply before a design idea. We believe that the current concept of space—time caused by the digital revolution, has basically changed the role of the architect, who seeks an architecture that can remain stationary for at least a couple of minutes to take something profitable.

Not always, for us then, the design is the answer to our quest. We have, without doubt, the need to communicate, if this is enough to make an image, we design the image. In Delirious New York, Rem Koolhaas imagined the city as a place for desire, a pure fantasy world only built for tourists.

Do you see your gesture under the same light? Is your monument part of that amusement park? Rather than a result of pure fantasy and desire, we intend our proposal to be a place of memory. Our project as an absurd comparison with archaeological sites, turns everything into an educational trip on what we were. If a place of culture can be at the same time a fun site, and the design museum is equal to that of a Dreamland to make more attractive culture, then we can call it part of an amusement park. We live in Florence and then we move in what can be described as an open—air museum.

The Renaissance becomes an attractive role for tourists although not a fantasy world. Razionalista in una visione futura. Che tipo di ricerca avete condotto prima di arrivare al concept? Vedete il vostro progetto sotto la stessa luce? Il vostro monumento fa parte di un parco divertimento? Il nostro progetto per un assurdo paragone con gli scavi archeologici, trasforma il tutto in un viaggio educativo sul come eravamo.

Il rinascimento acquista un ruolo attrattivo per turisti pur non essendo un mondo di fantasia. Every form of progress, every technological invention, linked to the development of society, brings with it a double image: To study and design the means to avoid such a disaster becomes almost as important as the study progress. Creation and Destruction, the scene endlessly repeating. The temperature increases slowly. Regardless of the most mortifying surprises, the earth continues its transformation toward equilibrium. Studiare e progettare i mezzi per evitare un simile disastro diventa quasi importante quanto lo studio del progresso.

La temperatura aumenta lentamente. Is you design related to the idea of architecture as a ruin? As witness of the time? When I began working on this project, I was obsessed with a ruinous state of architecture or cities. Both in its physical state of decay or roughness achieved by the passage of time, and as space where the inhabitation and relationship between people and architecture has totally diverged from its intent.

For me both of these conditions allow a dangerously romantic nostalgia or fetishization of ruins, and a radical opportunity to dream and imagine what could be or what could have been. At the same time, it is more powerful than starting with a tabula rasa situation, because you are working with an existing condition and an existing space with its own real and imagined history.

Did you think about this during the preliminary stage of your project? That for me is brute economics. I believe that there are things outside of this metric that could bring new and fundamental value to the city. While it is up for debate whether it is a contemporary situation that brute economics dictates, or has always dominated to some degree, I do think that now, for citizens of cities and those responsible for shaping the physical environment—politicians, developers, architects, planners—for them, imagination is becoming increasingly myopic. Part of that is the still—undisputed right of the market.

Yes, the economic crash caused many to lash out and make a lot of noise, but a credible alternative or even parallel has not been established in New York.

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These effects include its promises of rationalization, optimization, and efficiency, all of which are market terms. I do not deny the importance or reality of these issues for our cities and discipline, but I do dispute the lack of alternatives and the value they possess outside of a narrow and very conservative definition. Your black and white drawings mixed with photography are very poetic compared to the super flashy images we see published all the time about new projects, more real and less poetic. What do you think about the representation of ideas in architecture and its implication?

This project is my attempt to provoke reimaginations by Architects as well as urban citizens by providing a space and a platform for those reimaginations to occur. It was driven by core ideas that permeated into the architecture, narrative, and representation. I personally am not interested in ultra realistic renderings or flashy graphics, but rather in techniques that communicate and explore ideas behind a project in deeper, more operative ways.

So I was at once graphically communicating my ideas and intentions of the project, and testing its urban, architectural, and intimate effects. These are not finished images, they are working drawings. I would like to continue to explore representation and its implications as well as the project of probing alternative imaginations within the city. Dear Alessandro, Thank you for giving me this opportunity to show my work. I am honored to be selected to be apart of this publication.

Best wishes, Miles Fujiki. Come testimone del tempo? Hai pensato a questo durante la fase preliminare del progetto? Cosa pensi della rappresentazione delle idee in architettura e delle sue implicazioni? Queste non sono immagini finite ma disegni funzionali o in azione. Sono onorato di essere stato selezionato per questa pubblicazione. This truth is entrenched in the collective imagination to the degree that it becomes nearly impossible to think of a future urbanity not premised on profitability. Any alternative imagination evaporates. But in New York, a shrinking group of city dreamers—artists, writers, historians, lunatics, futurists, architects, urban archeologists, mystics, skateboarders—resist this condition.

Feeding on the history of a place, its atmosphere and material state, they produce alternative realities that are gradually woven into New York. These realities are both firmly grounded in the city and constantly drifting above, below, into the past, into the future. It was the result of a previous conceptual speculation that started with the introduction of the urban grid and the construction of skyscrapers. The technological achievements of the skyscraper along with an inadequate planning law were the incentives for the development of private interests and the perfect alibi to perform construction on the entire surface of the island, resulting in the total subjugation of nature.

This unconstrained growth resulted in the dissolution of the public sphere. Queste costrizioni in continua crescita hanno portato alla dissoluzione della sfera pubblica. What if Robert Moses got everything he asked for? In this proposal we look at the city with both a past to future and future to past lens. The proposal first imagines Robert Moses as the true master builder and envisions a NYC that conformed to his desires, and followed his ideals. These ideas ranged from leveling buildings, blocks, and entire neighborhoods — like Greenwhich village — to make way for new crosstown expressways, carrying 5th avenue through Washington Square Park and scattering public housing complexes throughout the city.

By exemplifying the auto-dominate culture of mid-century America, we see a 21st centuryNew York that is in love with cars. E se Robert Moses avesse ottenuto tutto quello che ha chiesto? Il progetto immagina Robert Moses come il capomastro vero e prevede una New York conforme ai suoi desideri e che ha seguito i suoi ideali.

The last hundred years of urban planning in New York City have generated three powerful but incompatible visions of space as a public good: The Zoning Resolution effectuated the modernist valuation of open plazas and parks, while the founding of the Landmarks Preservation Commission in initiated the reaction against modernist planning in favor of preserving historic urban fabric. Now, facing global climate change, the city must develop anew with highdensity growth to minimize energy consumption.

Le open zone si sviluppano sulle griglie strutturali alla base delle torri di Manhattan per offrire un quadro orizzontale che integra lo spazio pubblico, il nuovo sviluppo e la conservazione storica. Gli ultimi cento anni di pianificazione urbana di New York City hanno generato tre potenti ma incompatibili visioni dello spazio come bene pubblico: Lo studio di zonizzazione del ha svolto la valutazione modernista di piazze e parchi aperti, mentre la fondazione della Commissione Landmarks Preservation del ha avviato la reazione contro la pianificazione modernista a favore della conservazione storica del tessuto urbano.

Anche se apparentemente inconciliabili, tutte e tre le posizioni di pianificazione sono ugualmente rilevanti per il futuro di New York.

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It is an attractive outline of NYC toward the future. On the other hand, it also restricts the further growth of the City structure.

And then, at the present time, the ground and skyscrapers are completely separated. There is no way to figure out what is happening inside those buildings unless they are similar to the ground level. Can we overturn this situation to a new network by architectural intervention? Si tratta di uno schema interessante di New York verso il futuro. E poi, al momento attuale, il territorio e i grattacieli sono completamente separati. Possiamo capovolgere questa situazione per creare una nuova rete di intervento architettonico?

If Paris was the capital of the nineteenth century, then surely Manhattan has been the capital of the twentieth: And like Paris, Manhattan, in the past century has been completed, and is therefore dead. Manhattan is no longer suitable for anything but preservation—scrubbed clean and solidified into the static image of its perfect self. Manhattan, in the twenty—first century, is now ready to be embalmed, to lie in state as a museum of the twentieth century. This project proposes doubling the Manhattan grid, while inverting the figureground relationship of the original plan.

In the new grid, the streets become buildings, and the blocks are left open. This infrastructure is lifted six stories above the streets of the old city, and shifted such that its linear buildings pass above, and through, the centers of the existing Manhattan blocks. Il progetto propone il raddoppio della griglia di Manhattan, invertendo il rapporto figura—sfondo del piano originario.

Nella nuova griglia, le strade diventano edifici, ed i blocchi sono lasciati aperti. Urban Scenario Almost all the world population is now living in metropolis with they cannot identify with. The evolution of New York has evolved into an arch—dictatorship: The structural urban grid, which once was part of the city identity, has been lost; the old city icons are now lost in the middle of a dense topography where buildings compete with each other promising new opportunities; the different neighborhoods are left anonymous, without identity.

Quasi tutta la popolazione mondiale vive attualmente in metropoli con le quali non riesce a identificarsi. She felt tired was all she told her therapist. After having been stared at for eight long decades the Empire State Building wanted to stare at something fancy herself, she thought.

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True there were ups ad downs, and lately, that is after the terrible demise of her taller twin colleagues, she had once again been getting as much admiration as she had in the early days. But that made her only feel worse. E le Grandi Avventure della Manhattan Diaspora Si sentiva stanca ed era tutto quello che aveva detto al suo terapeuta. Ma la cosa lo faceva sentire solo peggio. The idea of the future is ubiquitous, as J. Ballard suggests we are living in a present continuous. NY the 20th century modern city par excellence is concluded. Ballard stiamo vivendo in un presente continuo.

The New York city vision concept is inspired by the fear of the changes that shake the certainties and determine the need to adapt to a new way of life. The impetuous climatic upheaval leads to this utopian vision of a stormy future that changes the order of the planet as we know it. Manhattan Island finds a new life thanks to a hybrid mega-structure. This structure, like an iceberg, raises the island once again, setting up new places to live in.

The project of Ulysses Webb, a tragedy written in the early hours of dawn. The isle of Manhattan is cut at the height of the th Street. The intent is to restore a balance between city and citizen. Manhattan will stop in every city and its present will reinterpret the future. Its past will not be destroyed, though. It will be only transformed. A journey as architecture then. But is New York going to relive its past? Is it going to find its future? The traveler recognizes the little in his, discovering the much he has not had and will never have.

Un viaggio come architettura quindi. Ma New York sta per rivivere il suo passato? Sta andando a trovare il suo futuro? You may ask why buildings no longer carry the date of construction above their entrance as in the past, [when did they stop counting? This is the time, the first facade comes down, they could not be more excited.

Esattamente per la stessa ragione per cui continuano a dipingere i tetti di verde intenso, ci siamo persi e non crediamo nel nostro tempo. In a future not long from now, New York City will have to face challenges that will deeply change it. At the dawn of the 21st century humanity experienced its worst crisis at every level: New York City remained the last city to produce wealth for the country. The city became a major challenge for the survival of the nation. At the same time the sea level continued to rise threatening the city.

The government introduced an ambitious plan to save the city. The WALL would not be a simple protection against the rising waters; it would be a machine that would allow the city to continue to exist. Il governo reagisce rapidamente al fine di preservare la crescita economica del paese e del resto degli altri Stati. Costruisce un muro intorno a Manhattan. The old-fashioned yet practical grid will be expanded partially towards the opposite shores creating a suprastructure network floating above the new city made by Zenetos andFriedman prophets of their times.

Notorious Manhattan towers above the new city like a great monument; an acropolis made of steel, glass and concrete. It is time for the city to be seen under the spectrum of monumental architecture. The notion of the island belongs to the past; the cityscape has changed so radically that only history can recover such memories and call them back to the citizens mind.

In pochi anni tutti i The city of New York constitutes a uniform, self-sustaining and selfregulating ecosystem. A completely new living tissue — the common home of the living world — formed of organic matter, it will be built on the grounds of the old city. Manhattan will be redeveloped on the old contiguous humanscale subsystems formed around the focus points of the old city.

Its topology will follow the tectonics and density of the individual boroughs. The live plant tissue tracing through everything not only serves as a human habitat, but also as a sensitive protective shield covering the city. The original scenery, surprisingly hilly and scattered with forests, springs, streams, canyons and lakes, has retaken, if only visually, a long disappeared, everchanging territory. And it coexists with it. Our starting point for the project was the juxtaposition of the two matrices and their interaction.

The regularity of the urban grid system, an eighteenth century chessboard, overlies the original landscape and its memory. Il paesaggio originale, sorprendentemente collinare e disseminato di foreste, sorgenti, ruscelli, canyon e laghi ha ripreso - anche se solo visivamente una lunga parte di territorio in continua evoluzione. E coesiste con esso. Under the best seed of the capitalist economic system, the city becomes bigger and bigger. Humans are no longer connected with the metropolis. People are now built in the manufacturing system while they are not even aware of it.

Although they reside in the city, opportunities to be connected with the city are lost. They have been alienated from the city. It is important that the citizens plant seeds, by their own hands, on the ground of Manhattan; the center of world economy. Plants recall the memory of the city, and people look for the future of the city. Ne sono stati allontanati. There is some criticism for its monotony and rigidity.

Instead of only limiting the land by rectangles, we will also limit the sky by this even stricter limit, instead of extending towards the sky, an even more unique world would take place in each cuboid. Developing from the lower floor, each floor will show the era of Manhattan. Il nostro programma mette in disordine questo equilibrio e riscrive il Piano. Invece di limitare solamente il suolo con dei rettangoli, faremo lo stesso con il cielo attraverso dei parallelepipedi. Gotico, Rinascimento, Barocco, Art Deco, Modernismo, Postmodernismo e Decostruzionismo si manifesteranno nuovamente ma in una versione inedita.

New York City is dominated by different kinds of regulations and divided into several hierarchies. It is a kind of mix between something idolized and something forgotten.

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