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Minimize Maximum_A Timeless Stadium

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Minimize Maximum_A Timeless Stadium

 

 

Celia Cardona, Eric Folli, Joshuán Tacoronte

 

The projects proposes a new architecture of the stadium in contemporary times, addressing issues as seating, compartmentalisation and multi use. On a wider urban note it also proposes to re-naturalise an area that was formerly concrete.

Interview

Who influences you graphically?

We wanted the project to graphically portray only subtle references to a certain time in history, which could be unlinked to temporary canons.

The first question we asked ourselves: How can we present an architectural project (in our case a stadium) that would be timeless?  We tried to find the essential canons of representation, either pictorial or photographic, having a colour theme as the focal point. In order to find the original structure our findings resulted in the deviation of examples that portrayed various eras. We do not have precise references, but none the less we have been inspired by artists and architects alike who see the use of colour as a fundamental means to express their ideas.

During project development we introduced the concept of purity, having the stadium used for a single intent of only sports as this often occurred in the past rather than in the present. The images display that people are from diverse times in the past utilising the stadium simply for the means of such activities.

 

How do the people collaged help in explaining and exploring the type of users of the stadium?

The people we used in the images in some way can maybe refer to the past, but this is just because using these images allows in a more effective way to show how people with different social status could use the same spaces of the stadium, unlike today, where compartmentalization of stadiums create a higher social imbalance. We also wanted our images to highlight the use of seats which in a majority of stadiums are considered a disadvantage, whereas in our stadium the users also take pleasure in these privileges. An important example of this idea is the balcony towards the exterior park which can be enjoyed when acceding to the higher seat rows.

 

Every image is formatted in a different way, why? How would and could a uniform format help in presenting the images as part of one though through proposal? 

The images have different formats because as stated each of them has been adapted to show specific points. We used the squared format when we wanted to concentrate the attention on the vertical dimensions or to focus to the centre of the image; however, we made use of the landscape format when the intention was to give an understanding of the space from a wider view.

 

How important is the context of the stadium and why do you seize to show it within any of the perspective views?

In all our images we always tried to explain the context because we consider it a very important connection between the stadium and the entire project area, but above all we wanted to preserve a natural aspect within the whole area. Our stadium is surrounded by nature and at the same time the relationship between the two shown in the images help to explain how the entrances work and the stadium will be accessed. The natural context is a powerful element in our project because the urban transformation provides re-naturalisation to an area that was formerly concrete.

 

Whilst some of the images are full of ‘action’ and objects, others are quite simple and clean. What dictates the amount of information you chose to portray?

The graphics have a high priority because they are an instrument that allows us to communicate, but as stated, it is an instrument and, as that it must be adapted to the building ‘’laws’’. Each image explains a specific space through its architecture and clearly how this space is inhabited by people. We tried to find a balance between these two factors (architecture and how it’s lived in). It is fundamental to see the terraces and understand how they are used during an event of maximum occupancy. Conversely, we can see how one of the entrances has been depicted; a place where attention is captured by the quality of space and its architecture. In this sense, the image strips away all those elements (people and objects) that tend to distract the observer.

As in a photograph, it is to find a protagonist and then compose the picture in the most appropriate way to convey it to the viewer.

 

TAVOLA 0

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About

The international work team was founded during the study years in architecture school in Milan, it has participated in international contests and still works together in common projects.

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