Rebuilding Culture and Identity Post Disaster...Understanding Vulnerability - Earthquake - 3.32am 6th April 2009 - 6.3 Richter - 42.348 N, 13.380 ECommunity culture, social space,

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Rebuilding Culture and Identity Post Disaster

L’Aquila, Italy

Piazza Del Duomo, L’Aquila

Project 1 - Recording:RecodingA symbolic object/place with cultural significanceThe Candlelight Monument

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- Earthquake - 3.32am 6th April 2009 - 6.3 Richter - 42.348 N, 13.380 E - Focal Depth 9.46km

Disaster - 308 killed -1500 injured - Nearly 70,000 evacuated - Estimated 25,000 houses damaged

- Unable to react properly to danger - Were told there was ‘nothing to worry about’ by state - Poorly constructed buildings. – Old and structurally weak historical heritage buildings

- Lack of previous knowledge/ experience of an earthquake. – State blasé attitude toward forewarnings. – No precautionary measures taken to strengthen/reinforce historical buildings - Construction of buildings which violate codes to cut costs.

- Last earthquake was over two generations ago. – Reliance on State media. - Regarding heritage aesthetics over safety. – Vested interest in economic gain of construction rather than safety. – Wrong risk classification of area on national prevention map.

Root Causes Dynamic Pressures Unsafe Conditions Hazard

Surr

ound

ing

Top

ogra

phy North

South

East

West

South mountains are tallest

Old city on a hill - steepest side is south

Closest mountains south-west

West edge of old city is flattest

Vulnerability - Old city is surrounded by mountains indicating a seismic area

Gen

eral

Cit

y A

naly

sis

- E

arth

quak

e im

pact

, clim

ate,

roa

ds

Palazzo Del GovernoCorso Principe Umberto Piazza Santa Maria Paganica

Piazza Rocca di Corno

Bef

ore

and

Aft

er t

he Q

uake

Train routes

Main Road routes

My Personal routes

Transect Walk

Site

Ana

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s -

Figu

re G

roun

ds

Building Densities and Green ares Routes through the City Points of Interest

Site

Ana

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s -

Pia

zza

Del

Duo

mo

Scale 1:1000

1.

2.

3.

4.

5.6.

Statuesque architecture, importance, heritage, clock towers, market culture, alfresco dining, gelatery, cobbled road, heritage, clock towers

1. 2.

Boutiques, corner shops, tourist/info/news booths, balconies, patio windows, views to the square, narrow crooked side streets, contrast open space of square. heritage, clock towers.

3. 4.

Community culture, social space, mo-peds and motorbikes, freedom, relaxed, busy yet laid back, the peoples square, biking trails, rest, food and drink, culture.

5.

6.

Dusk fog, blurred glow of lamps, orange haze, silhouettes, pink sky sunsets, old fashioned elegant street lamps, romantic, poetic scene

Pre

cede

nt S

tudi

es

Garden, sanctuary, peaceful, tranquil, contemporary memorial benches.

One object represents one victim. - Shows magnitude of loss

7/7 Bombings Memorial, Hyde Park, London

9/11 Pentagon Memorial, Washington.

Simple forms, elegant Personal significance

More private

More open Public and private remembrance?

Boxing Day Tsunami memorial, Patong Beach, Thaliand

One year anniversary parade of the L’aquila earthquake.Japan Earthquake Memorial

Lighting candles - Comforting, prayers, celebration, memory

Simple act

Elegant effect

‘Knee-jerk’ temporary memorials

before an offial state

one is made

Global tradition - evident in L’Aquila

Light and Shadows

Furt

her

Pre

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Im

port

ance

of

Can

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Theses three images were taken from inside S.Maria del Suffragio in Piazza del Duomo, the main church in the main square of the city (the site for our monument). This shows the importance of candles is very much in L’Aquila as well as Rome, using them as a symbol of prayer.

Votive Candles in Cathedrals in Rome

Inside Santa Maria del Suffragio Church, Piazza del Duomo, L’Aquila

Permanent Candles in L’AquilaThis image was taken beside a partial collapse building along with a picture of a young girl about 6 years old and her teddy bear. Here, the candle is a symbol of remembrance as well as prayer. It is battery powered; clearly the idea of a candle is so important that they’re using a more long term solution.

Con

cept

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BioluminescenceThe idea that the monument can act as a warning by lighting up or possibly changing colour before an earthquake. Bioluminescence is created by “the chemicals luciferin (a pigment) and luciferase (an enzyme).The luciferin reacts with oxygen to create light. My idea is these chemicals to be somehow released and mixed using the foreshocks of an earthquake.

Device to reduce Vulnerability?

Precedent Synthesis - One Candle and One Glass Tube represents One victim308 Glass tubes for 308 Victims

Des

ign

Dev

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t

Materiality1. Granite - Dark colour, hardwearing, weathers well could have rough or polished finish. However unlikely to be able to get in one continuous slab, will have to be clad.2. Marble - Does not weather well, stains easily.3. Polished Concrete - Weathers well, will be able to construct in one continuous slab.

Design RefinementsRemoving the ground slab reinforces the elegance of the floating roof. Due to the fragility of the design, the exteral lighted tubes should be made from a hard-wearing frosted plastic, which should also help provent any vandalism.

Too open - lighting of candles will have less of an effect.Roof creates shading - giving lighting more important

Pos

itio

n in

Pia

zza 7am 1pm 5pm

Summer(Mid June)

Equinox(Sept)

Winter(Mid Dec)

Sketch-up model of the site showing the sunlight and shadow throughout the day. It appears that the southern edge of the piazza is in shadow for the majority of the day throughout the year.

Alfresco dining

Alfresco dining

Market space

Monument

Strong diagonal/line of sight

Using the shadow diagram and my site analysis, I have chosen to place my monument centre/south as to still maintain one line of symmetry, keep my monument in shadow for as long as possible as well as not disturbing the market and alfresco culture. I will face the entrance toward the cathedral as this is a

quieter area of the piazza, ensuring a calm and respectful atmosphere around my monument.

Structure 1

Structure 2

Structure ProposalsStructure Idea 1 - thick external columns (possibly concrete) to support roof, not interrupting the light tubes however it loses the illusion that the roof is ‘floating’ upon light.Structure Idea 2 - thinner steel columns in the corners of the outer ‘ring’ of lighted tubes, will keep illusion of ‘floating’ roof - will sacrifice access to 3 lighted tubes, these will not have names on and permanent lighting. Will have to add 12 lighted tubes elsewhere.

Structure Idea 3 - Very thin steel columns - the same dimensions of the lighted tubes, replacing each corner tube, this will help the structure ‘melt’ into the design ensuring it is hardly noticeable, reinforcing the concept of the heavy monolithic roof is ‘floating’ on light. The steel will be polished as to mirror it’s surroundings. Having them thinner means I will need more of them, replacing 12 of the lighted tubes.Structure Idea 4 - Very thin steel plates between each tube or perhaps every other tube. From some angles the structure will be barely visible, however would block some of the ‘glow’ from the tubes, reducing it’s impact.

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Structure 3

Structure 4

The SANAA 2009 Serpentine Pavilion - “Describing their structure the architects said: ‘The Pavilion is floating aluminium, drifting freely between the trees like smoke’”. They have managed to create this feeling using extremely thin steel columns piercing throughout the roofscape. The structure, being so thin, melts into the building and becomes almost non-existant as it reflects it’s surroundings.

The structural steel columns are hardly visible. Being the same uniformity as the translucent lighted tubes has helped the structure blend seamlessly with the design and reinforcing the concept that the monument is floating on light.

As the lighted tubes are very tall and not strong are the bottom due to the cut out slot for the candle, the tubes need the be well fixed at the top of the structure. I’ve looked at using a steel plate and hollow cyclinder that the tube can be slotted into, the steel plate will be fixed to the roof slab giving it stability.

Plan (Scale 1:50)

Letting oxygen through perforations in glass.8cm by 15cm window to insert candle with dipped down plate for candle to sit and collect any dripped wax.

Structural Idea 3 - Explored

Des

ign

Sequ

ence

Fina

lised

Des

ign

Polished Concrete

Steel Structural Rod

Translucent Cast Acrylic

Translucent Glass

Plan (1:50)Orthographic View and Perspective View

Sect

ion

(Sca

le 1:

40)

Glass

Stone

Glass Seal

Bottom of tube detail with window cut

Perforations in tube

Plan of tube

Top of tube showing fixture to the

Steel

Glass Seal

Glass

Concrete

Pla

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Sca

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1

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Project 2 - ReinhabitingA temporary occupation to activate L’AquilaFree L’Aquila Paint Festival

Piazza Del Duomo, L’Aquila

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Precedents for Paint Festivals‘Holi Festival’ in India, aka ‘Festival of Colour’. This is a Hindu religious festival where they celebrate the beginning of Spring and commemorate fetile lands and fruitful harvests.

Holi is ‘played’ by throwing coloured powders into the air and at friends/family/neighbours etc then water pistols and water balloons are thrown the awash everyone and everything in sight with bright colours.

The colours can stain clothes by do not stain the surrounding environment.

A walk on the main road through the city - Empty, ghostly, abandoned - no life, barely any people about, even cars seemed abandoned Collage of graffiti from around L’Aquila - small instances of colour and humour in the city.

Key

Spray Cans concealed/camoflaged within scaffolding

Army watch points - points in the area where Army tended to always have people stationed.

Common Army patrolled routes

Mapping of StrategyThe PaintFest will bring activity and colour back into the city as well as raise awareness for the protest to rebuild the city.

To create awareness and excitement for the PaintFest I plan to empower a small group of people who will conceal spray cans of temporary graffiti paint which will blend in within the scaffolding holding up the buildings, choosing spots that are a safe distance away from common Army presence points and routes.

This small group will begin the tagging of ‘Free L’Aquila PaintFest’ and spreading the word of the concealed paint cans and encouraging them to tag aswell. They will also spread news of the date of the planned paint festival.

Informing the local shops as well of the planned festival will help with spreading the information.

This should also spark the local marketsmen to begin selling the powdering paints needed for the festival. This will also be temporary and washable.

Idea

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Progress of StrategyArmy unawares of locations of spray cans or planned festival

Empowered small group begin the tagging and concealing of cans

People begin to take notice of tags and hear of hidded spray cans

Others find cans and tag too.

“I’ve heard the festival is the last weekend of this month”

Marketmen begin selling the powdered paints in preparation.

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Beginnings of the Festival

Project 3 - RecastingA place for new forms of democracyFavilla D’essai - Street Art Centre for Therapy and Protest

Piazza Del Palazzo, L’Aquila

L’A

quila

- F

urth

er S

ite

Ana

lysi

s Important building, entrance set back from street, modern arch for entrance to porch

Common curved arch doorways, wider than standard doors, busy public building, carved decoration

Less money to spend on ornamentation, plain curved arch - conform to the ‘rules’.

Less common to have doors set back from street, privacy?

Triangular arch, different decoration to common curved arch, moulded decor

Very highly decorated iron ornamentation, display of wealth, importance, not residential, common material for decoration, stone carving and iron casting

More modern building, simple windows, no decoration

More modern window, conforms to ‘rules’ but simpler, less decorative, common stone framing and balconette

Older window, larger balcony with old style wooden shutters, decorative iron railings

Common stone carved ornamentation on older buildings, stone has weathered over time showing age of building.

Wooden blinds, perhaps cheaper version of traditional wooden shutters

More modern building, modern glazed wall combined with a more traditional plaster and stone cornicing.

Traditional terracotta and pinky tones for painted plastering.

Modern stretcher bond

Rougher, more expressed stone work.

Plaster broken away showing the layers of construction, timberframe with masonry infill

Plaster broken away showing construction, perhaps poorly constructed

Circular windows common for churches, not used usually for residential buildings.Less grand small churches, decorative doors however plain plastering, no cornicing or ornamentation.

Larger churches, symmetrical, grander entrances, taller than standard doorways, highly decorative with ornamentation mouldings, statues, columns, tall, bell towers

Situated in larger public piazzas, tallest buildings in the squares, showing their importance

White/cream painted plaster, physically highlighting them against the typical terracotta or pinky surrounding buildings.

Balconies are common decorative feature amoung buildings, cultural - coffee on the balcony, alfresco dining

Stone carved decorative railings for balcony, unusual, wrought iron is usually used bent into intricate patterns.

Stone cornicing in alternating pattern, old fashion lamps are commonly placed on the facades of buildings.

More extravagant take on street lighting, used on facade of large post office, inspired by L’Aquila eagle crest

Attention to detail, iron decorative knockers, style using lions heads are quite common

Roofscapes show mainly terracotta tiled roofs with realtively shallow pitches, highlighting the terracotta, pinky tones of the town.

L’A

quila

- E

arth

quak

e D

amag

e

Temporary Supports to buildings and walls

Partially or Total collapsed buildings

Hai

ry D

raw

ing

- M

appi

ng t

he p

oint

s of

inte

rest

in c

ity Renzo Piano auditorium

(right), Piano ‘gave’ it to

L’Aquila for free and the

local school of Architecture

were involved in the design

process to ensure it met

their needs

The most emotional part of the

city for me, the

collapsed university

student halls.

Photos, flowers, candles

and poems pinned to

the fencing.

A drop of dewPerfectOver a green leafPerfectSlips awaySlowlyAt first fightDawn

ThenAs if he was afraidTo make the leapStop for a momentOn the extreme edgeEventuallyDetermined in the choiceAlready madeGets the courageIndulges happyJumps

To all the studentsHere that lost their lives

Your courageWill be for usForeverPride

L’Aquila 6th April 2009Cause you not to forget

Continued army presences

patrolling the main street

and some of the backstreets

ensuring people do not enter the

red zone (800 euro fine)

(Below) The 99 Fountains-

made of 99 spouts

signifying the 99

villages that originally

made up the city.

Translation of poem

Stray dogs all over city. Owners may have died or left the city

Boards displaying info about the chosen

reconstruction projects by the Government.

Mainly churches and public buildings.

Piazza del Duomo. The

main and largest public square in the

city.

Transect WalkSpray L’Aquila - Street art

Community-made memorials

A message thanking L’Aquila for the spaces. Showing the need for space for expression. Street art depicting characters, construction, writing

etc. Other examples round the city included political messages

Keys pinned to the scaffolding surrounding the buildings signifying the many homes lost. Post-its stuck to a wall, people trying to communicate

to each other, community has been separated, messages of hope, well-wishing, prayers - therapeutic to write down your feelings.

Tra

nsec

t W

alk

- R

ecor

ding

sig

ht, s

ound

, atm

osph

ere

in t

he c

ity

Tra

ffic

Car

sta

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beep

bee

p ah

ead

Dri

lling T

raffi

c

Tra

ffic

Dul

l con

stan

t co

nstr

ucti

on n

oise

Army presence Police car drives away

Feel watched Starting to feel like I’m not allowed to be here

Police PatrolSp

arki

ng s

aw

Bui

lder

s ta

lkin

g

Dri

lling S

andi

ng

Ver

y lo

ud d

rilli

ng

Walking into scaffoling tunnel

Tense, overwhelming construction sound

Piazza del Duomo

Mus

ic f

rom

ca

fe in

squ

are

4 C

him

es f

rom

th

e cl

ockt

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in

squ

areS

mal

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Dri

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fu

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r aw

ay

Con

stru

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n

Bee

ping

mac

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ry

Bee

p be

ep -

ca

r re

vers

ing

Slap

ping

wat

er

foun

tain

Gro

up o

f 5

chat

ting

beh

ind

3 ca

rs p

assi

ng

bark

bar

k

Dis

tanc

e co

nstr

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on

stre

et o

ppos

ite

Dis

tant

cha

tter

an

d fo

otst

eps

Pat

ter

of

dog

paw

s Qui

et, j

ust

my

foot

step

s an

d ge

ntle

fl

appi

ng o

f di

scar

ded

pape

r po

ster

s

Confused, people with filming equipment

Wind blowing in my ears More at ease, music and water fountains, familiar

Stray dogs following me, seem friendly

Dogs seem to hate the cars, very loud, agressive barking at them

Uneasy, lonely, ghostly

Lots of shops closed down, scaffolding,

Con

stru

ctio

n in

dis

tant

Con

stru

ctio

n, c

hain

s cl

angi

ng, h

oove

ring

Jazz

, pia

no b

ar m

usic

Ban

g

Eng

lish

mus

ic,

from

Piz

zeri

a

Res

taur

ant,

co

ffee

, cha

tter

Bus

bra

kes

Cha

tter

, peo

ple

wal

king

by,

bus

ier

Tra

ffic

Solit

ary

peop

le

Bir

ds

Lul

l in

cons

truc

tion

an

d tr

affic

Tra

ffic

nois

e pi

ckin

g up

, m

ovin

g to

war

ds a

larg

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unda

bout

and

pet

rol s

tati

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Hea

vier

tra

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edg

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ol

d ci

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ad

Comforting, people around, social, more cafes open

Curious, sudden activity

Quiet without feeling ghostly

Comforting, trees and greenery

Pia

zza

Del

Pal

azzo

Benches

Lamp-posts

Trees, foliagePlant pots

Direct access routes to Piazza del Duomo

Large main road, common route to site (how we got to site)

Clock tower

Nearby Piazza - quieter, religious square, around fountain

Most damaged build-ing in the square.

Shops, jewellers and pizzeria

Shops, jewellers and pizzeria

Disabled parking space

7am 1pm 5pm

Summer(Mid June)

Equinox(Sept)

Winter(Mid Dec)

Pia

zza

Del

Pal

azzo

Stonework contrasts terracotta plasterwork of sur-rounding buildings.

Detailed roof mouldings contrasting plasterwork.

Similar style mouldings to roof - straight - mould-ings around windows, more attention to detail than most contemporary buildings.

Contrasting stonework along corner edges, very common among buildings in the old town.

Large double door stone edged entrance - important building, large intake of people to require double doors.

Clock tower - tallest building in the square, important, landmark, social meeting point.

Via Patini - larger side street, direct access to Piazza Del Duomo.

Evident structure made decorative, columns very common decora-tive tool in Italian style.

Balcony over main entrance, traditional. Banner translated: “If a dream has

many obstacles it means it’s the right one”. - Could be referring to earth-quake, fighting to keep her bar open.

Via Marelli - smaller side street, another direct access to Piazza Del Duomo, currently red zone blocked.

‘Ristorante Ernesto’

Curved door entrances on all facades on this street

Mini side street, no access to other roads, cul-de-sac, unusual in grid-like plan.

Pia

zza

Del

Pal

azzo

Via Accursio - very narrow, very steep side street

Humour, lightheartedness - model of a builder made from bits of scrap, wearing a hard hat.

High-end Ladies and Childrens clothing chain, online shopping.

Mid-end Jewel-lery and fashion accessories chain.

Traditional, rustic pizzeria.

Small Ladies clothing shop.

Translated: ‘An-cient World’ - antique shop?

Translated: ‘Shop from Asia’.

Communal balcony across whole facade.

Door doesn’t match the rest, possibly been replaced - or door to accomodation above shops?

Large scale arches leading to doorways, lined with columns, grand feeling, important building.

Each window has a balcony, adding to grand feeling

Highly decorated windows, more panes of glass, arched windows, mini antique street lights, matching those of the square

Two layers of roof mouldings, more detailed designs, height of building and intricity of designs indicates most important building of the square.

All roughly same scale, not symmetical. Mouldings around windows are plain and not as ornate as the rest of the buildings in the square. Possibly made from local masons.

Oldest looking building in the square, most damaged looking, heaviest scaffolding.

Evident slope

Site

Bui

ldin

g

Outdoor seating - social spaces, views out to square, summer evenings

“If a dream has many obstacles it means it’s the right one.”

Posters - films, events around town, social hub, information point.

Farfarello - The Goblin - From the story of ‘Dantes Inferno’. It is an allegory telling of the journey of Dante through Hell, guided by the Roman poet Virgil. Farfarello was one of the thirteen de-mons that tried to trick Virgil and Dante by telling them of a path which does not really exist.

View from Farfarello’s entrance

Close up materials - stone, wood, plaster, cobble paving.

Colours in facade.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

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Front Elevation - Scale 1:100

Con

cept

Ide

a O

ne

Freedom of Speech - spaces for expression

“If a dream has many obstacles, it means it is the right one” - space for people to express their dreams, using post-it note memorial for inspiration - dreams become the facade, engraved in, inspired others.

Act of expression is therapeutic

In February 2009, “This We Believe,” a citywide initiative was launched to help residents conceptualize and contribute their thoughts for designs for city wide murals through a series of forums. The Murals Arts Program started in 1984 as a component of the Philadelphia Anti-Graffiti Network which

encourages the positive energy of the destructive nature of street graffiti artists to create artwork to rebuild communities.

Since inception, over 25 years ago, over 3,000 public art murals have been painted.

Pre

cede

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or C

once

pt

Image from Internet

My own image

Att

itud

e to

war

d de

moc

racy

in I

taly

To have The same individual who owns iTaly's privaTe Tv channels as head of The governmenT has been a disasTrous concenTraTion of power. - The independanT (14/12/10)

Italy's political landscape is shifting drastically, with both the Berlusconi era and the technocratic Monti government coming to a likely end and elections possible on 10 March.

now ThaT silvio berlusconi is no longer iTaly's prime minisTer, and has been replaced by mario monTi, is iTaly on The paTh To recovery? - bbc news (14/11/12)

The Money Man

Technocratic Government

‘No to the imperialsm of Monti’s government, Take your hands off Syria’

‘No Monti Day’ - Marches against Austerity in Rome, 27th October 2012.

My own photo of graffiti sprayed in L’Aquila

Graffiti

Ancient Forms- Viking Graffiti - Newgrange Mound- Mayan - Scratched onto scultures

Communicate- People communicate with each other- Points of view and expressions

Creative- Space to be creative, show off flare.- Exploring and displaying skills

Territorial- ‘Tagging’ - gang ‘logos’ claiming area.- Get as many tags up as posible- Most common - most negative-Quick to do, less likely to be caught

Banksy

Cultural- Story-telling, heritage, history- Depicting things they’re proud of.

Boredom-’Meaningless’ graffiti - “Kate 4 Will”- Doodles

A graffiti centre in Cardiff, teaching people how to express themselves through graffiti medium. The centre includes indoor space as well as large exterior walls to perform numerous workshops with the community, school groups etc. They also get commissions to create work on graffiti legal walls. They also use the space to hold gigs, concerts and exhibitions.

Greenpeace specialise in peaceful protest and have succeeded in achieving many positive changes across environment and political issues. The images to the left are from Glastonbury festival showing the protest wall and a gallery, showing current issues and protests, made from reclaimed tyres. Although Greenpeace protests are peaceful towards people, they often break laws to get their opinions heard resulting in many of their protesters being frequently arrested.

BBC - Sherlock Holmes

Simple, clear message Symbols, underground communication Subliminal - pressure

Wrapping/patching up

L’Aquila

Facebook, blogging - knits being sent from France, Spain, Germany,

Portugal, Ukraine, US, Venezuela, Iran

Displaying communities

emotions and hope

Christo Jean-Claude’s

eccentric bold statement -

wrapping of buildings

Exp

lori

ng G

raffi

ti -

Pur

pose

and

Pra

ctic

e

Graffiti artists often use

temporary spray paint to dodge persecution as it is no longer permanent damage to buildings.

‘Spray L’Aquila’ panorama on main road through city centre

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ck

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xplo

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ure

Qui

ck

colla

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ring

a f

acad

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Furt

her

Con

cept

Ide

as -

Beg

inni

ng o

f Fo

rm

Building Take-Over:Precedent - Kunsthaus Tacheles, Berlin.

HistoryKunsthaus meaning Art House and Tacheles being Yiddish for ‘straight talking’. Had a number of uses including an electrical department store and a Nazi Prison. It had suffered only moderate damage during the second world war but was due to be demolished to create a new street plan. The dome and movie theatre was demolished with the rest of the building to be demolished in April 1990. This is when the group of artists overtook the building and named it Kunsthause Tacheles, two months before demolition. They tried to get it recognised as a historical landmark which was unsuccessful and did not delay demolition until the artists had managed to get a last-minute injunction issued from the Berlin Round Table. The building was then recognised as a historical landmark in the next survey in 1992.

Damaged by Second World War - beginning of take over Renovated and structurally sound

Inside graffiti covered stairwell

Each and every surface is a canvas, space to express themselves

Space for staging live shows

Front facade

Social hang-out - luggage, backpackers, multi-cultural

Glass facades - displaying work

Large courtyard space at back of building used for sculptural exhibitions

“Half hippy commune, half sculpure park where the sand underfoot gave it the air of a beach transported to the inner city”

“There was an air of the morning after the night before about the place. This is apparently the venue for some legendary parties.”

“Local Berliners love to go there and meet the new “starts” in town. The general atmosphere there is relaxed and natural, even if you are not an art lover you can still go there and no one will grudge your lack of knowledge; here everyone is welcome.”

An explosive new movement that would become known as Street Art. This hybrid form of graffiti was driven by a new generation using stickers, stencils, posters and sculptures to make their mark by any means neccessary. With the arrival of the internet these once temporary works and could be shared by an audience of millions. Street art was set to become the biggest counter-cultural movement since punk.

Space Invader Monsier Andre Zeus

Street Art has a shaort life-span. It needs documenting.

Shepard Fairey

“One day Sheppard would become famous for transforming the face of an unknown senator into a universally recognised icon.”

Power of repitition.

Furt

her

Stre

et A

rt R

esea

rch

“I like the idea of the more stickers that are out there the more important it seems, the more important it seems, the more people wanna know was it is, the more they’ll ask each other and . . .

Seizer Neckface Sweet Toof Ron English Dotmasters Swoon Borf Buffmonster

Street Art Studios Other skills- Material storage, ready, at hand- Floor space, laying out, stencilling- Desk spaces- Work Benchs- Tools

- Free running/ street running/ parque- Scaling, climbing billboards, buildings etc

Types of Street ArtSpray painting, fire extinguishers, brush paintings, public transport, abandoned vehicles, billboards, street signs, sculpture, stencils, posters

... it gains real power from perceived power”

Works of Banksy- Controversial, shock, clear messages, ambition, pushing boundaries, critising society, cultue and systems

“Borf was my friends name who killed himself when e were younger, I do it to commemorate his life”

Em

pow

ered

Gro

up -

Vis

ion

and

Act

ion

Favilla D’essai

Spark Arthouse

“Poca favilla gran fiamma seconda” - Dante Alighieri

“A great flame follows a small spark”

Dante Alighieri (1265–1321) was an Italian epic poem writer of the middle-ages, most noted work being “The Divine Comedy” depicting Dantes and Virgils struggle through hell and purgatory to Heaven which, is where the aforementioned Farfarello features.

People- Artists- Rebellious- Outspoken- Determined- Protesters

Vision- Teach people how to express themselves, this becomes very therapeutic and increases confidence and self-esteem, making people believe they can impliment change, their views are important.- Release them into the city with new skills- Viral protest, people expressed their views all over the city- Raising awareness of the need for the city to be rebuilt, becoming a catalyst for action- Bringing activity and life back into the city

Action- The ‘Favilla D’essai’ group will take over the building and transform it to meet their needs i.e. accomodation, inspiring studio space etc.- Overtime, cultivating, producing work, discussing ideas etc.- The suddenly exploding their all their work into the square in an art festival, meaning the movement is too big and established to be stopped or hindered by army or police presence. - Public are then aware of the arthouse and their work and are invited to join them, offering teaching, workshops etc- Photographing, recording each of the steps, process, later to be used as a timeline record showing their achievements.

Emotional release - Art therapy

Teaching people how to express themselves and how to protest

Ambition Change the BUILDING - the SQUARE - the CITY - the SYSTEM

Em

pow

ered

Gro

up -

Str

eet

art

Fest

ival

Artist accomodation/ Hostel space/ Studio for sculpture, posters, signage

Artist accomodation/ Hostel space/ Studios for paints (spray, stencils, canvas’, brush)

Bar/social hub for planning, discussion, strategy, talks, teaching, preparing

Facade Gallery Space

Mezzanine Platforms Skylight Staircase

Lift Shaft

Moveable wall/canvases

Org

anis

ing

spac

es a

nd u

ses

Double height (tall sculptures), mezzanine floors (extra floorspace for laying out)

Printers, work benches, tools, storage for materials

Moveable wall sections that could ‘clip’ together, creating more wall space to practice, paint

Bar, kitchen, space for tables and chairs, wall space for presentations, pinning up plans and strategies

Desks, storage for paints and brushes, canvas’

Tables and chairs that can be stacked and stored, storage

What’s on each floor? What does each floor need?

http://www.youtube.com/watch?feature=player_embedded&v=OYCTcPkIIBI Compact Living/Flexible spaces

Mezzanine Spaces - Precedent - Jun Igarashi’s

Raised platforms for beds, creating space underneath.

Clever furniture for flexibility, double for accomodation then creating socialising spaces. Spaces could adapt to hostel numbers.

Packing boxes away according to numbers in hostel. Perhaps use boxs as tables. Able to unpack and fox together furniture without any tools. Entire set can be put together in under 10 minutes.

Exp

lori

ng id

eas

for

host

el s

pace

s

Visualisations

Large mezzanine floor, very open and visual. Smaller, private, intimate mezzanine spaces elegant arrange in a small ‘slice’ of the building.

1:100

Ske

tch

mod

el

First FloorBar Area Kitchen Staircase LiftFloorspace for tables and chairs

Second FloorMoveable ‘wall’ canvases

Skylight Bedroom(disabled access)

Bathrooms Staircase LiftThird FloorCraft work

mezzanine area Skylight Floor space for large sculptures

Bedroom/social space mezzanine areas

Lift

New stone construction

New construction,

glass perimeter,

highlighting the extension

and contrasting

with heritage, bringing in

light.

Sun direction comes in SSW

and at 74 and 36 degrees. I

have carefully placed

skylights so that

throughout the majority

of the day, the bottom floor

will get some direct sunlight,

lighting specifically the bar as I felt it is the

important original heart

of the building

Bedroom/ social space mezzanine

areas

Bar - space for socialising, relaxing, debating, planning, displaying, meeting 1st Floor Studio - space for paint (brush/aerosol/stencil etc), print, wheat paste posters

Vis

ualis

atio

ns

2nd Floor Studio - space for sculpture, workshop tools, smaller crafts

Vis

ualis

atio

ns Hostel Mezzanine spaces - flexible spaces for bedrooms and/or social spaces

Ext

erna

l Vie

w a

nd S

ecti

onal

Per

spec

tive

Studio Concept Visualisation

1:100

Sca

le M

odel

- S

pace

s, s

truc

ture

and

env

iron

men

t

Simple to Complex

Structure and space Transparency

Environment - Natural Lighting - Front and side facade with windows and turning segments allows daylight to travel from front of the building. The sun angles are 740 and 36o and using my earlier sun path studies I placed the skylights in the roof and each of the floors to allow direct sunlight to travel through all floors and light the bar at the ground floor throughout the majority of the day. The hostel space also has a skylight - the very bottom is the darkest area however this only houses services (toilets, showerss etc) where natural light is less vital.

Environment - Ventilation- Ventilation is particularly important for the 1st and 2nd floors as these are the spaces that aerosols such as paints and glues may be used. Fortunately on each of these floors are a sufficient amount of openable windows along with an open plan spatial arrangement. This allows for natural ventilation as the prevailing wind will push fresh air through the west facade consequently pushing old air out the front facade.

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Foldable glass partition

Darkest area - services block

1:100

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- S

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s, s

truc

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and

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Thick existing loadbearing wall

Existing building - Ground floor plan

As I wish to remove most of the internal walls for open plan space and ‘transparency’ of space yet keep as much as the existing floors as possible, I need to propose a strategy which will ‘pick up’ and support the existing floor beams. On the plan above, I have mapped the shortest span and therefore the direction in which the floor beams should be spanning as shown below

Existing floor beams- Orientation

‘Motel out of the Blue’ by Maartje Dros and Francois Lombarts

Structural Aim: Keeping as much of the existing building as possible Sustainability - Recycle Scaffolding -

Scaffolding is now part of the City’s History - Material Record of the Earthquake

Using an empty construction site, Dros and Lombarts recycled discarded materials on site such as scaffolding poles, plywood walk ways etc to create furniture, beds, seats, tables - creating a lecture theatre, bedrooms, dining hall. Dros and Lombarts wanted to create a monstary-like feel and atmosphere to the spaces.

I feel that recycling the scaffolding that currently envelopes L’Aquila would not only be more efficient, but could become ‘a material record’. The earthquake is now part of the city’s history and therefore so is the changing facades of the city. The scaffolding was used for support in the city’s time of need and now the support can be extended into the reconstruction of the city.

Tec

hnol

ogy

- M

odif

ying

the

ori

gina

l bui

ldin

g

1:50 Model of Structural Proposal

The Structural ‘Spine’

Existing floor beams

Recycled steel scaffolding - ‘tying’ timber ‘tray’/beam to existing walls

Timber and plywood ‘tray’/beam

Recycled scaffolding - creating ‘tree-like’ structural columns

I realise now that the joints for the ‘tree-like’ structures are slightly wrong on this model, scaffolding joints sit next to each other with a swivel joint rather than connecting directly together.

Existing walls


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Scale 1:5 detail of joints and connections of the ‘tree-like’ scaffolding Scale 1:20 section of ‘Structural Spine’ Scale 1:5 section detail of ‘Structural Spine’ connections with existing structure

Key

1) - Timber floor beams (existing)2) - Timber batons (existing)3) - Exposed timber floor boards (existing)4) - Plywood board5) - Timber batons6) - Recycled scaffolding poles7) - Scaffolding ‘swivel’ joint8) - Timber ring beam9) - Welded metal plate connection10) - Epoxy resin11) - Thick stone wall (existing)12) - Skirting board


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Flat Timber Warm Roof Construction Detail - Scale 1:5

1

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5

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Key

1) - 300mm Recycled timber beams2) - Timber batons3) - Timber upstand4) - Ceiling finish5) - 18mm Plywood board6) - Vapour Barrier membrane7) - Rigid insulation8) - EPDM single ply membrane9) - Steel upstand capping

Insulation cut with 1:80 falls to allow rainwater drainage

EPDM single ply membrane waterproofs the roof and is carried up and over the timber upstand, ensuring no moisture gets into the construction causing rotting.

Steel capping with flashing to protect timber and direct water away

As the roof has been raised to create a double height space on the top floor this is a new construction however I wish to use

recycled timber beam and batons from the existing ceiling.

Service OutletsThe majority of the services (lift, toilets, showers etc) are in the back section of the building. However there is an interrupted route directly to the roof. Therefore service ducts will need to travel through the floors toward the front left side of the building where the ducts can be fed through the walls all the way to the roof vents.

Glass windows interrupts direct route to roof.

Rainwater Outlet- Water is directed down a

‘funnel’ ensuring the water is drained through a waterproof tube through the wall rather than the structure itself. A grate is place on top to stop

debris clogging

Boiler, Ventilation and SVP Outlets- Heating, ventilation and toilets all need vent pipes to the roof and these are two ways of doing it. Each individual tube could have a cap and flashing to stop water getting in. Or all the pipes could be

housed in one box with vents to rid of the waste air as well as keep water out. As my roof is not a terrace roof either choice will not be seen.

Section - Scale 1:100

Ground Floor Plan - Scale 1:100

Section Line

Via Marrelli

Via

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First Floor Plan - Scale 1:50

Studio Space- Glass inserts into both ceiling and floor allowing natural light to pass- Flexible, modular moving ‘canvas’’ or walls for graphic practice- Photocopier, computer, A1 printer for computer generated stencils and graphics- In built storage for materials, paints, brushes, aerosols, glues etc- Large sink for mixing, cleaning off paint, brushes,- Bedroom in sectioned off hostel space as well as toilets, showers etc (disabled access)


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Second Floor Plan - Scale 1:50

Sculpture and Craft Studio Space- Glass inserts into both ceiling and floor allowing natural light to pass- Glass perimetre window showing new construction where the roof has been lifted as well as giving panoramic views of L’Aquila as well as the square.- Double height space for large sculptures- Mezzanine floor for smaller craft work- Storage for craft and tools- Work benches for sawing, cutting, carving, etc - Access to hostel space

Documents

Rebuilding Culture and Identity Post Disaster...Understanding Vulnerability - Earthquake - 3.32am 6th April 2009 - 6.3 Richter - 42.348 N, 13.380 ECommunity culture, social space,