− Almere Floriade 2022 _ MVRDV
− Central Tirana Masterplan _ Grimshaw Architects
− Guadeloupe Beauperthuy Hospital _ SCAU
− Riviera-Chablais Hospital _ Groupe-6
− Unire / Unite, the 2012 YAP MAXXI _ Urban Movement Design
Introvert Potential
Introversion, or about Observation (within) _ Diego Terna
− Brufe Social Center _ Imago
− House S _ Suga Atelier
− Daylight House _ Takeshi Hosaka Architects
− Mecenat Art Museum _ Naf Architect & Design
− Moliner House _ Alberto Campo Baeza
Urban How_City Inherit
Heritage Infills _ Michele Stramezzi + Maria Pedal
− MAC, Belfast _ Hackett Hall McKnight
− Lund Cathedral Forum _ Carmen Izquierdo
− San Anton Charity School Restoration _ Gonzalo Moure Architect
Seung, H-Sang
A Small Village becomes one with Natures _ BongHee Jeon
− Earth, Water, Flower, Wind, 360° Country Club
− Korea DMZ Peace and Life Valley
− Jeju Art Villas Community Center
− MoHeon and SaYaWon
C3 no.337 (2012 #9/12)
Introvert Potential
Introversion, or about Observation (within) _ Diego Terna
Beth Gibbons explodes into an extreme and furious scream during the final bars of Threads: the walls of the Scaligero Castle, in Verona, seem to explode with the force bursting from this seemingly fragile woman. The walls, solid and impenetrable from the outside, welcoming on the inside, vibrate at the song’s sonic power, becoming a membrane of passage between the castle and the city.
The urban fabric of the original Roman city of Pompeii, destroyed yet preserved by volcanic ash-fall, gives us a vision of the house as an artifact, revealing how the house allowed a quite well-concealed private life: so much so that the outside was mute to the city and the interior was enriched with greenery, water features, and multiple views, all of which gave the rooms a suggestion of overlooking, though they remained quite intimate.
Somehow, life in the houses ended within those same limits: the movie The Family, by Ettore Scola, 1987, suggests the exhaustion of all the activities of several generations which had long been conducted along a few meters of a long corridor.
Something similar happens in Porto’s Casa da Mùsica, a giant alien object that seems to have dropped from nowhere upon the Portuguese city, revealing its gentle character via a tiny cut in the roof, on which a patio, tiled in black and white, takes visitors to the minute scale of the Portuguese streets and houses, losing the appearance of introversion with respect to the environment.
The buildings to be analyzed herein tell of rich and complex worlds enclosed by seemingly impenetrable walls, freeing themselves from the sort of existential nightmare Sartre associates with the wall, but vibrating outward, to adopt the words of Gibbons, and like the ceramics employed by Koolhaas, telling the story of the life that takes place inside as a generational epic.
C3 no.337 (2012 #9/12)
Introvert Potential
Introversion, or about Observation (within) _ Diego Terna
Beth Gibbons explodes into an extreme and furious scream during the final bars of Threads: the walls of the Scaligero Castle, in Verona, seem to explode with the force bursting from this seemingly fragile woman. The walls, solid and impenetrable from the outside, welcoming on the inside, vibrate at the song’s sonic power, becoming a membrane of passage between the castle and the city.
The urban fabric of the original Roman city of Pompeii, destroyed yet preserved by volcanic ash-fall, gives us a vision of the house as an artifact, revealing how the house allowed a quite well-concealed private life: so much so that the outside was mute to the city and the interior was enriched with greenery, water features, and multiple views, all of which gave the rooms a suggestion of overlooking, though they remained quite intimate.
Somehow, life in the houses ended within those same limits: the movie The Family, by Ettore Scola, 1987, suggests the exhaustion of all the activities of several generations which had long been conducted along a few meters of a long corridor.
Something similar happens in Porto’s Casa da Mùsica, a giant alien object that seems to have dropped from nowhere upon the Portuguese city, revealing its gentle character via a tiny cut in the roof, on which a patio, tiled in black and white, takes visitors to the minute scale of the Portuguese streets and houses, losing the appearance of introversion with respect to the environment.
The buildings to be analyzed herein tell of rich and complex worlds enclosed by seemingly impenetrable walls, freeing themselves from the sort of existential nightmare Sartre associates with the wall, but vibrating outward, to adopt the words of Gibbons, and like the ceramics employed by Koolhaas, telling the story of the life that takes place inside as a generational epic.
