For the very first time, Reuse Italy has embraced the mission to rescue and reuse built heritage from the early 20th Century. Together with Dropcity, they launched an International Ideas Competition to reuse the tunnels of the Magazzini Raccordati, the future site of the new Centre for Architecture and Design. Ten finalists will be exhibited during the Dropcity Convention 2023 and the winners will be awarded at the end of the Public Programs lectures. In this interview, we spoke with Reuse Italy about their new interest on abandoned urban heritage and the importance of architectural representation in the communication of ideas.

This interview was developed as part of the media partnership with Dropcity Convention 2023, winner of the public call Festival Architettura - 2nd edition, promoted by the Directorate-General for Contemporary Creativity of the Italian Ministry of Culture.

KOOZ In conjunction with Dropcity, Tunnel Evangelion in the abandoned tunnels of the Magazzini Raccordati of the Stazione Centrale of Milano is the sixth competition you have organized so far, the previous five having targeted antique ruins in rural or semi-rural contexts. What discoveries have you done and what lessons have you learned while creating this latest, more urban-focused iteration of the Reuse Italy cultural project?

REUSE ITALY We have undertaken this new phase with curiosity and enthusiasm. As soon as we were inside the spaces of the Magazzini Raccordati, we immediately understood that they were right for our initiatives. The ruins we have previously proposed had an intrinsic value that was easily recognisable and shared in the collective perception: everybody loves ancient runs, they always create a sense of the nostalgic presence of the past. However, the architectural heritage of the 19th century still struggles to be recognised in the same way, despite the fact that its valuable features are equal to those of many older architectures and are just as worthy of appreciation. Even when the challenges we have faced before were significantly different, we were confident that the design solutions proposed by the participants would restore dignity to these spaces. And this is what actually happened.

KOOZ In our previous conversation, we talked about the importance of architectural representation, specifically about how drawings have the power to motivate people and communities to re-imagine and value abandoned heritage. For the final submission of Tunnel Evangelion, each team submitted two graphic boards and a text. Can you tell us more about the reasons for these deliverables? Have you considered allowing or asking for other types of media to represent architectural ideas in future competitions?

RI We strongly believe in the importance of architectural design for the revitalisation and enhancement of abandoned architectural heritage. This is one of the main missions of our organization, to promote this value. In this regard, the importance of representation in architecture is consequentially remarkable: it lies in its ability to facilitate communication, collaboration, and decision-making among different actors involved in the architectural design process. In this sense, especially referring to the architectural heritage to be restored for a public usage, we think it is important to use clear language that can be easily understood by everyone. Therefore, traditional graphic representation remains the best way to communicate with the communities targeted by the results of our competitions. We’re really happy that this time, for the Tunnel Evangelion contest, the representation was also part of the evaluation. However, we would like to expand the ways in which the project is presented, whether through videos, virtual tours, or other experiential digital materials.

KOOZ For Tunnel Evangelion, nine of the ten finalists participated as teams. Has this been the case with previous winners and finalists in former competitions? Do you think this points out a change of paradigm in architectural practice, where the solo architect is becoming less and less common in favour of a more collective approach?

RI That is certainly true. Even in previous editions of the competition, the majority of participants were teams. This could be the result of an increasingly multidisciplinary approach to architectural design, following a method already adopted by many international universities. Given the delicacy of historical architectural heritage, we believe that the choices made require special attention. We hope these choices result from a convergence of different areas of expertise. We believe in a kind of holistic approach: architecture projects involve many interconnected and interdependent systems, from art and structure to environmental and social. A multidisciplinary team can bring together different perspectives, knowledge, and expertise, providing a more holistic approach to the design process. As we see in our competitions, this strategy leads to “innovation”, because multidisciplinary teams can bring fresh and diverse ideas and approaches, fostering innovation and creativity in the design process.

KOOZ Your mission is focused both at the local and global scale. However, for Tunnel Evangelion, nine of the ten finalists are based in Europe, the other one in New York. Why do you think this is? Do you foresee Reuse Italy as a bridge to also connect with design ideas that transcend visible and invisible continental borders? Are you interested in establishing alliances with similar cultural projects working on heritage around the world?

RI You're right, our cultural activities always have this dual aspiration, of acting both locally and globally. This duality is very important. In international terms, we are convinced that, taking the Italian heritage as an example, this is not only the legacy of Italian history, but that it constitutes a concert of expressions that form the basis of contemporary civilisation. In fact, one of the main goals of our organization is to promote the debate around abandoned buildings both in Italy and abroad, to make people more aware of the problem and to make this issue more central in public debate. This is why we want the international community to feel involved in enhancing the testimonies of a shared history. To date, we have presented ourselves as a platform that gathers ideas from all over the world. Creating a community that crosses national and cultural boundaries is one of our main goals. For this reason, we would like Reuse Italy to become more and more the place where other realities, that share our mission and goals, converge.

KOOZ At the end of your previous competitions, you have organized award ceremonies and exhibitions that happened on site, inside or alongside the ruins of the buildings explored. This year is no exception, as Tunnel Evangelion’s award ceremony will close the Dropcity Convention 2023 Public Programs inside Tunnel 60. What are your expectations for this night? Will the vibrant atmosphere of the event, the city and the tunnels bring something extra to this year's finale?

RI Exhibition opening events are a great opportunity to showcase the work of our community to a broader audience, especially the local community. This is why we always ask the winners to participate in the event, because they have the chance to engage with the public, building relationships for further benefits for the community. The Dropcity convention this year is amazing. The tunnels contain a lot of engaging activities, such as workshops and interactive installations, that can enhance the exhibition experience and provide a deeper understanding of the Tunnel Evangelion mission. The choice of making the jury perform a public debate is something new for us, and we have great expectations; we believe that it will ensure accountability, fairness, inclusivity, and also learning opportunities, helping to build trust and confidence in the mission of Dropcity and Reuse Italy.

Bio

The Italian landscape is full of forgotten historical buildings. The cultural project Reuse Italy has the long-term goal of focusing the public attention on this issue, promoting activities that show how it is still possible to bring back life inside those ruins, activating a renovation process. We believe that the refurbishment of the abandoned historical environment represents a resource for Italy, and the architecture project must have a fundamental role.

Federica Zambeletti is the founder and managing director of KoozArch. She is an architect, researcher and digital curator whose interests lie at the intersection between art, architecture and regenerative practices. In 2015 Federica founded KoozArch with the ambition of creating a space where to research, explore and discuss architecture beyond the limits of its built form. Parallel to her work at KoozArch, Federica is Architect at the architecture studio UNA and researcher at the non-profit agency for change UNLESS where she is project manager of the research "Antarctic Resolution". Federica is an Architectural Association School of Architecture in London alumni.