Focus:Designing with nature

between past and present

Focus:Designing with nature

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GREEN ARCHITECTURE FOR LIFE

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The publishers regret that they cannot accept liability for error or omissions contained in this publication, however caused. The opinions and views contained in this publication are not necessarily those of the publishers. Readers are advised to seek specialist advice before acting on information contained in this publication, which is provided for general use and may not be appropriate for the reader’s particular circumstances. The ownership of trademarks is acknowledged. No part of this publication or any part of the contents thereof may be reproduced, stored in retrieval system or transmitted in any form with - out the permission of the publishers in writing.

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Green Architecture: back to life - Andrea Pane

Green Architecture: ritorno alla vita

Nature Based Solutions and landscape project for sustainable regeneration of rural peri-urban areas - Paola Branduini, Mattia Federico Leone

Nature Based Solutions e progetto di paesaggio per la rigenerazione sostenibile delle aree rurali periurbane

Down to the Vertical Gardens - Massimo Visone

Alle radici del giardino verticale

GreenUP. A new landscape for healthy food & biodiversity - Giacomo Pirazzoli

GreenUP. Un nuovo paesaggio fatto di cibo sano e biodiversità

Biesbosch Museum Island, water in between - Mara D’Avino

L’Isola dei Musei Biesbosch, attraverso l’acqua

Learning from Roberto Burle Marx - Giacomo Pirazzoli

Imparare da Roberto Burle Marx

Restored Burle Marx at Salvador de Bahia: the Terreiro de Jesus Square - Ana Carolina de Souza Bierrenbach, Federico Calabrese

Burle Marx restaurato: il Terreiro de Jesus a Salvador de Bahia

The Blue Loop, the new idea of a clean future in the environmental challenge - Rosa Scognamiglio

The Blue Loop, la nuova idea di futuro pulito nella sfida ambientale

Tirana Vertical Forest: conquering the landscape - Daria Verde

Il Bosco Verticale di Tirana: alla conquista del paesaggio

EcoHouse. Designing green, living green - Anna Cornaro

EcoHouse. Designing green, living green

Urban mangroves - Ivan Parati

Mangrovie urbane

The “Green Lagoon”. A sustainable mixed-use development for the Al Khor Lagoon in Sharjah - Tigran Kostandyan, Cristiano Luchetti

La “Green Lagoon”. Un progetto multifunzionale di sviluppo sostenibile per la laguna di Al Khor a Sharjah

The Sky Over Dubai. Redefining architecture and infrastructure of a future smart city based on vertical mobility - Jose A. Carrillo

Il cielo sopra Dubai. Come ridefinire l’architettura e le infrastrutture di una smart city del futuro attraverso la vertical mobility

On the bank of a pond: architecture and nature in the heart of Czech Republic - Valentina Allegra Russo

Sulla riva dello stagno: architettura e natura nel cuore

Outdoor design: a concrete perspective - Jenine Principe

Design per l’outdoor: a concrete perspective

Green to eat - Ferdinando Polverino De Laureto

Verde da mangiare

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032 GREEN ARCHITECTURE FOR LIFE

[editorial]

[essays]

[focus]

[architecture & plan]

[experiences]

[academia]

[materials & interiors]

[smart food]

22 22

[editorial]

Maybe 2019 will be remembered as the year in which the issue of climate change was most often mentioned in the media and in political debates. Thanks to a series of youth movements born from Greta Thunberg's bestseller Our house is on fire (2019), we have returned to look towards planet Earth, «our house», indeed. We have gone back to talking about it because these are not new topics, and it would be naive to attribute to the great courage of a Swedish girl (to whom the magazine «Time» attributed the role of Person of the Year 2019) the merit to have raised them first. It would suffice to recall that ecology rose to prominence at least fifty years ago, with the great environmental movements, having much older origins (the term was coined in 1866 by the German scientist Ernst Haeckel). Or to quote – in the architectural and urban sphere – scholars such as Patrick Geddes or his pupil Lewis Mumford.If, however, Greta Thunberg's appeal was so successful, convincing millions of young people around the world to take to the streets and show their dissent, it means at least three things: 1) that everything discussed in previous decades has remained largely unheard; 2) that the globalized world of the 21st century is far more complex than that of the previous century, with the enormous difficulty of developing common environmental policies (just think that in 2017, China alone released 9.8 billion tons of CO2, that is more than double the USA and almost three times the whole of Europe); 3) that the young people of today are – rightly – unwilling to pay the bill for the squandering implemented by previous generations.This awareness has now reached all

levels of the world population, also because, while the «Fridays for Future» events were taking place, our house continued – unfortunately – to go up in flames, both literally (the fires that devastated huge areas of the planet, from California to Australia) and in a broader sense (global warming, melting glaciers, droughts, catastrophic weather phenomena, floods). And all this is happening while authoritative studies have outlined catastrophic scenarios for humanity by 2050, unless there is a radical change of pace. At the same time, however, the issue of climate change has progressively conquered the political agenda, to the point that the new executive of the European Union, chaired by Ursula von der Leyen since 1st December 2019, has expressly stated that a large part of the investments of the next years will be directed towards contrasting the phenomena in progress, focusing on renewable energy and circular economy. We know that even the most advanced Arab countries are committed to this challenge and that the next EXPO 2020 in Dubai will dedicate considerable space to these topics. And that even China is carrying out a CO2 reduction program with a first target to 2020. It can be added that in the research programs of universities the issue of climate change is a top topic. But what seems most relevant is to note that even in the financial world – far more influential now than the political and scientific ones – these issues are on the agenda, to the point that a great investor like Larry Fink has recently declared that climate change will shake from the foundations the rules of modern finance. And if someone who knows about money says

so, it is probably true.Thus – in continuity with the issue 29 of Compasses, dedicated a year ago to the theme of sustainability – we want to take up these themes again, but with a different perspective: that of Green Architecture. The latter is intended both in a more general sense – as an approach to construction that minimizes harmful effects on the environment, using eco-friendly materials, optimizing existing energy resources, recycling as much waste as possible – and in a more specific sense, as architecture made of green and with green. The kaleidoscope of the articles presented in the issue therefore moves on this double track. The [essays] section opens with an in-depth analysis by Paola Branduini and Mattia Federico Leone on the recent solutions proposed by the Politecnico di Milano for the regeneration of rural areas in the Lombard peri-urban suburbs, followed by a reflection by Massimo Visone on the origins of vertical gardens, through the work of Patrick Blanc, Emilio Ambasz, Stefano Boeri, also remembering even more remote roots in Stanley Hart White's studies. The section closes with an illustration by Giacomo Pirazzoli of the GreenUP project, aimed at developing urban agriculture practices with the purpose of using green both to contain CO2 emissions and to produce zero-kilometer vegetables.Consistent with the general theme of the issue, the [focus] is dedicated to the project with nature and for nature, eloquently represented by the Biesbosch Museum Island in the Netherlands, created by the Studio Marco Vermeulen, where the complex ecosystem of a wetland is told in a

museum itinerary that presents itself as an emblem of Green Architecture, both for the architectural solutions (the green roof), and for the high sustainability (see the innovative filtering system with willows of the waste water that determines a circular operation of the whole system). Then what follows is a flashback on the work of an extraordinary landscape architect like Roberto Burle Marx in Brazil, studied in depth by Giacomo Pirazzoli, also thanks to the beautiful images by Leonardo Finotti, followed by the recent restoration of one of his gardens in the most representative square of the historic center of Salvador de Bahia, the Terreiro de Jesus, while the [focus] closes with a look at the recent challenges undertaken by Eni for the production of renewable energy from the sea.Even the following articles do not differ from the general theme, illustrating Boeri's recent project for a Vertical Forest in Tirana, the eco-compatible conversion of a late 20th-century building in Rome, some proposals at different scales for the UAE (from urban mangroves to a green lagoon project for Sharjah, up to a futuristic proposal for an organic skyscraper to accommodate future vertical mobility). Finally, the issue closes with two insights at the scale of interiors and materials: the creation of small eco-friendly residences, entirely in wood, on the banks of a lake in the Czech Republic, and the new frontier of outdoor furniture made of ultra-performance concretes, which demonstrate how even an abused material, «victim of prejudice», can represent the most advanced challenge of today’s technological innovation.

Green Architecture: back to life

e

Andrea Pane

[experiences] 23

Green Architecture: ritorno alla vitaForse il 2019 sarà ricordato come l’anno che ha visto più spesso citato, nei media e nei dibattiti politici, il tema del cambiamento climatico. Grazie a una serie di movimenti giovanili nati dal bestseller di Greta Thunberg La nostra casa è in fiamme (2019), si è così ritornati a volgere lo sguardo verso il pianeta Terra, la «nostra casa», appunto. Si è ritornati a parlarne perché si tratta di argomenti non certo nuovi, e sarebbe ingenuo attribuire al grande coraggio di una ragazzina svedese (cui la rivista «Time» ha attribuito il ruolo di persona dell’anno 2019) il merito di averli sollevati per prima. Basterebbe infatti ricordare che l’ecologia è salita alla ribalta almeno cinquanta anni fa, con i grandi movimenti ambientalisti, avendo origini ben più antiche (il termine fu coniato nel 1866 dallo scienziato tedesco Ernst Haeckel). O citare – in ambito architettonico e urbano – studiosi come Patrick Geddes o il suo allievo Lewis Mumford.Se però l’appello di Greta Thunberg ha avuto tanto successo, convincendo milioni di giovani in tutto il mondo a scendere in piazza per manifestare il loro dissenso, vuol dire almeno tre cose: 1) che tutto quanto discusso nei decenni precedenti è rimasto in gran parte inascoltato; 2) che il mondo globalizzato del XXI secolo è ben più complesso di quello del secolo precedente, con la difficoltà enorme di sviluppare politiche ambientali comuni (basti pensare che la sola Cina, nel 2017, ha immesso in atmosfera 9,8

miliardi di tonnellate di CO2 ovvero più del doppio degli USA e quasi tre volte l’intera Europa); 3) che i giovani di oggi non sono – giustamente – disposti a pagare il conto dello sperpero attuato dalle generazioni precedenti.Questa consapevolezza ha ormai raggiunto tutti i livelli della popolazione mondiale, anche perché mentre si svolgevano le manifestazioni dei «Fridays for Future» la nostra casa ha continuato – purtroppo – ad andare in fiamme, sia letteralmente (gli incendi che hanno devastato enormi aree del pianeta, dalla California all’Australia) che in senso più ampio (riscaldamento globale, scioglimento dei ghiacciai, siccità, fenomeni metereologici catastrofici, inondazioni). E tutto ciò mentre autorevoli studi hanno delineato scenari catastrofici per l’umanità al 2050, se non si cambia radicalmente passo. Nel contempo, tuttavia, il tema del cambiamento climatico ha progressivamente conquistato l’agenda politica, tanto che il nuovo esecutivo dell’Unione Europea, presieduto da Ursula von der Leyen dal 1° dicembre 2019, ha espressamente dichiarato che gran parte degli investimenti dei prossimi anni saranno direzionati a contrastare i fenomeni in atto, puntando su energie rinnovabili ed economia circolare. Sappiamo bene che anche i paesi Arabi più avanzati sono impegnati in questa sfida e che il prossimo EXPO 2020 di Dubai dedicherà notevole spazio a tali argomenti. E che persino la Cina sta portando avanti un programma di riduzione delle emissioni di CO2 con un primo target al 2020. Si può aggiungere che nei programmi di ricerca delle

università di tutto il mondo il tema del cambiamento climatico costituisce un topic di punta. Ma ciò che sembra più rilevante è notare che anche nel mondo finanziario – ben più influente ormai di quello politico e scientifico – questi temi sono all’ordine del giorno, al punto che un grande investitore come Larry Fink ha recentemente dichiarato che il cambiamento climatico scuoterà dalle fondamenta le regole della finanza moderna. E se lo dice qualcuno che di soldi se ne intende, è probabile che sia vero.Ecco perché – in continuità con il numero 29 di Compasses, dedicato un anno fa al tema della sostenibilità – vogliamo riprendere questi temi, ma con una prospettiva diversa: quella della Green Architecture. Quest’ultima è intesa sia in senso più generale – come un approccio alla costruzione che minimizza gli effetti dannosi sull’ambiente, usando materiali eco-friendly, ottimizzando le risorse energetiche già presenti, riciclando il più possibile gli scarti – sia, in senso più specifico, come architettura del verde e con il verde. Il caleidoscopio degli articoli presentati nel numero si muove dunque su questo duplice binario. Apre la sezione [essays] un approfondimento di Paola Branduini e Mattia Federico Leone sulle recenti soluzioni proposte dal Politecnico di Milano per la rigenerazione delle aree rurali del periurbano milanese, seguito da una riflessione di Massimo Visone sulle origini dei giardini verticali, attraverso il lavoro di Patrick Blanc, Emilio Ambasz, Stefano Boeri, accennando anche a radici ancora più remote negli studi di Stanley Hart White. Chiude la sezione

una illustrazione di Giacomo Pirazzoli del progetto GreenUP, finalizzato a sviluppare pratiche di agricoltura urbana con l’obiettivo di utilizzare il verde sia per contenere le emissioni di CO2 che per la produzione di ortaggi a chilometro zero.Coerentemente con il tema generale del numero, il [focus] è dedicato al progetto con la natura e per la natura, rappresentato in modo eloquente dal Biesbosch Museum Island nei Paesi Bassi, realizzato dallo studio Marco Vermeulen, dove il complesso ecosistema di una zona umida è raccontato in un percorso museale che si presenta come un emblema della Green Architecture, tanto per le soluzioni architettoniche (il tetto verde), che per l’elevata sostenibilità (vedi l’innovativo sistema di filtraggio con salici delle acque reflue che determina un funzionamento circolare dell’intero sistema). Segue un flashback sul lavoro di uno straordinario paesaggista come Roberto Burle Marx in Brasile, approfondito da Giacomo Pirazzoli anche grazie alle belle immagini di Leonardo Finotti, seguito dal recente restauro di uno dei suoi giardini nella piazza più rappresentativa del centro storico di Salvador de Bahia, il Terreiro de Jesus. Chiude il [focus] uno sguardo alle recenti sfide intraprese da Eni per la produzione di energie rinnovabili dal mare.Anche gli articoli successivi non si discostano dal tema generale, illustrando il recente progetto di Boeri per un Bosco Verticale a Tirana, la riconversione eco-compatibile di una palazzina del secondo Novecento a Roma, alcune proposte a diverse scale per gli UAE (dalle mangrovie urbane a un progetto di laguna verde per Sharjah, fino a un’avveniristica proposta di grattacielo organico atto a ospitare la futura mobilità verticale). Chiudono infine il numero due approfondimenti alla scala degli interni e dei materiali: la realizzazione di piccole residenze eco-compatibili, interamente in legno, sulle rive di un lago in Repubblica Ceca, e la nuova frontiera degli arredi outdoor realizzati in calcestruzzi ultra-performanti, che dimostrano come anche un materiale «flagellato dal pregiudizio» possa rappresentare la frontiera più elevata dell’innovazione tecnologica attuale.

[editorial]23

Netherlands, Biesbosch Museum Island (photo courtesy of R. Tilleman)

24

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[essays] 25

Rural landscape regeneration as a sustainable, resilient and circular urban development opportunityThe regeneration of metropolitan urban systems in a sustainable and resilient way has seen in recent years an increasing attention on the role of peri-urban and rural areas in terms of capacity to rebalance ecosystem services at the urban level and to create socio-economic and productive development opportunities linked to the recovery and enhancement of the identity of settlements and communities. The strengthening of natural, cultural and educational capital, the improvement of well-being conditions, the safety of water resources, the sustainability in the supply of food products, the ability to mitigate and adapt to climate change are strongly interrelated aspects, to be read in the their complexity and interdependence, through a holistic approach that takes into account how the environmental and eco-systemic components are linked to the social and human components related to cultural traditions, to the perception of the landscape by local communities, to the agro-food supply chain systems and to the receptive and recreational functions that characterize the identity of peri-urban rural landscapes.The rural landscape – due to urbanization and sprawl phenomena, combined with the marginalization of the agricultural productive dimension – appears today fragmented and compromised in its original identity by the widespread presence of infrastructural networks (mobility, logistics and large-scale distribution) and urban or semi-urban settlements. The increasing phenomena of disaggregation of the local socio-economic fabric and degradation of the natural and built environment can be contrasted through actions aimed at recovering and enhancing

areas and artefacts in their material and immaterial components, introducing instances linked to the rehabilitation of a heritage characterized by high cultural and historical value, and through the introduction of innovation and diversification strategies that can support the permanence of quality agricultural production, based on sustainability principles of the entire food supply chain, through integration with new productive vocations, such as those connected, for example, to the production of clean energy and eco-tourism, capable of strengthening local supply chains in a circular economy perspective1.In this context, there is a growing awareness of the need to reaffirm the role of an urban and landscape project, based on innovative eco-systemic approaches, which looks at the issue of Nature Based Solutions (NBS) and Water Sensitive Urban Design (WSUD) in a holistic perspective able to respond to the multiple priorities defined by the United Nations with the Sustainable Development Goals (SDGs), the Paris Climate Agreement and the Sendai Framework for Disaster Risk Reduction in an integrated perspective aimed at the reduction of natural hazards, climate mitigation and adaptation, and socio-economic regeneration of local communities. Recent studies2 highlight the relevance of nature-based strategies in promoting biodiversity conservation and improving eco-systemic services while responding to major environmental, social and economic urban challenges.In this sense, it is necessary to develop an adequate knowledge to spread the multi-sectoral benefits of such strategies and to answer recurring questions regarding the effectiveness of the NBS and WSUD principles, aiming at multi-scalar planning and design dimensions, promoting appropriate governance models, assessment tools and decision

[essays]es

Paola Branduini, Politecnico di MilanoMattia Federico Leone, Università degli Studi di Napoli Federico II

1

2

1 Vegetation of a wall in Paris, France. The vegetation cover can be integrated into buildings of historical value if properly maintained so as not to invade openings and roofs (photo: Clergeau 2018) / Vegetalizzazione di un muro a Parigi, Francia. La copertura vegetale può essere integrata in edifici di valore storico se adeguatamente manutenuta in modo da non invadere aperture e coperture.2 Effekt Arkitekter, Regen Village, Almere, Netherlands 2016. Masterplan created as part of the Regen Villages project (www.regenvillages.com), aimed at developing integrated and resilient neighborhoods whose goal is energy and food self-sufficiency worldwide. The Almere case represents the first pilot application of the design principles, based on the integration of IoT technologies applied to agricultural production and to "Nature-Based" and "Near Zero Energy" solutions for buildings and open spaces (photo: Effekt Arkitekter) / Masterplan realizzato nell’ambito del progetto Regen Villages (www.regenvillages.com), finalizzato allo sviluppo di quartieri integrati e resilienti che puntano all’autosufficienza energetica e alimentare di tutto il mondo. Il caso di Almere rappresenta la prima applicazione pilota dei principi progettuali, basati sull’integrazione di tecnologie IoT applicate alla produzione agricola e a soluzioni Nature-Based e Near Zero Energy per edifici e spazi aperti.

Nature Based Solutionsand landscape project for sustainable regeneration of rural peri-urban areas

2626

support. It is a process that requires the ability to manage multidisciplinary fields of knowledge that incorporate specific skills from numerous sectors: urban and landscape design, architecture and engineering, social sciences and urban economics, climate and risk sciences, urban ecology and environmental policy, hydrology, soil dynamics and biodiversity.These considerations are the basis of the work carried out in the Urban and Landscape Regeneration Studio 2019 in support of the project "Re-forming Milan _ Re-forming Peripheries" promoted by the School of Urban Planning and Construction Engineering (AUIC), Politecnico di Milano, with the objectives of both addressing the issue of the peripheries from a design perspective and deepening the research according to a multidisciplinary and integrated approach. In particular, the areas of technological and environmental design,

urban ecology, heritage conservation and architectural restoration have developed a common methodological path aimed at the redevelopment of the peri-urban contexts with a greater rural vocation, investigated in the dual dimension of settlement condition to be protected and enhanced as historical, landscape, identity and productive heritage, and as buffer zones of transition, connection and stabilization of environmental relations between urbanized and natural areas, developing innovative solutions that integrate ancient technologies (water management through the marshes of the Lombard irrigated plain) and innovative design principles (sponge city, climate-resilient city), to respond to problems linked to the continuity of green and blue infrastructure networks and to the impacts of climate change (floods, heat waves, extreme rainfall).

The recovery of cultural and natural heritage in the peri-urban area: landscape as a place of confrontation and integration between conservation and innovationIn the Italian context, the debate within the management of landscape as heritage, or rather of landscape assets (as defined by the Code of Cultural Heritage and Landscape), between the preservation of their integrity and authenticity on the one hand and innovation on the other is still ongoing3. The problem consists in defining the variables of an equilibrium, if existing, between the conservation of the material features of the landscape, its historical features, and the transformations that inevitably take place in all historical epochs due to social, economic, political, demographic and cultural changes, mainly because of the introduction of new technologies and production methods4: it is a question of understanding the limits

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3-4 Ilimelgo Architectes, Vertical Farm, Romainville, France 2018. The building is a multifunctional space centered on a 1000 m2 greenhouse that maximizes sunlight and natural ventilation to optimize agricultural production and create a circular supply chain, growing products in the same place they can be purchased by residents (photo: Ilimego Architectes) / L’edificio è uno spazio multifunzionale incentrato su una serra di 1000 m2 che massimizza luce solare e ventilazione naturale per ottimizzare la produzione agricola e creare una filiera circolare, coltivando prodotti nello stesso posto in cui possono essere acquistati dai residenti.5 Zibido San Giacomo, Milan, Italy. Silos from the 1950s, abandoned but of historical value, entirely covered with vegetation, an example of "spontaneous greening" (photo by the author) / Silos degli anni Cinquanta, in abbandono ma di valore storico, interamente ricoperto di vegetazione, esempio di “greening spontaneo”.6 Flood risk scenarios on the Lambro axis (photo: S. Ademaj, A. Brembati, L. Cheng, L. Jiang, K. N. Nisha Moideen, M. Moradi, L. Tan Hsuan, Urban Landscape and Regeneration Studio 2019, profs. Mattia Leone, Paola Branduini, Paco Melià, Politecnico di Milano, elaboration from data of the Municipality of Milan) / Scenari di rischio allagamento sull’asse del Lambro.

of the transformation of a dynamic system such as the landscape5.The widespread attention to the ancient-new relationship was constructed through the dialogue between scientific thought and professional practice, the former sometimes too conservative and the latter excessively progressive6.Permanence is persistence over time, which in the lexicon seems to oppose transformation, the inherent change in innovation. Innovation is «the act of introducing new systems, new arrangements, new production methods»: it is not a physical state, but a process that has physical effects. The visible and sensitive landscape is the result of that process of interaction between natural and cultural resources in continuous evolution, which from time to time stratifies permanencies and innovations, in relation to the societal perspectives and the attribution of meaning by the local community in a specific moment of time (art. 1. Definitions, European Landscape Convention, 2000). In the agricultural landscape the reading of an agricultural built artifact is closely linked to the reading of the agricultural uses of the soil that have determined the need for expansion and changes in intended use in the various historical epochs. The changes in the productive direction of the farms – from husbandry to cereal – has modified the buildings’ uses; the increase in agricultural vehicles has changed the size of the openings of the storage structures and stables7.The contribution of the restoration disciplinary sector is aimed at analyzing how these interrelations have marked different historical periods and which signs of the presence of artefacts and of the previous land uses, from agricultural land patterns to processing techniques, have remained until today and are still perceivable and significant in a landscape, so as to make its salient features legible and recognizable as elements of identity both by local population and by visitors8.

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The contribution of technological and environmental designThe evolution of urban planning and design approaches in response to the strategic goals of the 2030 and 2050 agendas is helping to update the concepts of sustainability and resilience. In this context, the contribution of technological and environmental design lies in the ability to deal with the topic of transformations in the built environment through a process-oriented perspective and with a systemic approach, in which relations (functional, spatial and temporal) and main performance benchmarks (elaborated in the form of synthetic quantitative and qualitative indicators referring to environmental, social and economic aspects) that characterize technical and design solutions at different scales are highlighted, in order to communicate through the project the multi-sectoral benefits deriving from their coherent integration in urban systems, in a holistic perspective of regeneration of eco-systemic qualities and, at the same time, socio-economic dynamics.In the case of green/blue infrastructures and NBS/WSUD approaches, recent studies and researches (e.g. EKLIPSE, Naturvation, Ecoville, Reconect) have helped to define assessment frameworks and sets of indicators, useful to identify co-benefits (economic, social, environmental) and guidelines for their correct integration in urban and peri-urban contexts, providing guidance for the optimization of the available technical and financial resources, avoiding sectoral approaches and solutions not correctly set from the design, implementation and management point of view that can reduce the effectiveness of the interventions. A properly informed design approach translates into significant economic advantages in key sectors (public health, energy, wastewater management, real estate value, tourism, culture) that must be systematically evaluated to facilitate the dissemination of financing mechanisms and the promotion of public partnerships – private parties and participatory mechanisms capable of triggering opportunities for circular economy, such as those linked to urban agriculture and new local nature – and ecosystem-based supply chains.Best practices of design and urban governance highlight the main aspects that contribute to the assessment

of potential architectural and urban applications: multi-risk resilience (hydrogeological risk and extreme weather events aggravated by climate change); climate mitigation (reduction of greenhouse gas emissions through CO2 absorption and urban cooling); health and well-being (reduction of atmospheric, water and soil pollution, increase in public spaces, quality of ecosystems and biodiversity); reduction of social inequalities (better distribution of green/blue spaces to ensure continuity of the ecological infrastructure network in the entire urban fabric); circular economy opportunities (energy production, urban agriculture, green jobs creation); control of possible negative effects (production of allergens, CO2 traps from unbalanced green canopy layers on streets, gentrification of neighborhoods regenerated as “green districts”).

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Biesbosch Museum Island, water in between

Mara D’Avino

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In the National Park De Biesbosch, born in 1421 in the aftermath of a famous flood which caused the creation of the wetland in which it is placed, rises the Biesbosch Museum Island. The Museum tells the past struggles between man and nature and the challenges of the present for giving a wide wetland back to mother nature, in view of the climate change. The first part of the building dates to 1994, but, because of the increasing number of visitors, it was soon renovated and extended by Studio Marco Vermeulen in 2015.The intervention has completely transformed the original wing, both in the structure and in the spaces of the permanent exhibition; the extension is aimed at hosting the temporary exhibition – signed by Studio Joyce

Langezaal – and the organic restaurant; on the island, finally, an aquatic model of the Biesbosch and a park of the freshwater tide were built. The project and the realization process of the new wing are based on the clear exaltation of the Dutch approach to water management, with a unique outcome, which saw the building nominated for the ArchDaily Building of the Year 2016 Award and given two prizes at the 2016 Architizer Awards.The philosophy behind the project and the construction of the new wing is oriented to the sustainability of the interventions: first, outlets were dug to create a new island in the lagoon and the hexagonal structure of the original pavilions was consciously saved. The entire building is surrounded by earthworks and covered by a green

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Studio Marco Vermeulen

WorkBiesbosch Museum Island ClientBiesbosch Museum Island LocationBiesbosch, NetherlandsProject Year2015Architecture and Design Studio Marco Vermeulen Size and total area1.300 m2

Image creditsPhotos: Ronald TillemanDrawings: Studio Marco Vermeulen

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1 Oscar Niemeyer + Burle Marx, Casa do Baile - Pampulha (1940), Belo Horizonte MG, Brasil.2 Lucio Costa, Oscar Niemeyer, Affonso Eduardo Reidy, Ernani Vasconcellos, Carlos Leão, Jorge Machado Moreira (with Le Corbusier, consultant) and Burle Marx (landscape), Palacio Gustavo Capanema (1936-43), Rio de Janeiro RJ, Brasil.

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Giacomo PirazzoliFAU-Mackenzie São Paulo, Brasil / DiDA-Università degli Studi di Firenze

Photographs by Leonardo Finotti

Learning from Roberto Burle Marx1

The following is a sort of jump-cut text filled with commentary – somehow a tribute to such a Nouvelle Vague movie technique – aimed at highlighting some actually long-lasting research spots by the Brazilian master landscape architect.

Nature and Science across the Ocean«[In Brazil] naturalistic knowledge of the land begins with Dom Joa ̃o VI; until his time, it was only studied in the Dutch period (1600-1625). It came to fruition in the works of Caspar Barlaeus, Willem Piso, and Georg Marcgrave and was documented in the painting and sketches of Frans Post, Albert Eckhout, and Zacharias Wagner. The imperial court, the French Artist Mission, and the visiting naturalists of the19th century

(Carl Friedrich Philipp von Martius, Johann Baptist von Spix, Alexander von Humboldt, Augustin Saint-Hilaire, George Gardner, and others [Harty, Derby and Eve-Lallemand were also mentioned in the original English translation] have been the elements behind the complete modification of constructed landscape»1 (p. 94). This quote is also about Burle Marx’s deep knowledge of culture crossing by European authors, having worked in Brazil. A German-Jewish born in Brazil – yet educated in Germany – he understandably inherited a strong scientific mindset, a fundamental background when dealing with taxonomy and classification. This might have generated his dual “essential tension” – actually much reminding

that of Thomas S. Kuhn in his crucial studies on scientific revolution2 – between Science and Art, sometimes even between Natural and Artificial. The whole issue will eventually become a pivotal point for Burle Marx to get the impressive paradigm shift he achieved in landscape architecture.

There and then: the force of tropical nature in Berlin«[I was] a student of painting, standing before a greenhouse of Brazilian tropical plants, in the Berlin-Dahlem Botanical Garden. Yes, it was there and then that I saw the force of genuine tropical nature, ready and in my hands, for the intention that it brought, then little defined, as suitable material for the plastic work that I looked to do. Since then I have used the genuine element

of nature in all its strength and quality as material, organized in terms and purposes of a plastic composition. At least this is how I understand landscape architecture as a form of artistic expression» (p. 96). This sounds a rather epic description of a proper insight: “there and then” happened in Berlin within a tropical trans-planted botanical garden.

Art«I can largely explain my approach to art in terms of what happened to my generation when the artists were stricken by the impact of Cubism and abstraction» (p. 88). As an art scholar, Burle Marx refers to “cubism and abstraction”, both mind-driven approaches to art, to describe the influence they had on his work.

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Topography as a canvas«The juxtaposition of the plastic attributes of those aesthetic movements with natural elements created the attraction to a new experience. I decided to use natural topography as a surface for composition and the elements of nature, mineral and vegetable, as materials for the plastic organization, the very thing which other artists try to do on canvas with paint and brush» (p. 88). It actually makes sense to keep clear in mind that this lecture was written, then delivered in Portuguese, in 1954, while Gerry Schum’s movie Land Art documenting works by Robert

Smithson, Richard Long, Michael Heizer, Walter De Maria, Dennis Oppenheim, Barry Flanagan and Marinus Boezem dates to 1969.

From two to three dimensions«The great difference, of course, between the two-dimensional painter and the three-dimensional landscape architect is that the plant – the raw material – is not static» (p. 190). As is well known, architectural design is a matter of challenging the eternity, due to building materials allowing architecture to last possibly unchanged, then ideally isolated as a monument.

Also, history is filled with architects trying to keep Architecture well safe from Nature, just think about Piranesi’s ruins being attacked by Nature, as Burle Marx colleague and friend Lina Bo Bardi pointed out in her dissertation for a professorship at São Paulo University in 19573.Unlike architectural design, designing with plants means to deal with a constant change, for any drawing to be “wrong enough”, for it to be a still belonging to a lifecycle movie, instead of the exact picture the architect designed. Here, once again, the paradigm shift happens.

«[The plant] has its own cycle of bud, flower, seed, and withering; and then again, a gust of wind, a cloud, a shower, or a storm will alter its colour and its very structure. The painting on the drawing board is not the garden itself, any more than a photograph of a Calder mobile can give you any real idea of the emotion aroused by a mobile in the open air» (p. 190). It is time to share a conjectural point of view: may Burle Marx’s parallel commitment to design and painting be compared with that of Le Corbusier?Intriguingly enough Le Corbusier – after suddenly becoming monocular in 1918,

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3 Michelle Jean de Castro and Leonardo Finotti, Roberto Burle Marx exhibition display, MUBE (2019), São Paulo SP, Brazil.

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when he was 31 years old – used two-dimension painting layering in order to somehow explore three-dimension design issues4. How about comparing it to Burle Marx way to two-dimension painting, despite his own in-depth perception was properly working?I’m glad to recall that to study Le Corbusier’s three-dimensional paintings we used a photography to test back the three-dimension experimental layering to the original two-dimension painting; or, to be clear, we made a three-dimensional model of the specific painting, in order to finally take a two-dimensional picture of it,

to be compared with the original Le Corbusier’s painting.Since Leonardo Finotti’s work on Burle Marx also consists in a drone taking horizontal photographs – very much plans-like, more than bird’s eye views – the game is on. The impressive collection of Burle Marx drawings, painting, collages and tapestries may finally and properly be compared to the zenith view (from the drone) of the built work. Yes, from two to three dimensions, and back.«[…] He was directly in drawing and painting. And you really see when you are looking at his plans, you could

content yourself with the picture. Moreover, he even did projects that were done to be seen from above, from a building…Afterward, you realise that a great deal of thought went into them so that, at the same time, you can walk on this picture»5.In order to fruitfully stress a peculiar controversial connection with Le Corbusier’s work, I would suggest an imaginary dialogue comparing Burle Marx and Le Corbusier’s approaches from two to three dimensions, starting with Rio De Janeiro early-modernist Palacio Gustavo Capanema (also

known as Ministério da Educação e Saúde) whose garden was designed by Burle Marx, and is meant to be seen from above, from the building6.

Colour and light«The problems of colour contrast and harmony, of structure and form, are as important to me as a two-dimensional painter as they are to me in the three-dimensional or four-dimensional garden» (p. 189). «If I am asked what the most important natural factor in the design of a garden is, I must say: it is light. Light is a thing that cannot be

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Daria Verde

Stefano Boeri Architetti

WorkTirana Vertical ForestClientGener 2 Sh.p.k.LocationTirana, AlbaniaProject Year2019Architecture and Design Partner: Stefano BoeriProject Director: Francesca Cesa BianchiProject Leader: Paolo RussoProject TeamDaniele Barillari, Jacopo Colatarci, Elisa Versari, Andrea Zucchi, Shilong Tan EngineeringEngineering consultant: SCE ProjectStructural engineer: LEAL-CSE sh.p.k.LandscapeBotanic consultant: Studio Laura GattiAdditional FunctionsMEP Consultant: ESA engineeringExecutive design: SCE ProjectHydraulic system design: Ing. Artan DershaMechanical system design: Gener2 Sh.p.k., Ing. Diana BrahajElectrical system design: Zavalani Consulting Sh.p.k.Fire protection system design: Ing. Artan DershaLocal architect: Gener 2 Sh.p.k.Image creditsStefano Boeri Architetti

Tirana Vertical Forest: conquering the landscape

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Buried in concrete and in eternal transformation, the capital of Albania – that after the administrative reform of 2015 has become one of the largest cities in Europe – is a combination of poverty and luxury, desolation and beauty. Set in the center of the country – in a valley surrounded by high mountains, several lakes and a national nature reserve, the parku i madh – Tirana represents the modern center of the political, cultural and religious life of the country.The beauty of Albanian modernity, in which people believe and on which they pin their hopes, seemed unlikely when, in 1912, Albania began to exist as a nation, and people wondered if it was possible to build the capital of the new country among the small houses surrounded by large gardens, the muddle of Turkish buildings made of wood and stone, the oriental caravanserai, the poor cafes and the lavish mosques. Yet, today Western journalists write that the vibrant Albanian capital, suddenly entered in the 21st

century, has become a city full of life, spacious and cheerful, even though, according to the Mercer survey on the quality of living, it is still today at the tail end of Europe.Place of contradictions and city of a thousand faces, the present Tirana maintains only to a minimal extent the original medieval image of the Byzantine period. One gets the impression of being in a western city, with echoes of a long-lasting Ottoman domination, where the pastel colors of the buildings around Skanderbeg Square, the beating heart of the city, are surrounded by the blossoming of modern towers.Among them, a prominent position will be occupied by the new skyscraper that Stefano Boeri was asked to design, modeled after the Vertical Forest in Milan. In fact, the Italian architect – whose works range from the creation of urban visions to the design of architecture and green areas, with constant attention to their geopolitical and environmental implications – realized, in 2014, the first prototype of

a sustainable residential building with green façades covered in trees and plants, a model for his idea of "urban forestation" that conceives vegetation as an essential element of architecture. Awarded with international recognitions – including the International Highrise Award in 2014 and the Best Tall Building Worldwide in 2015 – the Milanese skyscraper placed Boeri among the main actors in the climate change debate in the field of international architecture.After the towers built in Milan, Utrecht and Nanjing, Stefano Boeri has therefore designed a vertical forest also for Tirana, with the aim of increasing the green areas the city and improving local air quality, bringing to Albania his idea of «a progressive Urban Forestation of the cities and metropolitan areas of the world that, multiplying the presence of trees and forests, effectively fights climate change».The strategy promoted by the Milanese architect – presented, together with FAO, in the first World Forum on

Urban Forestation held in Mantua on November 2018 – is therefore a plan to reconquer the landscape, to be pursued using verticality, in search of a new balance between city and nature.This is also the vision that led to Regulatory Plan for Tirana 2030, designed three years ago by the Milanese firm. Strongly wanted by the government of Edi Rama (former mayor of the city) and by the administration of the current first citizen Erion Veliaj, the 2030 Plan for Tirana establishes wide-ranging objectives, which aim at inaugurating a new phase in the development of the capital and of all the major Albanian cities.The skyscraper is therefore placed within a broader framework that has as its objective, on the one hand, a significant containment of the exploitation of the land in the metropolitan area and, on the other, a substantial increase in green surfaces, involving public administrations and citizens in the planting of thousands of trees in parks, urban areas and, as in

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Fujairah. The dense root structures of the mangrove trees allow them to function as natural filters by capturing fine sediments. The Green Lagoon project consists of two platforms that start from the Al Qasba channel. The two “floating” avenues are surrounded by mangrove forests that will help improve the water quality of the lagoon. The project is not accessible by car; it deploys small scale self-driving electric transportation, connecting the various buildings. Unlike many artificial islands built in the region, Green Lagoon does not use dredging. Instead, the project is elevated above the water by

a grid of stilts, allowing water to flow under it. The project is designed according to the environmental conditions of the country. It provides public spaces with an ample amount of shading. Furthermore, mangroves are not considered landscape features. The adopted sustainable design strategy considers the new sustainable “eco-system” as the fundamental element of the architecture proposed for the Lagoon.

ReferencesA. Shanableh, O. Maher, A. Al-Midfa, A. Dolan, Baseline Assessment of Water Quality and Circulation Patterns in the Khalid and Al-Khan Adjacent Coastal Lagoons in Sharjah, UAE, International Society of Offshore and Polar Engineers, Cupertino 2003.

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La “Green Lagoon”.Un progetto multifunzionale di sviluppo sostenibile per la lagunadi Al Khor a Sharjah

“Green Lagoon” è un progetto multifunzionale proposto per lo specchio d’acqua denominato Al Khor in Sharjah. È un progetto di sviluppo urbano che considera la sostenibilità dell’intervento soprattutto dal punto di vista del miglioramento delle condizioni ambientali della laguna.Essa si trova al centro dell’espansione contemporanea della città di Sharjah, ed è circondata da una serie di alte torri residenziali. Sebbene le lagune siano presenti in un numero considerevole a Sharjah, non sono un fenomeno naturale. Infatti le prime foto aeree dell’area di Al Khan mostrano che le condizioni del terreno

erano prevalentemente definite da quello che gli arabi chiamano “Sabkha” (in arabo: ). La Sabkha è una distesa costiera fangosa e sopratidale, degradante tra terra e zona intertidale e interna alle ristrette pianure costiere. Essa è situata appena al di sopra dei normali livelli di alta marea. Mentre la vicina laguna di Khalid è stata costruita e stabilizzata intorno al 1980, la laguna di Al Khan è rimasta “Sabkha” fino ai primi anni Novanta.Nel 2000 fu costruito il canale di Al Qasba, che collegava le due lagune di Al Khan e Al Khor. Questo progetto ha avuto un impatto ambientale positivo

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Sulla riva dello stagno: architettura e naturanel cuoredella Repubblica Ceca

C’è un luogo, nel cuore dell’Europa, che silenziosamente custodisce quasi intatto l’ancestrale rapporto tra la natura e l’uomo, tra le sue opere e la terra che gli ha dato la vita. Un luogo ricco di storia e di testimonianze di un glorioso passato, su cui già l’UNESCO aveva posato il suo sguardo nel corso degli anni Novanta del secolo scorso: quel luogo è la regione di Vysočina, in Repubblica Ceca, a metà strada fra gli storici territori della Boemia e della Moravia. In questa regione, ove le tradizioni del Paese sembrano resistere allo scorrere del tempo, distese boschive, altipiani verdeggianti e fiabeschi bacini d’acqua dolce raccontano una storia antica, la stessa che ancora rivive tra le strade del centro storico di Telč, intorno alla splendida chiesa di San Giovanni Nepomuceno a Zelená Hora o all’interno dell’affascinante quartiere ebraico di Třebíč, dichiarati siti patrimonio dell’umanità.Una storia che Michal Hamada, Veronika Indrová, Barbora Weinzettlová e Jiří Weinzettl dovevano certo conoscere nel dettaglio quando, nel 2002, ancora studenti presso la Facoltà di Architettura della Czech Technical University di Praga, risultarono vincitori di uno speciale premio nell’ambito di un concorso per un progetto urbano nella città di Tábor e, di fatto, diedero vita e impulso alla loro entusiasmante esperienza come studio di progettazione, l’Atelier 111 architekti. Una storia, fatta di castelli, boschi e miniere, che dichiaratamente attraversa e permea tutti i lavori di questa giovane squadra di architetti e che si materializza, con grazia e sensibilità, nel progetto del 2018, del cottage near a pond, in cui sembrano dialogare sottovoce la tradizione con l’innovazione e la natura con le più semplici e variegate esigenze umane.Interpretati in chiave contemporanea, secondo un linguaggio che mantiene i caratteri della modernità pur fondendosi con le forme di un’architettura tradizionale, i capanni in legno progettati dall’Atelier 111 sono un chiaro riferimento alle cabins, i rifugi tipici dei pescatori: stagliati lungo un verde pendio, sulla riva di un piccolo stagno, questi oggetti architettonici si combinano tra loro così armoniosamente da costituire un unico ed equilibrato sistema con il paesaggio circostante.Esito di un vero e proprio compromesso tra i limiti dettati dalla severa normativa vigente – che imponeva per il progetto un’altezza massima di 5 m e un’area massima edificabile di 50 m² – e la richiesta della committenza di una soluzione a un solo piano per una piccola casa di villeggiatura di famiglia, il sistema architettonico si compone di quattro modesti elementi dalle forme semplici, in cui la sovrapposizione dei tronchi squadrati a costituire l’involucro rinvia, evidentemente, alle tecniche costruttive tradizionali. Dei quattro capanni, solo

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Outdoordesign:a concreteperspective

Jenine Principe

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Protagonist of the 20th century, sometimes responsible of questionable design experiments, one of the most widely used materials in the world, concrete continues its inexorable evolution, remaining, though, «a victim of prejudice»1: despite being the symbol of the Modern and the plastic material par excellence, it has suffered the consequences of its low cost and its adaptability, invading many of the peripheries of the world as a mean of heavy prefabrication.Despite its bad reputation, concrete nowadays has turned into an innovative material, becoming high, ultra, fiber reinforced, transparent, light, thin and sustainable: «widely pronounced dead, concrete has, however, not only been resuscitated, but has also entered a new astonishing vital cycle»2.Therefore, a new season has begun: the traditional concrete gives way to Ultra-High Performance Fiber Reinforced Concrete (UHPFRC). Defined by the French Association of Civil Engineers (AFGC) as a composite cement-based material with compressive strength between 150 and 250 MPa and tensile strength up to 7 MPa, it is characterized by the possibility of controlling its properties at a nanometric scale, exploiting both the shape and the size of the particles. The extraordinary resistance and durability performances of UHPFRC perfectly match the environmental sustainability goals of the concrete industry, today committed to reducing CO2 emissions along the entire production chain.Defining the characteristics of the material at the nanometric scale also determines its plastic capacity, making it able of reproducing any shape and finishing, thus offering designers a wide range of opportunities.Indeed, the morphological and aesthetic ambiguity recognized in concrete is charged with a further complexity in the case of the UHPFRC, whose properties are determined on a scale that escapes the macroscopic one of the human perception: far from being a deterrent in its use, this ambiguity becomes the source of multiple design experiments that inspire engineers, architects and designers.From bridges to tables, UHPFRC stands out for its structural, formal and aesthetic performances: there is little surprise, therefore, that it is slowly conquering the design sector, also thanks to the contribution of Italian designers and manufacturers, who have taken the opportunity to spread the quality typical of the Made in Italy culture.Having abandoned the low-cost components, the new concrete enters the high-end furniture market, competing with valuable materials, starting with marble.This is how the collaboration between the designer Monica Armani, the Belgian company Tribù and the Friulian one il Cantiere, which deals with prefabrication of furniture and architectural components in UHPFRC, was born. The Tao Table collection, designed for the outdoors, is a consequence of this encounter. While the dining table has a central support for the circular top, the coffee table is asymmetric, aligning the top, this time squared, with the edges of the base. The Tao tables guarantee a long durability and color retention, the latter being applied directly during the mixing phase of the concrete.The contrast between the very thin top and the

1 Different types of concrete textures realized by il Cantiere (photo courtesy of il Cantiere) / Diverse texture di calcestruzzo realizzate da il Cantiere.2 Tao Table (photo courtesy of Tribù). 3 One of the phases of the production process: the concrete pouring (photo courtesy of il Cantiere) / Una delle fasi del processo produttivo: il getto del calcestruzzo.

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sf [smart food]

What do Pythagoras, Galileo Galilei, Leonardo Da Vinci, Darwin, Confucius, Gandhi, Margherita Hack, Umberto Veronesi, Carl Lewis and Nikola Tesla have in common? They are all vegetarian. Although terms such as vegan, raw food, fruitarianism are relatively recent, the first vegetarian societies date back to 1847 and were born in England, (the homeland of... bacon), according to the concept that "green" in nutrition is linked to the beneficial properties of chlorophyll contained in food such as broccoli, cabbage, chard, spinach, turnip greens, rocket, dandelion, nettle, lettuce and all herbs.Vegetables are known to be anti-anemic, blood cleansing, heart bracing, cholesterol regulator in the blood, healing, toxin neutralizer. Nothing surprising if green food is increasingly consumed, in an era dominated by health attention beyond its values in the world of marketing. According to Eurispes, in 2016 vegetarians (7.1%) and vegans (1%) in Italy increased by 2% compared to 2015, after a drop in 2014. These are numbers that make Italy the most vegetarian country in the

EU together with Germany. Current data are even higher. For this reason, edible greenery spreads, wrapping everything that pertains to food in its luxuriant mantle: the design is imperatively green in the open-air world brasseries (for example Eugene Eugene, a flower-rich bistrot by studio KO, Paris, is one of the must-dos of the French capital), but also now in luxury restaurants, thanks to the vertical green furniture solutions and the hydroponic cultures. That our short journey may continue for a long time in the reality of those who read and travel... reviving (in italian language: re-greening) the splendor of the story.

Cosa accomuna Pitagora, Galileo Galilei, Leonardo Da Vinci, Darwin, Confucio, Gandhi, Margherita Hack, Umberto Veronesi, Carl Lewis e Nikola Tesla? Tutti vegetariani. Anche se termini come vegano, crudismo, fruttarismo sono relativamente recenti, le prime società vegetariane risalgono già al 1847 e nascono in Inghilterra, proprio la patria del bacon, secondo il concetto per cui "verde" nell'alimentazione è legato alle proprietà benefiche dei cibi contenenti clorofilla come broccoli, cavoli, bietole, spinaci, cime di rapa, rucola, tarassaco,

ortica, lattughe ed erbe. Le verdure sono antianemiche, purificano il sangue, tonificano il cuore, regolano il colesterolo, cicatrizzano, neutralizzano le tossine. Nulla di sorprendente se il cibo verde è sempre più consumato, in un'era dominata dal salutismo (vero o presunto) al di là delle sue valenze nel mondo del marketing. Secondo Eurispes, nel 2016 vegetariani (7,1%) e vegani (1%) in Italia sono aumentati del 2% rispetto al 2015, dopo un calo nel 2014. Sono numeri che fanno dell’Italia il Paese più vegetariano dell’UE insieme alla Germania. I dati attuali sono ancora di più in rialzo. Per questo il verde alimentare dilaga avvolgendo nel suo lussureggiante manto tutto ciò che afferisce al cibo: il design è imperativamente verde nelle brasserie mondiali a cielo aperto (per esempio Eugene Eugene, bistrot fiorito dello studio KO, Parigi, è uno degli indirizzi d'obbligo della capitale francese), ma anche ormai nei luxury restaurant, grazie alle soluzioni d'arredo di verde verticale e alle culture idroponiche. Che il nostro breve viaggio possa proseguire a lungo nella realtà di chi legge e viaggia... rinverdendone i fasti.

Ferdinando Polverino De Laureto

A short chromatic journey through those points where the color most loved by nature meets the concept of food

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Green to eat

ph. Davide Ricciardiello

ph. Davide Ricciardiello

1 Risotto di pasta con salsiccia, friarielli e canapaccio di bufala affumicato. Chef Crescenzo Scotti, Ristorante Il Flauto di Pan, Villa Cimbrone, Ravello (Italy).2 Risotto ai piselli Chef Fabrizio Mellino (2**), Ristorante Quattro Passi, Nerano (Italy).

Verde da mangiare

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Segev Kitchen Garden Location Hod Hasharon, Tel Aviv, IsraelArchitecture and DesignYaron Tal & Irit Snir CohenYear 2015Size and total area500 m2

Image credits Courtesy of Yoav Gurin(thumbnail a, b, c)

Green wall of the Sultan Ibrahim Location Maameltein, LebanonArchitecture and DesignGreen Studios in collaboration with Gatserelia designYear 2012Size and total area100 m2

Image credits © herskhazeen 2020(thumbnail d, e)

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3 Palmer Restaurant, Renaissance,Barcelona Fira Hotel, L’Hospitalet de Llobregat, Barcelona (Spain).4 Gnocco romano gamberi e piselli. Chef Oliver Glowig (2**), Ristorante Barrique, Poggio le Volpi, Monte Porzio Catone, Rome (Italy).5 Fettuccella alla chitarra con triglia marinata, ristretto nella sua acqua pazza, maggiorana e aglio fermentato. Chef Crescenzo Scotti, Ristorante Il Flauto di Pan, Villa Cimbrone, Ravello (Italy).6 Madre Restaurant, Rome (Italy) (photo ScattidiGusto).6 Spaghetti alle erbe di campo e anguilla affumicata. Chef Oliver Glowig (2**), Ristorante Barrique, Poggio le Volpi, Monte Porzio Catone, Rome (Italy).7 Tagliolini al plancton. Chef Gianfranco Pascucci, Pascucci al Porticciolo, Fiumicino (Italy).

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ph. Davide Ricciardiello ph. Davide Ricciardiello

ph. Davide Ricciardiello

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Dubai Design Week affirms itself as the region’s largest creative festival, welcoming over 90,000 visitors to Dubai Design District (d3) to take part in over 200 programmes and activities.

Downtown DesignAt the heart of Dubai Design Week is Downtown Design, the leading fair for high-quality and original design in the Middle East. With increased participation from international brands, including Arper, Pedrali, Preciosa, Skram and Swarovski, this year’s edition was the most varied yet. Country pavilions also expanded to include France and Spain spotlighting their manufacturing strengths.

Downtown Editions is the fair’s dedicated section for limited-edition and bespoke design with a spotlight on regional talent. Exhibiting designers included Kuwaiti Meshary AlNassar, with a new collection of sculptural marble lights, Sharjah-based Irthi Contemporary Crafts Council who presented pieces of traditional and modern crafts, and UAE based Tashkeel who unveiled the outcome of their 2019 Tanween Design Programme featuring designers: Abdalla Al Mulla, Lana El Samman and Yara Habib. Aljoud Lootah presented a limited-edition collection of objects inspired by the Emirati wooden dowry chest, while Fernando Mastrangelo launched a collection of mirrors inspired by the geographic features of Dubai.

MadarAn initiative supported by d3 and curated by Dubai Design Week Guest Curator, Ghassan Salameh, MADAR was an educational exhibition that shed light on the current emerging movements and initiatives in the design market of the region today situated within Downtown Editions. The exhibition featured work by regional designers and design experts based in the Middle East, offering insights on the different components and stakeholders that constitute the ecosystem behind the design industry as well as highlighting the various stages of starting a design business. Taking a closer look at regional design activity through a diversity of design-related projects showcased in a non-hierarchal display aiming for an inclusive, the exhibition featured a diverse representation from Amman, Cairo, Beirut, Kuwait, Bethlehem, Sharjah and Dubai.”

Ghassan Salameh, Guest Curator of Dubai Design Week, said: “The Middle East is home for an incredibly young population that thrives on change, using it as

fuel for creative aspirations. Translating to ‘Orbit’ in English, MADAR is a metaphor, showing that ideas are moving around, never remain still and are always evolving.”

AbwabTranslated as ‘doors’ in Arabic, Abwab is an architectural installation that offers a platform for design talent from across the Middle East. In its fifth edition, the designers selected from India, the Eastern Provinces of Saudi Arabia (supported by Ithra) and Lebanon were challenged to recreate the local classrooms of their cultures through one common theme: “ways of learning”.

The projects included: ‘Qissa Ghar’ meaning ‘Home of Stories’ presented by The Busride Studio which retold creation myths from across India brought to life on Khadi lanterns. ‘WALL(T)Z’ by Polish-Lebanese sisters Tessa & Tara Sakhi, known as T SAKHI Architects, presented a journey depicting real and imagined walls. The Eastern Provinces of Saudi Arabia presented ‘Sa’af’ by Shahad Alazaz, founder of Azaz Architects, in collaboration with local craftspeople, the work investigates palm fronds woven textiles banded together as a symbolic representation of community.

Rawan Kashkoush, Creative Director of Dubai Design Week, said: “One of the strongest aspects of the festival this year is the collaborative spirit with which our partners, brands and studios have come together

to develop concepts and share knowledge, speaking volumes of the way to approach the next phase of living on our planet. Dubai Design Week has acted as an invitation to expand our attitude towards sharing and there is no better place to do it than at the world’s most diverse intersection.”

InstallationsWith a focus on design talent from the region, a series of site-specific installations were situated within the Design Quarter of d3, including:

‘Umbra’, an immersive gateway to Dubai Design Week at d3, was a collaboration between Finsa and Emirati design studio Tinkah, inviting visitors to explore the interplay of shadow and light inspired by the Mashrabiya, an element of traditional Middle Eastern architecture historically used as a window or spatial partition.

MAS Architecture Studio produced a six-metre tall installation titled ‘Barjeel’, inspired by the traditional wind towers of the UAE, composed from layers of reclaimed cardboard and strip lighting in an exercise to build from reused materials.

‘The Maze’ by Nyxo Visionary Design consisted of an interface composed of modular panels. The dynamic installation explored interactive surfaces with a sculptural quality creating a seamless and unique pattern every time the visitor reconfigures the rotation.

The Audi Innovation Hub this year was an immersive structure designed by Emirati designer and architect Abdulla Almulla, founder of design studio MULA. Consisting of a sweeping steel structure combined with gradient mesh which created shade, the design of the hub was inspired by the technology of Audi’s e-tron and Almulla’s use of patterns and geometry in setting design guidelines.

Other highlights included a calligraphic study of the word 'friends’ by Austrian furniture makers Bene in collaboration with designer Ibraheem Khamayseh, the installation ‘Green Nexus’ by MAS Paints and UAE Modern which featured technology and natural elements focuses on recyclability, and creative installations and edible experiences for all ages in Deliveroo’s pop-up ‘Design, Delivered.'

Dubai Design Week 2020

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A major new event in London next April is a response to the worldwide trend for urbanisation – the massive influx of people and business into cities. We spoke to Suzy Pallett about Cityscape Marketplace UK – an event which will connect international capital with the developers who are meeting the urbanisation opportunity.

Suzy Pallett of Informa Markets - the promoters behind Cityscape Marketplace UK in London - comments: “Urbanisation is a massive global opportunity for real estate developers and investors. It’s demanding the creation of sophisticated environments which blend residential, office, retail and leisure property. It encompasses every type of real estate – offices, shops, restaurants, schools – and will drive a development pipeline that will produce a whole new raft of investable assets

“This process will range from the reorientation of existing town centres through to the development of whole new cities.”

The two-day Cityscape Marketplace UK event will take place on April 29th-30th next year at Old Billingsgate in the heart of the City of London and will focus on the global trend which is driving a steady migration of populations into conurbations. Informa is well-known for organising major real estate events across the Middle East and North Africa including Cityscape Global in Dubai – the world's largest networking exhibition and conference on property development.The focus of the London event will be to connect investors with projects and developers.

Pallett explains: “Real estate is a truly globalised market. Investors are no longer looking to invest purely in their domestic market. They are alive to the fact that the best returns may lie with assets and development partners who are on the other side of the world.

“The UK – and London in particularly – has been a major beneficiary of this trend already with huge inflows of international capital. So when we were looking at where to base this event, London was the natural destination. We want the event to create new links between funding and real estate opportunity.

“Through our existing exhibitions we are already connected to an international group of investors and developers and we want Cityscape Marketplace to increase their global opportunities for investment.”

In the UK, urbanisation is reshaping in-town commercial environments as a greater variety of uses is required. Faced with diminished demand for physical retailing space, a succession of shopping centre owners are looking at repurposing assets to develop homes, hotels and leisure amenities. This follows the conversion of millions of square feet of office space into residential.

Lower levels of car use are also changing the property development sector and placing a greater emphasis on locations which are served by public transport or ‘walkable’. In the US it has been calculated that the value of real estate with a high ‘walkability’ factor has doubled since 2006. This represents more than four times the appreciation of comparable assets in car-dependent locations over the same period. Meanwhile, car usage by younger generations continues to fall substantially.

Cityscape Marketplace UK is being staged in collaboration with The Completely Group which will hold its Completely Retail Marketplace event at the same venue on the day before. Now in its seventh year, Completely Retail Marketplace has pioneered the concept of a pared-back ‘dealmaking’ event where there is complete equality in terms of the format of the space for every exhibitor. As such, participants only have to get their teams to the events and do not have to spend additional resource on creating expensive stands. The focus is purely on one-to-one meetings and making deals.

Dom Millar of The Completely Group comments: “Our Completely Retail Marketplace events are held across Europe and have demonstrated the effectiveness of this format.

“We believe it will work extremely well for Cityscape Marketplace as delegates and exhibitors will be coming from all over the world and will not be burdened with unnecessary extra expense.”

Suzy Pallett observes: “Cityscape Marketplace will be a new platform for international capital to connect with urbanisation development opportunities. The potential to lock into the most important trend in global real estate is enormously exciting.”

The most important trendin Global Real Estate Contact usFloorplanAbout us PRMarketing

APRIL 29TH - 30TH 2020 OLD BILLINGSGATE MARKET | LONDON

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A collection of furniture with an essential image and clean lines, as is the style of antoniolupi.An important graphic sign that becomes a geometric decoration to enhance the materiality of the surfaces and enhance the volume of the containers. Parallel lines like rails engrave the fronts of and the sides, giving three-dimensionality to the surface and dressing the piece of furniture with a "pleating" that visually lightens it. Spaced 3 mm apart in Binario 03 and 12 mm in Binario 12, the millings articulate the longitudinal development of the furniture, opposing a very dense vertical trace that "measures" the proportion of the front, enriching the entire project.Binario 03 is only available in a matt or embossed lacquered version in all the colors of the antoniolupi range. The furniture of the Binario 03 collection can

be combined with the tops of the Ponte series, which fit perfectly to create a groove that extends along the entire composition and allows for easy opening of the front. A texture that gives movement and depth to the whole, a play of shadows that "draws" the final image of the furniture. Binario 12 is available both in the wood essence version and in the lacquered version in matt or embossed finish.

Una collezione di mobili dall’immagine essenziale e dalle linee pulite in pieno stile antoniolupi, caratterizzata da un segno grafico importante che diventa decoro geometrico per esaltare la matericità delle superfici e valorizzare il volume dei contenitori. Linee parallele come binari incidono i frontali dell’anta e dei fianchi, conferendo tridimensionalità alla superficie

e vestendo il mobile con una “plissettatura” che ne alleggerisce visivamentel’immagine. Distanziate tra loro di 3 mm in Binario 03 e 12 mm in Binario 12, le fresature scandiscono losviluppo longitudinale del contenitore, opponendo una traccia verticale molto fitta che “misura” la proporzione dell’anta, arricchendo di significato l’intero progetto. Binario 03 è disponibile solamente in versione laccata finitura opaca o goffrata in tutti i colori dell’ampia gamma antoniolupi. I contenitori della collezione Binario 03 sono abbinabili ai top della serie PONTE, che si abbinano perfettamente ai volumi creando una gola che si sviluppa lungo tutta la composizione e ne agevola apertura dell’anta. Uno sfondato che dona movimento e profondità all’insieme, un gioco d’ombre che “disegna” l’immagine finale del mobile.

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antoniolupiBINARIO 03 | BINARIO 12 designed by Nevio Tellatin

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ANTONIO LUPI DESIGN SpaVia Mazzini 73/7550050 StabbiaCerreto Guidi (FI) - Italyphone + 39 (0)571 586881_95651www.antoniolupi.itlupi@antoniolupi.it

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One of the latest world wonders - with the famous hotel Caesars Palace and Ain Dubai, the tallest Ferris wheel in the world -, is beautifully lit up thanks to a carefully designed lighting project developed with the products of the Treviso-based company.

An ambitious and pioneering project was developed by Linea Light Group to light up Dubai’s new iconic destination with sumptuous elegance.Bluewaters Island (that is its name) is an artificial island dominated by the tallest Ferris wheel in the world, Ain Dubai, and animated by 200 refined and exclusive shops and restaurants. Surrounded by the crystal clear waters of the Gulf, the island is also home to the famous Caesars Palace Bluewaters Dubai, which stands at 600 metres from the Dubai Marina Mall and offers its guests exclusive services including restaurants, an outdoor pool, a fitness centre, Cove Beach (an elegant private beach club), and finally also Qua Spa, the award-winning wellness concept exported from Las Vegas, inspired by the ancient Roman tradition of relaxation.

An ambitious project carried out by the Treviso-based company, carefully studied to meet the typical needs of the Arab world, where charm and elegance go hand in hand with opulence and luxury. Discrete and versatile products, able to highlight the smallest detail, capturing that unique thousand-and-one-nights atmosphere.

For the lighting of the Caesars Palace Bluewaters Dubai, ad hoc products were chosen to highlight and emphasize its elegant, contemporary architecture: Paseo bars, Portik ceiling lights and finally Quantum and Warp downlights, skilfully installed to bring out details and create evocative night scenes.For the connecting paths, the reliable Alcor steplights with anti-glare effect; finally, to light up the pool, Admiral, the immersion uplight specially designed for swimming pools and underwater environments, characterized by the innovative AquaStop® technology, an anti-suction system for power cables that protects them from water and moisture.

Illuminating the facades of the residential area, Vedette is a wall light with a square shape and a minimal and contemporary design, ideal for creating charming light effects and achieving great visual impact. The powerLED source, with four power levels, also ensures lower consumption and a very warm light, ideal for “warming up” Bluewaters’ nights.

Finally, Suelo uplights, combined with Paseo recessed bars with diffused light effect, and Rock poles, recreate on the island the typical charm of Arabian atmospheres, with soft and elegant lighting.

Un progetto tanto ambizioso quanto pioneristico è quello messo a punto da Linea Light Group per accendere di sfarzosa eleganza la nuova destinazione iconica di Dubai.

Bluewaters Island, questo il suo nome, è un’isola artificiale dominata dalla più alta ruota panoramica del mondo, Ain Dubai, e animata da 200 negozi e ristoranti eleganti ed esclusivi. Immersa nelle acque cristalline del Golfo, l’isola ospita anche il celebre Caesars Palace Bluewaters Dubai che dista 600 metri dal Dubai Marina Mall e mette a disposizione dei propri ospiti servizi esclusivi tra cui ristoranti, una piscina all’aperto, un centro fitness, il Cove Beach, l’elegante beach club privato, e infine anche Qua Spa, il premiato concetto benessere arrivato da Las Vegas, che si ispira alle antiche tradizioni romane di relax.

Un progetto ambizioso realizzato dall’azienda di Treviso e studiato nei minimi dettagli per rispondere alle esigenze tipiche del mondo arabo dove il fascino e l’eleganza si accompagnano al lusso e allo sfarzo. Prodotti discreti e versatili, in grado di evidenziare ogni più piccolo particolare, regalando un effetto scenografico da mille e una notte.

Per l’illuminazione del Caesars Palace Bluewaters Dubai sono stati scelti prodotti ad hoc in grado di enfatizzarlo, mettendone in risalto l’architettura elegante e moderna: la barra Paseo, il plafone Portik e infine i downlight Quantum e Warp, sapientemente installati per evidenziare i dettagli e dare vita a suggestive scenografie notturne.Per i vialetti di collegamento, il segnapasso Alcor, affidabile e con effetto anti-abbagliamento e infine, per accendere la piscina, Admiral, l’uplight ad immersione, specifico per piscine e ambienti subacquei, caratterizzato dall’innovativa tecnologia AquaStop®, un sistema anti-aspirazione per cavi d’alimentazione, che vengono così protetti da acqua e umidità.

Dedicata all’illuminazione delle facciate della zona residenziale, Vedette è l’applique dalla forma quadrata e dal design minimal e moderno, che permette di creare suggestivi giochi di luce di grande impatto visivo. La sorgente powerLED, con quattro livelli di potenza, inoltre, garantisce consumi ridotti e una luce molto calda, ideale per “riscaldare” le notti di Bluewaters.

Infine per ricreare sull’isola il tipico fascino delle atmosfere arabe, con le luci diffuse ed eleganti, l’uplight Suelo abbinato alla barra Paseo incassata con ottica diffusa e ai paletti Rock.

Linea Light GroupLinea Light Group lights upthe enchanted nightsof Bluewaters Island in Dubai

A Dubai le affascinanti atmosfere di luce di Bluewaters Island firmate Linea Light Group

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LINEA LIGHT Srl Via della Fornace 5931023 Castelminio di Resana (TV) phone +39 (0)423 7868info@linealight.comwww.linealight.com

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In Asolo between antique charm and modern design

Ad Asolo tra charme antico e design contemporanee

Italian interior design company LAGO uses design as a way of bringing something new to your accommodation. Create welcoming, truly unique places, each with a tailor-made design. Every LAGO WELCOME location tells its own story. Visitors are welcomed into a home and they leave with an incredible travel experience to remember. An example of one such project is the former rectory in Asolo, dating back to the 14th century and recently renovated. Located up in the hills of one of Italy’s most charming towns, it has been transformed into a beautiful designer holiday home, frozen in time and decorated with contemporary materials and design solutions by LAGO. Traces of the building’s stunning original features and finishes can still be seen as you go through the front door. The living room opens up with a grand stone fireplace, restored to its former glory and fully functional. The ultra-comfy Air sofa bed stands before it, and the Air bookcase creates a wall feature, supported by resistant tempered-glass panels. Going up the spiral staircase, you come to the kitchen. Here, playful use of colours and materials has created a space that blends in harmoniously with the tones of times gone by. The natural-look concrete flooring works perfectly with the carefully salvaged original plastering. The island kitchen has been designed to fit the space, adding glimmers of colour with polished glass. The material contrasts elegantly with the long Wildwood table, which features a rich, ancestral grain. This timeless material creates a truly special space that complements the building’s sacred beginnings. The first floor is home to the master bedroom with en-suite bathroom, poised beneath a stunning, fully restored trussed ceiling featuring hollow flat tiles. The ethereal furnishing style continues in this space, with the Air wardrobe and bed supported by clear glass panels, which create features, without weighing down the design. The architecture has regained its original charm. LAGO’s light and airy furniture perfectly captures the intimacy of this space suspended in time.

LAGO, azienda di arredamento Made in Italy, utilizza il design come strumento per la valorizzazione degli spazi ricettivi rendendoli accoglienti ed unici attraverso una progettazione sartoriale studiata sulle peculiarità di ogni location. Ogni LAGO WELCOME è un racconto a sé che accoglie il viaggiatore in una casa, rendendo straordinaria e indimenticabile la sua esperienza di viaggio. In questo format si inserisce la riqualificazione di una un’ex canonica del ‘300, arroccata in uno dei borghi più belli d’Italia, che diventa una meravigliosa casa vacanze di design sospesa nel tempo grazie alle soluzioni ed ai materiali contemporanei di LAGO. L’edificio conserva all’interno le tracce delle sue finiture originali, accedendo alla casa si entra nella zona soggiorno, in cui trova posto il camino in pietra restaurato e rimesso in funzione, su cui si affacciano un confortevole divano-letto Air e una libreria Air sospesa su resistenti lastre in vetro temperato. Attraverso la scala a chiocciola si giunge alla zona cucina, giocata su cromie e materiali in armonia con i colori del tempo. Un pavimento in cemento a vista si sposa con il sapiente recupero degli intonaci originari. La cucina a isola, sviluppata su misura, arricchisce l’ambiente di riflessi grazie al vetro lucido colorato, in un elegante contrasto di materiali con il lungo tavolo in legno Wildwood, ancestrale e ricco di venature, che regala un’emozione senza tempo, in armonia con la sacralità dello spazio. Il primo piano accoglie un’ampia suite con bagno privato, posta sotto uno splendido soffitto in capriate e tavelle completamente restaurato. Il gioco di sospensioni degli arredi continua anche in questo spazio, con un letto e un armadio Air sospesi su lastre di vetro trasparenti che creano volumi senza appesantire lo spazio. L’architettura è restituita nel suo fascino originale, la leggerezza degli arredi LAGO interpreta uno spazio raccolto e sospeso nel tempo.

LAGOVia Artigianato II, 21, 35010 Villa del Conte PDphone +39 (0)49 5994299www.lago.itlago@lago.it

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When securitybecomes "Activa"

Quando la sicurezza diventa “Activa”

Cavatorta Project thanks to the cooperation with SICURIT Alarmitalia Spa, a leading company in the security systems sector, presents HSF Activa ™, the sensitive fencing system able to detect any attempt of intrusion, cutting, breaking through and climbing over. Unlike the conventional high security perimeter physical protection systems, to which the active protection elements are applied externally, HSF Activa ™ is an integrated system, able to accommodate inside the structure by mean of specifically designed cable ducts, the active protection elements (sensors) and the relative cable / signal lines, in a protected, invisible and inviolable way.This feature offers multiple advantages:safety is of primary importance,  the systems are inviolable as they are protected from attacks, damages and bad weather conditions, with consequent practically zero maintenance interventions and a longer life span.Not least the aesthetic factor, as the fence is clean and tidy, without requiring ingenious adaptations, as happens with traditional systems.HSF Activa ™ is made up of high security electro-welded mesh panels, produced using 4.00 mm (8 ga.) Galvatec® coated wires (Alu-Zinc alloy). The HSF Activa ™ panels, classified as Anti Cut and Anti Climbing, are made to prevent any vandalism thanks to the small 76.2 x 12.7 mm meshes as well as its resistance, both factors create a safety barrier against climb over, not allowing any support to feet or hands. Not even the wire cutters can be used as there is not enough space between the meshes. The heart of HSF Activa ™ is a sophisticated system for detecting the points of attack (detection accuracy of +/- 2.5 m) which, compared to traditional fence systems, is completely hidden and tamper-proof.The sensors are hidden in special compartments obtained inside the posts or bars of the HSF system, while the connecting bus cable passes inside special ducts which are part of the structure and allow the transit of the lines along the entire perimeter of the fence. Being designed to resist climbing over, the system is designed to detect vibrations caused mainly by mechanical actions deriving from the attempt to violate the perimeter using cutting tools such as grinders, or to detect the vibrations generated when a ladder, used to climb over, is placed on the ground. In addition HSF Activa ™ uses a "differential logic", which drastically reduces false alarms caused by critical weather conditions (such as heavy rain, wind, hail) thus allowing the system to function optimally in any environmental condition, without affecting its performance . The HSF Activa ™ System is totally configurable, in terms of dimensions and construction features and equipment; based on customer's requirements and on the desired level of security and can also integrate various accessories such as lighting systems, cameras, speakers, external sensors, infrared sensors, fiber, etc.

Cavatorta Project, grazie alla collaborazione con SICURIT Alarmitalia Spa, azienda leader nel settore dei sistemi di sicurezza, presenta HSF Activa™, il sistema di recinzione sensibile in grado di rilevare i tentativi d'intrusione, taglio, sfondamento e scavalcamento. A differenza dei convenzionali sistemi di protezione fisica perimetrale di alta sicurezza, a cui vengono applicati esternamente gli elementi di protezione attiva, HSF Activa™ si presenta come una sistema integrato predisposto, in grado di accogliere all’interno della struttura e dei cavidotti appositamente studiati, gli elementi di protezione attiva (sensori) ed i relativi cablaggi/linee di segnale, in modo protetto, invisibile ed inviolabile. Questa caratteristica offre molteplici vantaggi: in primo piano la sicurezza, in quanto gli impianti risultano inviolabili in quanto protetti da attacchi, danneggiamenti e dalle intemperie, con conseguenti interventi manutentivi praticamente nulli e maggiore durata nel tempo. Non ultimo il fattore estetico, in quanto la recinzione risulta pulita ed ordinata, senza richiedere ingegnosi adattamenti, come accade per i sistemi tradizionali. HSF Activa™ è costituita a Pannelli di Rete elettrosaldata ad alta sicurezza, prodotta utilizzando filo Galvatec® (lega Alu-Zinc) da 4,00 mm. (8 ga.). I pannelli di HSF Activa ™, classificati Anti Taglio ed Anti Climbing, sono realizzati per prevenire qualsiasi attacco vandalico grazie ai piccoli interstizi della maglia 76,2 x 12,7 mm, ed alla sua resistenza, fattori che creano una barriera di sicurezza contro gli scavalcamenti, non consentendo l’appoggio di piedi o mani. Neppure i tronchesi possono essere utilizzati in quanto non c'è abbastanza spazio tra le maglie. Il cuore di HSF Activa™ è un sofisticato sistema di rilevamento dei punti di attacco (precisione di rilevamento di +/- 2,5 m) che, rispetto ai tradizionali sistemi di recinzione, è completamente nascosto ed a prova di manomissione. I sensori sono alloggiati in appositi scomparti ricavati all'interno dei montanti o dei correnti del sistema HSF, mentre il cavo bus di collegamento passa all'interno di speciali condotti che fanno parte della struttura e consentono la transitabilità delle linee su tutto il perimetro di recinzione. Essendo progettato per opporre resistenza agli scavalcamenti, il sistema è studiato per rilevare le vibrazioni causate principalmente da azioni meccaniche derivanti dal tentativo di violare il perimetro tramite utensili da taglio come smerigliatrici, oppure rileva le vibrazioni generate dall’appoggio di una scala utilizzata per scavalcare. Inoltre, HSF Activa™ utilizza la "logica differenziale", che riduce drasticamente i falsi allarmi causati da condizioni meteorologiche critiche (ad esempio forti piogge, vento, grandine) consentendo al sistema di funzionare in modo ottimale in qualsiasi condizione ambientale, senza influire sulle prestazioni. Il Sistema HSF Activa™ è totalmente configurabile, nelle dimensioni e nelle caratteristiche costruttive e dotazioni; in base alle necessità del cliente ed al livello di sicurezza desiderato e può inoltre integrare numerosi accessori quali sistemi di illuminazione, telecamere, altoparlanti, sensori esterni, sensori infrarossi, fibra, ecc.

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TRAFILERIA E ZINCHERIA CAVATORTAVia Repubblica, 5843121 Parma (Italy)phone +39 (0)521 221411fax +39 (0)521 221414www.cavatortagroup.comoffices2@cavatorta.it

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INK System revises the concept of a luminaire. It is not a single lamp available in multiple versions, but several versatile articles, all sharing the same concept. The cable, elastic and thin, in textured version, houses a stripLED with high performance. The same cable acts as a conductor on which it is possible to hook different devices: light profiles with diffused emission, adjustable spotlights and pendant lamps. The range includes real wall/ceiling paths, modular channel-modules with various joints and endings that house the conductor cable and transform it into an elegant graphic sign.

INK System rivede il concetto di apparecchio luminoso. Non è una singola lampada declinata in più versioni, ma più articoli versatili e accomunati dallo stesso concetto. Il cavo, elastico e sottile, in versione tesata ospita una stripLED dalle performance elevate. Lo stesso cavo funge da conduttore a cui agganciare diversi dispositivi: profili luminosi con emissione diffusa, faretti orientabili e lampade a sospensione. La gamma prevede percorsi a parete/soffitto, moduli-canale componibili con varie giunzioni e finali che ospitano il cavo conduttore e lo trasformano in un elegante segno grafico.

LINEA LIGHT Srl Via della Fornace 5931023 Castelminio di Resana (TV) phone +39 (0)423 7868info@linealight.comwww.linealight.com

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Marialaura Rossiello (Studio Irvine) takes inspiration from the tradition of patchwork for Quilt, stoneware mosaic in which the modules can be installed uniformly, for a geometrical effect, or at random, in an uneven layout that recalls antique Venetian Seminato pavings. The project is produced as a 9x9 cm square of porcelain stoneware scored so that a segment can be broken off from the rest of the material after grouting. The grout creates the pattern. The size of the chip, the different kind of installations, colours and textures proposed enhances the potential of customization.

Elastica is a new concept in lighting where interaction is the key word, you can connect the ceiling with the floor, move the base around, change the positon of the strip of light, almost as if playing with it. A quick, determined gesture turns the light on and off; other, slower gestures change the intensity of the beam of light.

Elastica, 2019 - design Habits: light is soft, flexible, interactive

QUILT, tradition, patchwork, freedom of composition

Lago design improving your business

INK System – Linea Light Group

Marialaura Rossiello (Studio Irvine) si ispira alla tradizione del patchwork per Quilt, mosaico in grés in cui i tasselli possono essere posati regolarmente ricreando la forma geometrica, o random, formando una posa irregolare che richiama le antiche pavimentazioni in seminato. Il progetto nasce da una stecca 9x9 cm in grès porcellanato, con inciso uno spicchio dal resto della mattonella, che risulta esteticamente separato dopo la stuccatura. E’ la fuga che realizza il decoro. La forma della tessera, le diverse proposte di posa, colore e texture aumentano le possibilità di personalizzazione.

Elastica è un nuovo concetto di illuminazione, dove interazione è la parola d’ordine, Puoi connettere soffitto e pavimento, spostare la base, muovere la striscia di luce, quasi come a volerci giocare. Rapidi e decisi gesti accendono e spengono la luce; altri più lenti variano l’intensità del fascio luminoso.

MOSAICO+ SrlVia Valle d’Aosta 46, 41049 Sassuolo MO, Italyphone +39 0536 995811www.mosaicopiu.enwww.mosaicopiu.itinfo@mosaicopiu.it

MARTINELLI LUCEVia Teresa Bandettini55100 Lucca (Lu) - Italyphone +39 (0) 583.418315fax +39 (0) 583.419003www.martinelliluce.itinfo@martinelliluce.it

it

Design is a tool for making the most of all the spaces we spend our time in, making them inviting and giving them character. The aim is to make them capable of creating connections and new business opportunities. This is where the idea for the LAGO DESIGN NETWORK comes in: a widespread network of people and more than 200 locations around the country – residences, shops, offices, museums, cafés, ice cream shops, restaurants and hotels – made unique by LAGO design, and composed with the same care and attention as is normally dedicated to the domestic space.

Il design come strumento per la valorizzazione di tutti gli spazi in cui passiamo il nostro tempo, per renderli accoglienti e distintivi, capaci di generare connessioni e nuove opportunità di business. Da qui nasce LAGO DESIGN NETWORK, una rete di persone e più di 200 location sparsi nel territorio - abitazioni, negozi, uffici, musei, caffè, gelaterie, ristoranti, strutture ricettive - resi unici dal design LAGO, progettati con la stessa cura con cui si è soliti pensare all’ambiente domestico.

LAGOVia Artigianato II, 21, 35010 Villa del Conte PDphone +39 (0)49 5994299www.lago.itlago@lago.it

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Cavatorta Group companies produce a wide range of high quality wire mesh products for a variety of residential, industrial and sports applications, for the building industry, agricolture and gardening. Cavatorta also has a complete range of galvanized and plastic coated wire, nails and accessories designed to meet various demands. The history of Cavatorta Group started in 1961 with the construction of the first factory in Parma (Italy). Today Cavatorta is an international group with production factories in Italy, France and Romania, subsidiaries in Great Britain, Portugal and the United States and distributors in over fifty countries.

Il Gruppo Cavatorta produce una vasta gamma di reti metalliche di elevata qualità, adatte a molteplici applicazioni nei settori residenziale, industriale, sportivo, edile, agricolo, per il giardinaggio e per il “fai da te”. Cavatorta propone inoltre un assortimento completo di fili zincati e plasticati, chiodi e di accessori concepiti in funzione delle diverse esigenze di impiego. La storia del Gruppo Cavatorta inizia nel 1961 con la costruzione del primo stabilimento a Parma (Nord Italia). Oggi Cavatorta è un gruppo internazionale con stabilimenti produttivi in Italia, Francia e Romania, filiali in Gran Bretagna, Portogallo e Stati Uniti e distributori in oltre cinquanta paesi.

TRAFILERIA E ZINCHERIA CAVATORTAVia Repubblica, 5843121 Parma (Italy)phone +39 (0)521 221411fax +39 (0)521 221414www.cavatortagroup.comoffices2@cavatorta.it

Binario is the collection of furniture with an essential image and clean lines, characterized by an important graphic sign that becomes a geometric decoration to enhance the materiality of the surfaces and enhance the volume of the containers. Parallel lines like rails engrave the fronts of and the sides, giving three-dimensionality to the surface and dressing the piece of furniture with a "pleating" that visually lightens it. Spaced 3 mm apart in Binario 03 and 12 mm in Binario 12, the millings articulate the longitudinal development of the furniture, enriching the entire project.

BINARIO, designed by Nevio Tellatin

KE GENNIUS ISOLA 3: outdoor comfort 365 days a year.

New Aura 2020: Cement Couture

Cavatorta Group Companies

Binario è la collezione di mobili essenziali e dalle linee pulite, caratterizzata da un segno grafico che diventa decoro geometrico per esaltare la matericità delle superfici e valorizzare il volume dei contenitori. Linee parallele come binari incidono i frontali dell’anta e dei fianchi, conferendo tridimensionalità alla superficie e vestendo il mobile con una “plissettatura” che ne alleggerisce l’immagine. Distanziate di tra loro 3 mm in Binario03 e 12 mm in Binario12, le fresature scandiscono lo sviluppo longitudinale del contenitore, arricchendo di significato l’intero progetto.

The ISOLA 3 pergola stands out for its characteristic lowered-arch shape which contributes in reducing minimum overall dimensions and in improving its aesthetics. It can be installed in two different ways – wall-mounted and free-standing – and it can be integrated with side shading screens, which can also be completely transparent, or with sliding glass doors. Isola 3 can be highly customised and uniquely complements the architecture of buildings, thanks to its essential lines and its aluminium powder-coated profiles, granting a perfect resistance against corrosion and a minimal design.

La tenda a pergola GENNIUS ISOLA 3 si distingue per la caratteristica forma del tetto ad arco ribassato, che permette di diminuire l’ingombro in altezza e di migliorarne l’aspetto estetico. Disponibile in due diverse modalità di installazione – addossata a parete e autoportante – la struttura è integrabile con tende tecniche laterali ombreggianti o completamente trasparenti, oppure con sistemi di vetrate scorrevoli. Isola 3 si integra perfettamente nell’architettura degli edifici, grazie alla leggerezza delle linee e dei profili in alluminio, verniciati a polvere, che garantiscono un’ottima resistenza alla corrosione

KE PROTEZIONI SOLARI SrlVia Calnova n.160/ANoventa di Piave (VE) Italyphone +39 (0)421 307000www.keoutdoordesign.cominfo@keitaly.it For more info:KE Marketing Dept.marketing@keitaly.it

ANTONIO LUPI DESIGN SpaVia Mazzini 73/7550050 StabbiaCerreto Guidi (FI) - Italyphone + 39 (0)571 586881_95651www.antoniolupi.itlupi@antoniolupi.it

A refined mix of codes where different shapes and textures blend in a round, oversize geometry that interacts with each other through new collections and new moods that explore the boundaries of hybridism even more carefully

Un raffinato bailamme di codici dove diverse forme e texture si mescolano a geometrie tonde, oversize, che dialogano tra loro attraverso nuove collezioni e nuovi mood che esplorano ancora più profondamente i confini dell'ibridare.

MASCHERONIvia B. Buozzi 3822060 Cabiate (CO) Italy+39 031 767692info@mascheroni.it www.mascheroni.it

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