Showing posts with label Marco Casagrande. Show all posts
Showing posts with label Marco Casagrande. Show all posts

Thursday, November 3, 2016

Marco Casagrande - Oriana Persico on Urban Acupuncture

Dialog with Oriana Persico, published in the book "DIGITAL URBAN ACUPUNCTURE" by O.Persico & S.Iaconesi, Springer International Publishing 2016, ISBN 978-3-319-43403-2




1. Ruins constitute syncretic maps of urban environments, as they show the citizens’ usage patterns, imagination of lack of it, traversals, and behaviors. In short, they constitute the map of the city as seen from the composition of the myriads of micro-histories of its dwellers, and in its perpetual evolution and transformation.

How important are these maps?

What is their meaning and how can they be used.



MC
These ruin maps are a pattern of urban acupuncture. They are small composts where the city is slowly fermenting. The surrounding city, at least the official city, may consider these composts as the smelly parts of the city and cannot really cope with them. The only solution which the official city seems to have is to erase them, turn the ruins into lawn or park, which was supposed to happen to Treasure Hill for example. The official city is in-sensitive for the energy and potential which these areas are suggesting. Normal people though are highly sensitive for urban energies and would be fully capable to operate the map of ruins. The ruins are insulting the official control, but on the other hand they have the capacity of offering the most fertile top-soil for organic urban development, which of course seeks to get rid of the centralized power structure. 

These ruins are voids in the mechanical tissue of the centrally governed city. They are openings to different times, values, dreams and possibilities – like the attic of a house. It is very likely that the essence of the surrounding city would intensify within these voids and get mixed or at least in connection with other organic layers of the city, like in a black hole. Layers which are invisible for the official control. Ruins have the possibility of partly tuning the city towards the organic, towards the third generation city. 

These ruins can be used in interpreting what the collective mind is transmitting. They can be sensitive platforms for local knowledge to emerge and evolve; as receivers. They can be hot-spots for new biourban knowledge building. One must be very careful with the relationship with the official city though. Once the political elements of the city will realize that something constructive, collectively touching and possibly media-sexy is cooking up in the formally smelly ruins, they will try to squeeze in and buy off the energy. In case the constructive energy of the ruins is sold, the construction will turn into destruction. The official city can only banalize the local knowledge. 

2. What you say that the Third Generation City is the ruin of the industrial city, you point into a really interesting direction, indicating how the emergent, spontaneous, energetic dynamics of the city and of its inhabitants are useful in gaining better understandings about the city, and about the ways in which it is interesting to create interventions in its fabric. Maybe even more useful than the information which is obtained through administrative, bureaucratic and commercial processes.

This also places citizens in a new light, suggesting ways in which their active participation becomes of fundamental importance to understand the city, and to act in it.

How do you imagine citizenship?

How do you imagine institutions?



MC
Every citizen is part of the big brain of the city. This collective conscious is complex, multi-layered and organic, but it is still a sensitive nervous system. The official city wants to flatten these layers into a simple two-dimensional map of the city, which is the official reality. Citizens however move much more flexibly, freely and multi-dimensionally in the city that what the official map would allow. The official city is just a background for the real citizen activities. Un-official information is powerful. Whole cities could be designed by rumors. Urban power structures want to flatten the multi-dimensional, resourceful and somehow mystical real citizen. He is too much in connection with nature, and the industrial city wants to claim independence from nature. Nature is seen as something hostile, something that wants to break the machine and the untamed natural citizen is an unpredictable agent of nature, an urban native that needs to get civilized, needs to be saved from himself. 

Institutions should be the inner organs of the city to keep life pumping through it. They could also be partly the nervous nods, which are dealing with the information and other energy flows of the city, thinking of the collective mind. City is one brain. Also nature is only one brain. City should be part of the natural one brain and the institutions should take care of that. Now the institutions are human-focused in a controlling sense and separating the city form nature. The solution which the developed institutional city is offering to the citizens is mechanical and standardized life. City should be a biological man-made organism and part of nature, otherwise it is against nature, a mental disorder – a human error as one might say. Institutions should be organic and most likely modular. They should treat the urban organism through punctual interventions, which would then be connected with the nervous network of the urban brain. This cannot be based on control and hardness – those are death’s companions. City is not an institution, it is a living organism. Accident is greater than human control. 


3. Relation, conversation and flows. Your vision of the city is very focused on these themes. Even in unexpected ways, for example using the term of “urban rumors”. This is very interesting, as it does not imply a concept of beauty and value which is not centered on form, but, rather, on the presence of energy, dynamics, fluidness and emergence, and also on the harmonies and dissonances, the conflicts and consensus which are typical of living ecosystems.

How can an urban planner, a public administrator, an architect, a designer or a citizen learn to recognize this new aesthetic and this value, and use them for collaboration, participation, action and performance in the city, with other people, institutions and organizations?

How does this fit in with your connection of Urban Acupuncture?



MC
A rather good example of this was the co-operation between the Ruin Academy, JUT Developers and the Taipei City Government. First of all the Ruin Academy was set up as an open platform for different universities, disciplines and professionals to participate in multi-disciplinary research & design workshops, courses and actions. The topics for these assignments would be developed together with the City Government and in the end we would also report to the City Government. Still again, this was all un-official. The City Government would not officially commission us and we would not be tied to any official nor academic bureaucracy. We would have access to the official data and intelligence, but we could operate much lighter and direct; more like the Special Forces. Our operations were financed and backed up by the JUT Developers and the participating universities, who would also benefit of our findings and developments. 

All the participating universities, the Tamkang University Department of Architecture, National Taiwan University departments of Sociology and Anthropology and Aalto University SGT Sustainable Global Technologies research center, found it very fruitful to have an open academic operational platform, which did not belong to any university, but was more based on academic squatting. Our interface to the surrounding city was also more real than with the locked academic disciplines and the interaction with local knowledge proved to be vital to the new knowledge building of the Third Generation City. 

City governments are full of departments and disciplines and every corner has a king. These kings don’t talk to each other, but still again they are the first ones to admit, that the highly regulated and protected administrative hierarchies are not optimal for mostly cross-disciplinary and multi-layered challenges and possibilities of the urban reality. They used the Ruin Academy to say things that they cannot say and to study things that they cannot study. We could have meetings in the evenings with the city officials, who could pass us the questions, interests or notions on which they wanted the Ruin Academy to react – almost as if they would be operating with a clandestine organization. We would be their interface to the un-official and to the underground, to the normal.

In some cases, like with Treasure Hill, the City Government was using me as kind of a joker, wild card. In Treasure Hill the Park Department of the City Government was already destroying the un-official settlement, when the Cultural Department of the same City Government was commissioning me to save Treasure Hill. In the end they were all evaluating, how did I succeed and decided to come smiling with the results. “This is exactly what we were commissioning you to do.” If I had failed, they would have just blamed the stupid foreigner and bulldozed down the place. 

What I am trying to say is that we need to develop more un-conventional ways to deal with the urban problematics. We already have the city governments, administrations, organization, NGOs and universities, which are taking care of the official routines, but we need more flexible, straight-forward and light operators to work avant-garde and behind the lines, also underground. Operators who can make hearts-and-minds connections with the local knowledge and mobilize people to develop their city. Operators who can communicate with the shared mind, the collective urban conscious.

Urban Acupuncture is both a strategy for urban development through punctual interventions and straight-forward tactics. There are many holes and cracks in a city and these cracks can be used for cooking up the operations. In the end, the city of cracks is much more interesting and humane than the two-dimensional, flat, industrial-modern city. Urban Acupuncture is breaking the industrial control, but it is for good – it is constructive anarchy. 


4. What transformation comes into this scenario when many people in cities have integrated digital means in expressing their micro histories, relations, emotions, behaviors, in conscious of unconscious ways?

MC

Commercial intelligence has been using the methodology of Urban Acupuncture for a long time. A good example is the network of 7-Eleven convenient stores in Taipei. They are located in carefully studied commercial acupuncture points around the city, building up the densest network of 7-Elevens anywhere in the world. Our actions, behaviors, wishes, desires and individual histories are constantly monitored, traced and processed based on our digital activities. Our digital networks have the power of launching rumors and revolutions, but they are also very easily manipulated. An interesting question is, what is the interface and dialog between this digital mind and nature? Can it support the organic knowledge as a portal for the collective mind to communicate? Are we now just looking at the simplified and flat prints of the digitally moving information the same way as the official city is flattening the informational space of the city into a two dimensional map? Would it be needed to penetrate through the thin layer of visual information surface to the actual digital space, where the countless informational layers are generating new streams of knowledge and how can we communicate with this digital subconscious? I think that this subconscious wants to surface on the city. It wants to take both form and be sensed through our physical presence and our natural mind. 


5. In your conception, the Third Generation City is itself a form of knowledge. This is yet another parallel with the concepts expressed in Digital Urban Acupuncture, where the Relational Ecosystem of the city, captured through data, information and knowledge exchanges, becomes a commons, available and accessible for everyone to use.

How, in your opinion, should this knowledge be accessible and usable?

And, on top of that: how is it possible to suggest and create the basis for the emergence of the imagination, sensibility and desire to use this knowledge?


MC
This knowledge is already now a source of intelligence for political and economic power speculations. It is also a form of new culture. Physically, millions of people are now migrating based on this data – migrants, refugees and people moving to cities. Big digitally formed and manipulated tribes and armies are in physical war and one of the main frontlines is digital. 

The digital realm is one surface of individual and mass communication, but is it yet a form of new knowledge? The digital underground movements and paths seem somewhat hopeful, but the big data is just entertainment and commercially controlled – not very different from the official city. One should not be blindfolded by the online access to information and entertainment. Flesh is More. 


6. How important (or not) is education in your vision of the city?


How can the literacy and sensibility which are needed to conceive the possibility of accessing the knowledge in the Third Generation City emerge in citizens?

Through a school? An educational process? Peer-to-peer processes?

The availability and accessibility of tools and methods?

How?


MC
The un-official community gardens and urban farms of Taipei are run by anarchist grandmothers. Also the urban farming communities are often matriarchal – like Treasure Hill. The ex-Soviet collective farms are by now run by babushkas. Modern city is a patriarchal structure as a form of industrialism. In Taipei the kids go to help on the collective farms – carry water, dig soil etc. Sometimes they come to the farms after school to do their home-work. They learn how to farm and the local knowledge becomes real for them. One step away is the official city. Modern man should take the liberty to travel a thousand years back in order to realize, that the things are the same. What is real cannot be speculated. What is real is valuable. There is no other reality than nature. 

Maybe the digital realm is also nature. Possibly it is like the resonating behind the singing of the birds. We can either listen to the birds’ singing or we can feel and contemplate with the resonating behind it. Maybe we are resonating with the digital flows as well. We can feel the mind, but cannot really interpret it. Nature is a life providing system. My friend is a digital monk and he is very much tuned with nature as well. 

Third generation citizens don’t need to be educated. They already exist. They are the ones connected with local knowledge and sensitive enough to feel the different pulses and messages of the city. They are the connection between the city and nature. We all have that quality, but we are educated to forget it. The third generation condition requires us to forget the forgetting. 

Instead of education we need to learn, how to pay attention to the seeds of the Third Generation City. We need to document them, learn from them and let them grow. Most of all we have to stop ignoring them. These seeds are often cooking at the un-official layers of the city. City is a big compost, which needs to be turned around every now and then in order to keep it alive. The seeds of the 3G City are in connection with the local knowledge and they form a pattern of organic urban acupuncture to the static city trying to tune the urban development into biourbanism. The challenge is, that these seeds don’t necessarily support the economic speculations and can be quite contra dictionary to the established power hierarchies, which try to suffocate them. Hence the existence in underground. The digital realm may be a possibility for the local knowledge, for the seeds of the Third Generation City to communicate and connect with the larger mind of individual citizens. 

How? Forget the forgetting. Industrialism is young and simple. Let the organic growth make a new layer on top of the industrial city. This coexistence will develop into the next step of urban industrialism, the city can learn to become an organic machine. In a sense we must ruin the mechanical city and open up the industrial control, so that nature can step in. Nature including human nature. 





Monday, June 22, 2015

Marco Casagrande - concepteur par accidents

EK / Charlotte Fauve:

Vitrine de la recherche sur les milieux habités, le Global Award for Sustainable Architecture distingue chaque printemps cinq personnalités à l’avantgarde de l’architecture. En 2015, le jury présidé par Jana Revedin s’est donné pour la première fois une thématique comme guide : la liberté de pensée. Ce choix marque la mutation d’un prix qui, depuis sa création en 2006 pour promouvoir la construction écologique, suit l’évolution des préoccupations environnementales. Si le développement durable était hier méconnu, il est aujourd’hui consensuel. Au manque de visibilité s’ensuit donc la nécessité d’un approfondissement, comme l’explique Marie-Hélène Contal, directrice du développement culturel de la Cité de l'architecture et du patrimoine, partenaire de la récompense : «Observatoire, le Global Award va désormais explorer chaque année un champ particulier dans la chaîne de complexités. Le débat doit progresser et il faut repérer et soutenir ceux qui s’engagent. » Le palmarès 2015 fait donc la part belle aux esprits hardis, qu’ils soient jeunes rebelles, comme l’Espagnol Santiago Cirugeda, guérillero urbain moqueur, ou grands précurseurs, tel le Danois Jan Gehl, critique engagé de la vie urbaine. Car la liberté de pensée est plurielle, et chacun l’exerce à sa manière, qu’il renonce au territoire vu d’en haut pour celui que dessine le regard des habitants, ou fasse acte de désobéissance pour restaurer l’harmonie du monde. Ces récompenses rendent également tangible le changement des pratiques architecturales. Ainsi, des ateliers de l’école de Talca au Chili aux expérimentations du Finlandais Marco Casagrande à Taiwan, les students workshops qui feurissent sur la planète aident une nouvelle génération de tempéraments affranchis à s’exprimer.


Le Finlandais Marco Casagrande a une collègue architecte : la nature ! «Sa seule loi, explique-t-il, c’est d’exister au maximum. Elle arrive même à se nourrir de nos constructions ! » En créant le Casagrande Laboratory, ce maître d’œuvre fasciné par les accidents constructifs tente de prédire le devenir des cités postindustrielles. Ces « villes de la troisième génération», comme il aime les nommer, s’y décomposent sous l’action conjuguée de la nature et des cultures populaires, à l’image de Treasure Hill, quartier précaire mais si parfaitement durable de Taipei, à Taiwan, que Marco Casagrande réactive grâce à une démarche d’acupuncture urbaine. Des recherches qu’il poursuit ensuite, toujours à Taipei, en y transformant un immeuble délaissé en «ultra-ruine ». Murs et fenêtres abattus, parois trouées de toute part, cette «Ruin Academy » devient lieu d’étude en même temps que résidence d’artistes et d’architectes. Idem pour cette ferme abandonnée, jungle urbaine qu’il change en atelier. Un concept qu’il prolonge aujourd’hui à grande échelle avec Paracity, une ossature en lamellé-collé qu’il s’imagine greffer sur les décombres d’une métropole. Le bio-urbanisme est né ! 

LINK


Friday, February 13, 2015


CASAGRANDE & RINTALA. Bird Hangar
Nathalie Pozzi



To: bird@casagranderintala.com
From: Toshio Tsurui
Subject: I have received the seeds
Hello.........
My son is 50years old.
My son is working at the Honmoku Pier in Yokohama.
He has received the message on 07/Sep/2001 pm 4:00 @ Honnmoku Pier A5 container-yard.
He has received 3 seeds (rice, wheat & bean) which were inside the test tube.
Unfortunately I don't have a land to seed the seeds in my home but I just wanted to notice you the date & time.
(Traduzione dal giapponese di Kenta Kawahara)
[A: bird@casagranderintala.com
Da: Toshio Tsurui
Soggetto: Ho ricevuto i semi
Salve…
Mio figlio ha 50 anni.
Mio figlio lavora al molo di Honmoku a Yokohama
Ha ricevuto il messaggio il 7 settembre 2001 h.16.00 nell'area conteiners A5 del molo di Honmoku.
Ha ricevuto tre semi (riso, grano e soia) che erano all'interno della provetta. Sfortunatamente a casa mia non ho una terra dove piantare i semi, ma volevo solo riferirvi la data e l'ora.]

[01nov2001]
Dal 2 settembre 2001, data dell'inaugurazione dell'International Triennale of Art di Yokohama, ogni giorno un'uccello in balsa dall'apertura alare di 80 cm lascia l'hangar dove era in deposito. Sollevato da un pallone meteorologico che espode alla quota di 10.000 metri, scende planando e atterra dove lo porta il vento.



L'uccello trasporta i 5 semi rappresentativi dell'agricoltura orientale. Un messaggio chiede a chi lo trova di coltivare i semi e di segnalare le coordinate del recupero.

Di quel che succede per aria rimane traccia a Yokohama nell'hangar, una gabbia in metallo alta 5 metri e avvolta da un chilometro e mezzo di corda di canapa. È il segno di un'idea, una storia che ha preso forma e che si racconta con i materiali.


All'idea, tanti uccelli quanti i giorni della Triennale, segue infatti una considerazione pratica: per farne partire uno stormo bisogna costruire un rifugio, dove possano aspettare di prendere il volo.
In effetti la struttura in metallo ricorda una voliera e il colore e la trama della corda di canapa un nido, ma la voliera è aperta e il nido capovolto. Non ci sono riferimenti immediati. Solo le incongruenze spiegano la funzione dell'edificio. L'apertura centrale del diametro di 1 metro permette al pallone meteorologico, largo 90 centimetri, di uscire dall'hangar. La stretta entrata laterale alle persone e alla bombola di elio, con il quale il pallone viene gonfiato, di entrare.

Un forte legame tra idea e materiali si sviluppa in particolare nel lavoro di costruzione.

"The work itself usually changes its shape or obtains more layers during the construction process. We keep ourselves open to changes in the work. When it is finding its shape it usually starts to tell us more about itself."

[
"Il lavoro stesso generalmente cambia forma o ottiene nuove valenze durante il processo di costruzione. Rimaniamo aperti a cambiamenti nel lavoro. Quando questo trova la sua forma generalmente inizia a raccontarci di più su se stesso"]
A questo processo partecipano come materiali da costruzione anche gli elementi atmosferici: sono mutevoli e temporanei, ma possono modificare il ruolo strutturale di componenti più durature.

Uunisaari Summer Theatre, scenario per teatro contemporaneo nell'isola di Uunisaari, Helsinki, Finlandia, giugno 2000. Helsinki European Culture Capital 2000 project. Anfiteatro temporaneo in legno per 400 spettatori. La copertura convoglia l'acqua piovana al centro della scena. Per approfondimenti: Architectural Review March 2001.


Quetzalcoatlus, installazione architettonica, Havanna Biennale, Cuba, 2000. Un'arrugginita ma solida trave di ferro lunga 7 metri è stata sospesa tra due edifici con lenze da pesca. La trave oscilla lentamente a seconda dei cambiamenti di temperatura. Le lenze sono sottoposte a estrema tensione. Il nome Quetzalcoatlus si riferirisce ai dinosauri volanti, spariti quando le condizioni di vita si sono fatte troppo ostili per le grandi creature.
Nel caso: l'acqua restringe la canapa e le piogge continue di Yokohama hanno accorciato le corde dell'hangar. I giunti che le legano alla struttura portante ne hanno assecondato lo spostamento, l'intera superficie si è mossa e così stretta ha resistito al t'ai fung, il tifone stagionale che arriva dall'oceano.
Costruzioni che reagiscono.
Animismo architettonico.
Land(e)scape, installazione architettonica e paesaggistica, Savonlinna, Finlandia, 1999. Architectural Review´s Emerging Architecture 1999 award. Tre fienili abbandonati sono stati sollevati su gambe di legno alte 10 metri a significare il distacco dalla loro primordiale unione con il suolo. I fienili sono stati incendiati secondo la coreografia del ballerino Reijo Kela. Il lavoro commenta il processo di abbandono della campagna finlandese. Per approfondimenti: Architectural Review December 1999 e www.labiennale.org.
Già si eran visti 3 fienili, abbandonati dai loro proprietari, alzarsi e indispettiti e offesi cercare fuga verso il soleggiato Sud.

Una chiatta in disuso attraccare da Chioggia a La Biennale di Venezia e diventare giardino ondeggiante nella città dove, per definizione, terra ferma non c'è.
1000 Peace Flags, installazione paesaggistica, Koli National Park, Finlandia, luglio 2000. Primo premio di Settlement, National Landscape Art Competition. Mille bandiere bianche, ricavate dalle lenzuola di un ospedale psichiatrico, sono state piantate lungo una pista di slalom. L'installazione celebra la follia degli uomini che per affari hanno tagliato un'antica foresta.
1000 lenzuola di manicomio segnare il percorso di slalom nelle nuove piste del Koli National Park, una delle più belle aree boschive della Finlandia.

3 barche in ascolto, a captare i cambiamenti nel vento.

Combinazioni elementari e disorientanti.
Anarchia architettonica.

Un bel disordine.

Nathalie Pozzi

npozzi@hotmail.com


60 Minute Man, installazione architettonica, Biennale di Venezia, 7a. Mostra Internazionale di Architettura, "Less Aesthetics, More Ethics", Arsenale di Venezia, Venezia, 2000. In una chiatta di 34 metri trovata in disuso a Chioggia è stato piantato un parco di querce. I rifiuti organici prodotti dalla città di Venezia in 60 minuti di scarichi concimano gli alberi. La chiatta è stata portata all'Arsenale e aperta come parco pubblico. Per approfondimenti: New York Times 23.7.2000.
Architectural Office Casagrande & Rintala.

the subconcious messages that are revealed in everyday life objects at rare moments of quality.

Convoy, installazione paesaggistica, 4th International Conference of Environmental Aesthetics, Rantasalmi, Finlandia, giugno 2000. Tre inutilizzabili barche a remi sono state ribaltate verticalmente nel lago Saimaa. La metà superiore delle barche affiora oltre il livello dell'acqua e così, come orecchie in ascolto, girano lentamente a seconda della direzione del vento.
L'Architectural Office Casagrande & Rintala è stato fondato a Helsinki nel 1998 da Marco Casagrande e Sami Rintala. Accanto a lavori più propriamente architettonici gli architetti realizzano installazioni, scenari per danza e teatro, produzioni video e multimediali a commento della società e dell'ambiente, collaborano con artisti di altre discipline e conducono workshop e lezioni. Nel 1999 hanno ricevuto l'Architectural Review's Emerging Architecture Award per l'installazione paesaggistica Land(e)scape, nel 2000 hanno partecipato a La Biennale di Venezia con l'installazione architettonica 60 Minutes Man e all'Havanna Biennale con Quetzalcoatlus. Nel 2001 sono intervenuti alla Yokohama Triennale of Contemporary Art con il progetto Bird Hangar. Hanno iniziato scavando una camera nel cemento di uno dei moli del porto industriale di Helsinki. Lo spazio è sotto il livello del mare e risuona dei rumori di motore propagati dall'acqua ogni volta che una nave entra o esce dal porto. Questa camera è ora utilizzata dagli operai per fumare e per ascoltare i rumori. Solo loro possono entrare.
Richiesta libri
L'Architectural Office Casagrande & Rintala parteciperà alla Biennale d'Arte Contemporanea di Firenze dal 7 al 16 dicembre 2001 con l'installazione 1/2001, uno spazio circolare di libri d'argomento religioso, filosofico e ideologico provenienti da tutto il mondo. Il diametro dell'installazione sarà di 6,37 metri, equivalente a quello della Terra scala 1:2001 secondo Principles of Science di Neil Heimler; l'altezza di 6,37/2 metri. I libri, con il dorso rivolto all'esterno, saranno usati come mattoni. All'interno, in contrasto, la stanza di pagine bianche. Chi volesse contribuire con un volume può scrivere a books@casagranderintala.com. La varietà delle opere per contenuto e lingua è tra gli obiettivi del progetto, che vuole costruttivamente affermare il valore della diversità.
> CASAGRANDE & RINTALA
> ARCHITETTURE

LINK TO THE ORIGINAL ARTICLE 

Monday, February 10, 2014

TURKULAISARKKITEHTI SAI TILAUKSEN PAKISTANISTA

Viikon henkilö

Turun Sanomat, Islamabad
Pia Heikkilä



Itsemurhapommeja, talibanien hyökkäyksiä ja julmia heimosotia. Pakistanin uutisotsikot kertovat omaa karua kieltään. Mutta on olemassa toisenlainen Pakistan; nopeasti kasvava ja ulkomaisille investoinneille avoin maa, jossa ihmiset ovat aidon kiinnostuneita suomalaisesta muotoilusta ja ympäristöosaamisesta.

Tämä Pakistan kiinnostaa myös turkulaissyntyistä arkkitehtiä Marco Casagrandea.

- Ei yhtään pelota tulla tänne, päinvastoin, Pakistan on hurjan kiinnostava maa ja asiat on täällä hyvin järjestetty, Casagrande sanoo.

Casagrande on Islamabadissa toista kertaa, tällä reissulla allekirjoittamassa sopimusta Pakistanin teknologiayliopiston NUST:n kanssa tiede ja teknologiapuiston suunnittelusta.

Kyseessä on merkittävä sopimus Casagrandelle ja turkulaiselle partneriarkkitehtitoimisto Haromalle. Projekti on päänavaus suomalaiselle suunnittelulle Pakistanissa ja se tulee toimimaan suomalaisen ympäristöteknologian työnnäytteenä Etelä-Aasiassa.

- Pakistanin valtion rahoittama projekti tehdään kokonaan suomalaisesta puumateriaalista, koska ympäristöystävällisyys oli yksi tärkeitä vaatimuksia, Casagrande kertoo.

Pakistanin valtiolle on tärkeää, että projektin toimittaja on tunnettu cleantech-osaamisestaan.

- Pieni Suomi on cleantechin suurvalta ja meillä on tällä alalla paljon vientipotentiaalia, Casagrande uskoo.

Rakennusmateriaalina tullaan käyttämään laminoitua puuelementtiä, joka toimitetaan Suomesta. Rakennukset pystytetään eri paikallisten toimijoiden voimin.

- Viemme Pakistaniin projektin mukana myös vihreän rakentamisen tietotaitoa ja koulutamme rakentajat projektin yhteydessä, hän sanoo.

MAANJÄRISTYSTÄ KESTÄVÄÄ PUUTA

Pakistaniin vietävä puu on Casagranden mukaan maanjäristystä kestävä ja soveltuu hyvin Pakistanin vaativaan ilmanalaan. Lisäksi suomalainen puuteknologia on maailman huippuluokkaa.

- Olen positiivisesti yllättynyt, että pakistanilaiset haluavat ottaa rohkean askeleen vihreämpään rakentamiseen.

Kyseessä on mittava projekti, joka valmistuu viiden vuoden kuluessa. Casagrande kumppaneineen kasvaa Aasiassa vauhdilla, sillä suomalaiselle arkkitehtiosaamiselle on maailmalla kysyntää.

Yritys esittelee vielä tässä kuussa Kiinassa kokonaista kaupunkisuunnitteluprojektia, joka perustuu kestävään suunnitteluun.

Casagrande pakkaa Islamabadissa laukkujaan jo seuraavalle lennolle suuntanaan Dubai ja sieltä matka jatkuu edelleen Amerikkaan.

Monday, December 2, 2013

ENTÄ JOS KAUPPATORI NÄYTTÄISI TÄLTÄ?


Turkulaisessa arkkitehtitoimistossa työskentelevät Marco Casagrande ja Raul Kallio piirtelivät aikansa servettien reunoihin ideoita paremmasta Kauppatorista. Syntyi ehtodus nimeltä Huntu. Kantavana ajatuksena on toria kiertävä katosrakenne. Sen alapuoli on lasia, ja katoksen päällä on luonnonniitty. 


Marco Casagrande ja Raul Kallio ovat työstäneet pitkään ajatusta uudenlaisesta Turun kauppatorista. He ovat pitkäaikaisia työtovereita turkulaisessa arkkitehtitoimistossa ja molemmilla on palava kiinnostus Turun kaupunkiympäristöön ja sen toiminnallisuuteen. Yhteistyön tulos on nähtävissä näissä kuvissa.

Ehdotuksensa he ovat ristineet Hunnuksi, joka heidän mielestään kuvaa suunnitelman tavoitetta: saada torista valoisa ja suojainen tila, jolla tori saadaan paremmin kansalaisten käyttöön. Casagrande ja Kallio huomauttavat olevansa liikkeellä yksityishenkilöinä. He eivät halua ottaa suunnitelmallaan kantaa kiisteltyyn toriparkkiin. Torin nykytilaa kuvatessaan, he eivät sen sijaan säästele sanojaan.

Portaat ortodoksisen kirkon edessä toimisivat myös katsomona ja levähdyspaikkana. 
 – Se on ankea, suojaton ja kulttuurikaupunkina itseään pitävälle kaupungille täysin sopimaton, kuuluu tuomio. Suunnitelman tarkoituksena on toimia puskurina toria ympäröivien massiivisten rakennusten suuntaan ja rauhoittaa kaupunkitilan mittakaava inhimillisemmäksi ja intiimimmäksi.  Katos toimii eräänlaisena torielämää suojaavana huntuna, joka siivilöi taustalla olevat kolkot rakennukset dominoimasta ihmisen mittakaavaa.  



Pinta vaakatasoon

Torin ortodoksikirkon puoleinen pää Yliopistonkadulla on nyt kaksi metriä korkeammalla kuin Börsin puoleinen pää Eerikinkadulla. Suunnitelmassa nykyinen torikansi lasketaan vaakatasoon. Kirkon eteen Yliopistonkadulle rakennetaan leveät, etelään aukeavat portaat. Ne toimivat myös kansalaisten ”katsomona” torin tapahtumiin. 

Katosta kiertää puinen laituri suoja-aitoineen ja vieressä viheriöi luonnonniitty. 

 Katosrakenne kantava ajatus

Tori ympyröidään U:n muotoisella katosrakenteella, joka aukeaa ortodoksikirkon suuntaan. Katosrakenteen alle tuleviin tiloihin voidaan sijoittaa kaikki toria tukevat toiminnot: jätehuolto, vessat, bussien ja mahdollisesti tulevan raitiotien pysäkit, aikataulut ja odotustilat, kioskit, torimyyjien huolto ja mahdollisen toriparkin hissit, portaat ja tekniikka.


Torin reunojen vanhat rakennukset puretaan. Katoksen alle mahtuu myös kahviloita, pieniä ravintoloita esimerkiksi sushibaari tai joulun aikaan kuumaviinibaari. Suurimpien kulkuaukkojen korkeus Kop-kolmion ja Wiklundin kulmissa on 4,6 metriä. Niiden kautta hoituisi torin huoltoliikenne.


  Katos tekisi tilasta suojaisamman kuin nyt. Rajatumpi toritila sopii hyvin erilaisille tapahtumille konserteille ja TPS:n seuraaville mitalijuhlille, maalailevat Casagrande ja Kallio. 

Katoksen päällä voi tarkkailla torin elämää.
Katolla niitty ja puinen laituri

Katoksen päällä, noin 4-5 metrin korkeudessa, voi kävellä puista laituria torin ympäri. Sieltä voi seurata torin elämää ja torilla järjestettäviä tapahtumia. Katolla on myös suojaava 1,2 metrin korkuinen lasikaide.



Katosta kiertää hoitoa vaatimaton luonnonniitty, joka on kukka- ja heinälajeiltaan mahdollisimman kirjava. Tämä houkuttelee hyönteisiä ja lintuja keskustaan. Katolle kulku on Yliopistonkadun puolelta portaita pitkin.


Lasia ja valoa

Katos ja lasirakenteet tarjoavat sateen- ja tuulensuojan kulkijoille. Valaistus on suunniteltu tulemaan katon alapinnasta niin, että lasiosien keveys korostuu myös kauempaa katsottuna. Kuten viereinen Yliopistokadun kävelykadun pätkä, torin pinta on tässäkin suunnitelmassa talvella lämmitetty.


Hinta-arvio

Katosrakennelman (noin 4 000 m²) hinnaksi suunnittelijat arvioivat noin 10 miljoonaa euroa.
Sen alle kaavaillut lasitilat maksaisivat 2 – 2,5 miljoonaa euroa. Mikäli toriparkki toteutuu, saadaan katoksen perustukset ”ilmaiseksi”. 




Toriehdotuksen tutkimustyössä ja kuvituksessa Casagranden ja Kallion apuna olivat myös ulkomaiset nuoret arkkitehdit AdDa Zei, Jingwen Lin, Neville De Sa ja  Ondra Pchálek.

Monday, April 29, 2013

Erkänd arkitekt på rundvandring i Hangö


Arkitekten Marco Casagrande med frun Nikita och sonen Marlon samt Casagrandes anställda, den japanska arkitekten Hiroki Oya, besökte på måndagskvällen Hangö. Besöket hade sin grund i en inbjudan av Västerförbundets fullmäktigeledamot och medlem in miljönämden, Marko Niemi. Syftet med besöket var att låta Casagrande bekanga sig dels med vad som gjorts på Drottningberg men också de mångomtalade planerna för Casino, Plagen ock Parkbergen som man bland annat samlat in namn emot.

Hangö miljöförenings ordförande Pertti Sundqvist var likaså inbjuden för att ge mera kött på benen åt de inbjudna gästerna.

Hangö miljöförenings ordförande Pertti Sundqvist deltog i rundvandringen som initierades av Marko Niemi.
-          Jag har alltid intresserat mig för Hangö och oroar mig för utvecklingen jag hört om och nu ser med egna ögon. Man för emellanåt läsa de mest vilda historierna om Hangö i tidningarna och är djupt oroad över det ansktslösa beslutsfattandet man verkar hålla på med, säger Casagrande.

Hans intresse vaknade också delvis i och med de utredningar som gjorts vid Aalto-universitetets institution för arkitektur bland annat av Ninni Westerholm.

-          Det är intressant att se att man alltid verkar ta bilisterna I beaktande I första hand då man planerar någonting. Då Hangö trots allt tappar invånare hela tiden borde man väl tänka till och inse att man måste göra någonting, profilera sig på något vis, för att bryta trenden, menar Casagrande.

Han efterlyser framtidsforskning på en tvärvetenskaplig nivå, där man skulle ta i beaktande inte bara staden Hangös behov, utan hela samhällets behov – på ett oberoende sätt och inte genom vinklade konsultutredningar. Det gäller också att se tillräcklight långt in I framtiden, inte alltid bara utgå ifrån att nuläget är vad det är.

-          Genom att beställa utredningar av “rättä” personer får man en rapport som är vinklad précis som man vill ha den. Man har fastnat alltför stark I presens, utan att kunna blicka framåt, påpekar han.

CASINOPLANEN KUND VARIT VÄRRE

Efter att ha bekantat sig med detaljplanen för Casino-, Plagen- och Parkbergenområdet konstaterar Casagrande att den i själva verket hade kunnat vara ännu värre.

Japanska Hiroki Oya, nyutexaminerad arkitekt och medarbetare för Casagrande, kan inte låta bli att fascineras av naturen och hur skoningslöst man i vissa fall verkar ha gått åt den urbana naturen in Hangö.

-          Det ser riktig sorglight ut här, konstaterar Oya då han får syn på Drottningberget i Östra hamnen.
Hamngatans tillfälliga asfaltbeläggning får sig en rejäl känga av Casagrande, som däremot tycker att öppningen mellan den nybyggda restaurangpaviljongen och HSF är alldeles fantastisk.

-          Ur en stads- och samhällsplaneringssynpunkt är det här ett alldeles perfekt läge, här finns vackra vyer – men allt är täckt i den förhatliga asfalten, utbrister han.


Arkitekten Marco Casagrande (t.v.) förklarar sina visioner för Vänsterförbundets fullmäktigeledamot Marko Niemi nere vid mareografens brygga.


MYTOLOGI OCH MYSTIK

Casagrande efterlyser ett större fokus på Hangös unika särdrag, den mystik och mytologi man kunde tänkas marknadsföra allt starkare. Han nämner Fairbanks i Alaska som ett exempel. Varje år vallfärdar tusentals japaner till orten som är känd för sina rikliga norrsken. Staden är full av japaner, men då norrskenen kör igång töms gatorna.

-          All söker sig inomhus, eftersom det heter att man skall skaffa barn under norrsken – de blir smartare, berättar Casagrande.

Inte precis det, men nog någonting annat i den stilen är vad han efterlyser för Hangös del.

-          Här finns unika fågel, insekt- och växtmiljöer, det måste ju finnas en orsak bakom allt det, menar han.

Enlight Casagrande är proportionerna i Hangö helt annorlunda än i övriga städer. Här finns en viss luftighet och andlighet som man inte hittar på så många andra ställen. Det skall ni bevara. Hangö är ett slags anti-Kervo, säger Casagrande.

Men som arkitekt och stadsplanerare medger han snabbt att det är frågan om större frågor än en enskild människa kan påverka. Mer än en enskild arkitekt kan påverka.

-          En omfattnande, tvärvetenskaplig framtidsutredning och –forskning är vad som behövs, slår han fast.

Thursday, April 25, 2013

ANARCHIST GRANDMOTHERS

Dialog with Emma Tucker, Editor / Meri Media

What was the original inspiration for Ruin Academy?

I have been following the ruining processes in Taiwan for a longer period – how nature is reading architecture and how nature and architecture can coexist together in a symbiosis. I am interested in a condition, where nature and human nature share the same house – or the same city. I started to develop the architectural design methodology to reach the constructive and creative ruin condition while teaching in the Tamkang University. From architectural scale the thinking evolved into urban scale and  through the methodology of Urban Acupuncture into the theory of the Third Generation City. Ruin Academy was set up to further develop these lines of thinking from a multidisciplinary point of view.

Next to the actual building of the Ruin Academy in Taipei is a tree growing on a wall of an apartment house. The roots of the trees are penetrating into the sewage system as a source of energy and the tree uses the house as a physical support for its growth. The tree needs to regulate his growth though, otherwise it will break the house. In needs the house and it needs people using sewage. This tree, this urban bonsai, is a great inspiration.


What are the differences approaching building a project out of an existing building, and creating an entirely new structure?

Site specific qualities are always different. These are the qualities where architecture is rooting to. Man-made environment can be very fruitful. So can be forest. Everything is interesting.

It seems that these kinds of projects that take over abandoned or derelict buildings are becoming more common. Do you think there's a move in this direction, for architects to focus instead on renovating existing buildings, rather than creating anew?

Dealing with existing buildings and communities is harder than creating new anonymous objects. Architecture is not design, but dealing with reality. There is only one reality: nature. Nature can be found in abandoned buildings, which sometimes have transformed to be part of nature themselves. This is a high quality in architecture and architects should focus on this. I want to see the organic ruin of the industrial city and I want to see people ruining the industrial fiction. The trend is to feel nature, also in architecture. Without this sensitivity architecture and urbanism is developing against nature turning the modern man into a mechanical joke. Cities are full of therapy.

The inhabitants of the building are called 'constructor/gardeners' - can you explain this term a little bit more, and what the role entails?

If an architect is a gardener, he is a constructor. If he is not, he is a destructor. Many spontaneous and often illegal communities are gardening houses, growing architecture that is much more complex and fruitful that official development and official architecture, that is blindly directed by economy and centralized politics. These organic settlements – favelas, slums, ghettos, camps, urban villages etc. are bringing in hope into the urban development. I want the students to garden architecture, to grow structures that will mingle with other structures and natural element resulting into an organic human mangrove. This is not romantic. Nature is murder. A constant impact of energy is needed to keep the structures weak and flexible. Hardness is an expression of death. Anarchist grandmothers are cultivating illegal community gardens and urban farms everywhere around Taipei. These farms are producing needles of urban acupuncture tuning the mechanical city towards the organic. Anarchist grandmothers are an expression of local knowledge, a seed of the Third Generation City.

Can you explain a little bit more about how you hope the organic/manmade will merge in Ruin Academy?

By accident. Nature will grow in and find its balance with the architecture. We find our balance with architecture and nature.

What do you hope will emerge out of Ruin Academy?

I hope the Ruin Academy to be a continuous series of international workshops, research and studies taking place not only in Taipei, but in other locations too. In  Norway we are on a process to open up NOMAD as a window in Hemnes community in straight connection with stunning nature and nomads. This nomadic window will bring in something new to Taipei and to architecture. In Artena, Italy we are opening up Ruin Academy together with the International Society of Biourbanism, together with whom we will publish a book this summer focusing on the possibilities of Biourban Acupuncture. Ruin Academy is a compost, that needs to be turned over every now and then and new organic material needs to get into the pile.

What other projects or people working today do you find most inspiring or innovative?

Normal people are inspiring and innovative. Architects are getting too closed to the discipline like all the other academic disciplines and just taking care of their own “rights” and posing to each other. Most of us are just prostitutes for developers and that is not totally satisfying. Architecture has a big social responsibility in developing built human environement that can perform as a mediator between the modern man and nature – not closing in the mechanical-human joke into a box separated from the rest of nature.

Normal people are good. Illegal architecture is interesting. Spontaneous urban acupuncture is fine … in anarchist grandmothers we trust!

Thanks!

Kiitos

Thursday, April 19, 2012

마르코 카사그란데(marco casagrande), Beaufort 04, 벨기에

ARTPICKS

핀란드 출신의 건축가 마르코 카사그란데(marco casagrande b.1971)의 설치작품 '모래벌레(sandworm)'가 벨기에 웬두이니(wenduine) 해변에서 전시되고 있다. 제4회 Beaufort 04 (2012.3.31 - 9.30)의 전시작품 중 하나인 카사그란데의 'sandworm'은 독특한 조형미로 관람객들로 부터 많은 주목을 받고있다. 친환경적이고 유연한 공간을 창출할 목적으로 제작된 작품 'sandworm'은 길이 45m, 폭10m 크기의 쉘터(Shelter)형 설치작품으로 버느나무를 소재로 하여 그늘과 함께 채광이 가능하도록 설계됐다. Helsinki University of Technology(2001)에서 건축을 전공한 카사그란데는 베니스 건축비엔날레(Venice Architecture Biennale, 2006, 2004, 2000)와 London Architecture Biennial(2004), Yokohama Triennial(2001) 등에 참여했고, 2003년부터 크로스오버 건축 모델의 개발에 주력하는 카사그란데 랩(Casagrande Laboratory, 핀란드)을 운영해오고 있다.



sandworm by marco casagrande at Beaufort 04(2012.3.31 - 9.30), Courtesy Casagrande Laboratory


sandworm by marco casagrande at Beaufort 04(2012.3.31 - 9.30), Courtesy Casagrande Laboratory


sandworm by marco casagrande at Beaufort 04(2012.3.31 - 9.30), Courtesy Casagrande Laboratory


sandworm by marco casagrande at Beaufort 04(2012.3.31 - 9.30), Courtesy Casagrande Laboratory


sandworm by marco casagrande at Beaufort 04(2012.3.31 - 9.30), Courtesy Casagrande Laboratory


sandworm by marco casagrande at Beaufort 04(2012.3.31 - 9.30), Courtesy Casagrande Laboratory


sandworm by marco casagrande at Beaufort 04(2012.3.31 - 9.30), Courtesy Casagrande Laboratory


sandworm by marco casagrande at Beaufort 04(2012.3.31 - 9.30), Courtesy Casagrande Laboratory


sandworm by marco casagrande at Beaufort 04(2012.3.31 - 9.30), Courtesy Casagrande Laboratory


sandworm by marco casagrande at Beaufort 04(2012.3.31 - 9.30), Courtesy Casagrande Laboratory


sandworm by marco casagrande at Beaufort 04(2012.3.31 - 9.30), Courtesy Casagrande Laboratory


sandworm by marco casagrande at Beaufort 04(2012.3.31 - 9.30), Courtesy Casagrande Laboratory


sandworm by marco casagrande at Beaufort 04(2012.3.31 - 9.30), Courtesy Casagrande Laboratory


sandworm by marco casagrande at Beaufort 04(2012.3.31 - 9.30), Courtesy Casagrande Laboratory


sandworm by marco casagrande at Beaufort 04(2012.3.31 - 9.30), Courtesy Casagrande Laboratory


sandworm by marco casagrande at Beaufort 04(2012.3.31 - 9.30), Courtesy Casagrande Laboratory


sandworm sketch by marco casagrande at Beaufort 04(2012.3.31 - 9.30), Courtesy Casagrande Laboratory


sandworm sketch by marco casagrande at Beaufort 04(2012.3.31 - 9.30), Courtesy Casagrande Laboratory


sandworm sketch by marco casagrande at Beaufort 04(2012.3.31 - 9.30), Courtesy Casagrande Laboratory


sandworm sketch by marco casagrande at Beaufort 04(2012.3.31 - 9.30), Courtesy Casagrande Laboratory


sandworm construction process, Courtesy Casagrande Laboratory


sandworm construction process, Courtesy Casagrande Laboratory


sandworm construction process, Courtesy Casagrande Laboratory


sandworm construction process, Courtesy Casagrande Laboratory


sandworm construction process, Courtesy Casagrande Laboratory


sandworm construction process, Courtesy Casagrande Laboratory


sandworm construction process, Courtesy Casagrande Laboratory


sandworm construction process, Courtesy Casagrande Laboratory


sandworm construction process, Courtesy Casagrande Laboratory


sandworm construction process, Courtesy Casagrande Laboratory


sandworm construction process, Courtesy Casagrande Laboratory



sandworm construction process, Courtesy Casagrande Laboratory


sandworm construction process, Courtesy Casagrande Laboratory


sandworm construction process, Courtesy Casagrande Laboratory


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Sandworm_Marco Casagrande_2012_13

sandworm by marco casagrande at Beaufort 04
+ 슬라이드쇼 보기 (135사진)
+ 포토셋 보기

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Sandworm_Second_Week_068

sandworm construction process
+ 슬라이드쇼 보기 (289사진)
+ 포토셋 보기

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Beaufort Triennial of Contemporary Art / Beaufort 04, 2012 2012.3.31 - 9.30 + 보기



LINK: http://artspicks.com/channel/channel_view.html?view_mode=1&channel_code=307