VoD international - New York City Theater - Archmedium 2010-2011

Venice city vision

New york city theater

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Ny City Theater

Università IUAV Venezia A.A 2010-2011
Progettazione sostenibile del territorio
Prof. Giuseppe Longhi
Value of Differences Creative Network

con: arch. Anna Omodeo, arch. Andrea Pennisi

5

Index
COMPETITION PROPOSAL

Archmedium

COURSE PRESENTATION

Giuseppe Longhi

LEARNING RESOURCES

Anna Omodeo
Andrea Pennisi

NY City Planning & Designs
Design Models
HY Municipal Rezoning
HY Development Coorporations
HY Planning Simulations
HY Connection with Central Park
Trans Hudson Rail Tunnel Fluxes
Trans Hudson Rail Tunnel sections
New Penn Stations:
Hurson RIver Park
High Line

Metabolic Models
Metabolism
Food Print
The Secret Garden
NY Steady State

The Savill Building, Windsor Great
Park
Fablab House IACC
The Cloud MIT

STUDENTS PROPOSALS
Tools and Strategies
Metabolic Flows
Social Dynamics
Creativity Dynamics
Smart Resources
Built Environment
Governance Network

M. Artico, A. Cumerlato
A. Balugani, A. Braggion, M. Michieli, L. Miotti, L. Savioli, M. Tenace
C.Faccio, A. Feliciotti, G. Formentin, M. Gatti
N. Collazuol, A. De Sisti, D. Macor

Space & Theater Dynamics
First Sketch Design
Space Matrix Opportunity
Theater Evolutions
Theater Activity
Space Theater Relationships
Space Theater Transformations
Sustainable Design Strategy
Sustainable Energy Target

Arch. Andrea Pennisi
G. Asmundo, N. Aveni, C. Corubolo, L. Durighello, V. Lampariello, F. Salvarani
L. Nicoletto, D. Maiullari, E. Paladin, A. Venerus
L. Mattioli, S. Merlo, G. Stella, G. Pantani
G. Asmundo, N. Aveni, C. Corubolo, L. Durighello, V: Lampariello, F. Salvarani

Final Design
Generative Models
Generator Cedric Price
Fun Palace Cedric Price

Temporary Theater
Il teatro del Mondo Aldo Rossi
Inflatable Theater
Biotic Structure

You are the Theater
Import-Export 2.0
Flexibility3
Ecoeffective City
Treeater
UP. on Stage
Creative Sprawl
Cultural Ecology

N. Collazuol, A. De Sisti, D. Macor
L. Nicoletto, D. Maiullari, E. Paladin, A. Venerus
M. Caneve, M. Mascarello, M. Bresolin, A. Donin, A. Favero, L. Lanzi

6

organization
The architets Anna Omodeo and Andrea Pennisi are course tutors
and editors of this book.
The book is managed thank to the platform “VoD – Value of Differences “.
VoD was born in the late ‘80s, thanks to the students Forum promoted
by prof. Giuseppe Longhi, to facilitate an interactive dialogue between
students, teachers and communities.
VoD aims are:
- promoting intra-generational equity;
- stimulating reflection about creative communication and design;
- sharing knowledge and social responsibility;
- developping processes of long life education in the field
of urban design.
Arch. Anna Omodeo is web manager of VoD.
Thank to Alice Braggion and Alessandro Carabini for the editing support.

7

Archmedium proposal
Introduction

Programm

New York is, without a doubt, one of the main contemporary capitals of the world. The image of the city has arrived to every corner of the earth
thanks to important icons such as the Statue of Liberty, the Empire State Building or the Brooklyn Bridge, but also thanks to its people and culture. Soho
neighbourhood, Wall Street, and of course, Broadway, amongst others, are known worldwide for different reasons.

The New York Theatre City is fused between architecture
and urbanism between the necessity to offer functional and
quality sites for the activities developed in them, and the duty
of becoming a new space for the city. Because of that, in this

Broadway is considered, alongside with London’s West End, as the leading exponent of commercial theatre in the English speaking language.
From the end of the XIX century, Broadway turned into the theatrical centre, not only in New York, but in the whole of the United States. The modern
musical developed in different phases: from the Show Boat (1927), to the jazz fantasies in the 30s, and the dramatic musicals of the 40s like Oklahoma!
(1943), Carousel (1945) and South Pacific (1949).
The first musical that lasted a while was The Elves (1857), with 50 performances. All of them were always behind London’s shows until Laura Keene’s
humoristic musical Seven Sisters (1960) broke every record with 253 performances. In 1943 Oklahoma!’s great success reached 2212 performances.
Nowadays, Broadway has become a tourist attraction that brings people from all over the world, and making, according to the Broadway Theatre League,
1020 million dollars, approximately. The digit is just counting the tickets sold during the year between 2009-2010.

occasion, it will be vital, not only the adequate solution of the
buildings, but their placement and dialogue between themselves,
the city, the river, etc.
Public

• Parks and gardens with public access
• Routes that will allow the user to go in the campus as
well as through it, without any

• difficulty during the urban paths.
• An outdoor area to perform occasionally for 250 people
approximately.
Main room

It is very hard to find new plays in Broadway’s authentic theatres, and it’s shows are basically based in the British musical theatre and have famous Hollywood
stars in the main roles just to captivate the audience.
This fact has made it to become very difficult to find new shows, and as time passes, it gets harder. Theatres don’t see the necessity to look for new
plays because Broadway’s touristic effect ensures a full house for as long as they want. A proof of this is The Phantom of the Opera, with its 20 years on
Broadway and more than 9000 performances; it is followed by Cats, with more than 7000 performances; Les Miserables with more than 6500; A Chorus
Line, with 6000; Oh! Calcuta, 600; Beauty and the Beast, 5400; and an infinite list of successful shows following them.

Reception for the audience

• Entrance Foyer. 200m2
• Box Offices (7 booths) and information centre.
• W.C. services. 40m2

Show room

• Main performance room with a capability for 700 people.
Stage of 12m x 12m. Borders of 6m each side. Rehearsal
space Rehearsal room for musicians with the adequate

This monopoly of big productions in the main theatres makes it very difficult for an independent play, or one with a small budget, to be presented in those
big stages. That pioneer spirit that distinguished Broadway at the beginning is, thus, lost.

•

acoustical conditions. 250m2
Acrobatical discipline rehearsal room (min. height: 10m).
700m2.

Proposal
ArchMedium wants to propose the design of the “New York Theatre City”. It is an urban theatre campus where smaller companies can dispose of rehearsal
spaces, and the new spectacles can show themselves to the world offering an always young, new and different cultural activity.
At the same time, the campus is intended to turn itself into an incubator for new tendencies and talent, a place where theatres all over the world can go to,

• 3 rooms for rehearsal of groups between 2 to 6 people.
25m2 each room.
Theatre workers

• 2 individual dressing rooms. 15m2 each.
• 2 group dressing rooms with a capacity of 30 men and

8

to obtain fresh ideas, and, why not, offer that sought job contract that can skyrocket a play to stardom. This time, however, that play will not be a well known
company, but the younger ones who fight for a place in the tough world of show business, and who may want to look for their place out of New York, in
countries where theatre hasn’t yet become a main entertainment feature, and where the people are anxious to see more dancers, musicians and actors
doing their magic on stage.
For New York City, the campus must become a public space, where the citizens can go to and take a walk in an artistic environment out of the crowded
Broadway area. They can also go in to one of the multiple rooms the complex has to offer, to be astonished with a new piece of fantasy placed on stage, for
a couple of hours.

30 women. 120m2 each.

• Maintenance and technical area
• Area for the storage of tools and materials. 60m2
• 4 workshop rooms. 50m2 each. Multipurpose workshop
for assembling the stage scene, ecc...

• Technical area for audio and light control. 80m2
Secondary rooms
Reception for the audience

The plot
The plot chosen for the development of the project is an industrial area that has a privileged location within Manhattan, and is waiting for a new project to
help it reinvent itself in the city, as neighbour locations have made.

• Entrance Foyer. 200m2
• Box offices (5 booths), and information centre.
• W.C. services. 40m2.

Show rooms

It’s setting is to the west of the island and between the 30th and 33th streets, and 11th and 12th avenues. The plot is located in an area of renovation.
Surrounding the area, new high standing residential buildings were made; a few meters to the north, the Jacob Javits Convention Center has been attracting
people to the area for years, now; on its west side, the renovation of the sea walk in front of the Hudson river and its docks is practically finished; and in less
than a year, the High-Line park will be completed, making this plot precisely where one of its limits end.

• Secondary show room A with a capacity of 400 people.
• Secondary show room B with a capacity of 300 people.
• Secondary show room C with a capacity of 150 people.
• Stages B and C must have flexibility and must be easy to

Currently the site is used by the railroad company for the cleaning and maintenance of the damaged cars, but over the years has also become a junkyard
for disused wagons that lie there deteriorating more and more over time. These facilities probably had an strategic sense as the end of the line of the “High
Line” when it was working, but since its closure the proportion of occupied area is too large for the use it receives; so for this exercise we will assume that
the activities of the railroad company are focused on the piece of land between the streets 30, 33 and 11 and 10 Avenue.

• Rehearsal room for musicians with the adequate

re-arrange. Rehearsal area (for the 3 rooms)

Characteristics
Even though the ground itself is plain, its encounter with the surrounding streets is given at different levels, so the sections and level changes will have to be
resolved so there is a fluid transition between the city and the campus.
The encounter between the 33rd street and 11th avenue is the tallest spot. From here on, both streets descend to the west and south, respectively, until
reaching practically ground zero of the land. The 30th street and 12th avenue remain almost plain on the same level in the plot’s
contiguous path.
Ideas competition for the creation of “New York Theater City” ArchiMedium Proposal Program

http://en.archmedium.com/Concursos/End_NYTC/Summary.php

acoustical conditions. 140m2

• Acrobatical discipline rehearsal room (min. height: 10m).
500m2.

• 3 rooms for rehearsal of groups between 2 to 6 people.
25m2 each room.
Theatre workers

• 6 group changing rooms with a capacity of 15 men and
15 women. 60m2 each.

• Complex administrative area
• Director’s office (20m2)
• 4 administration offices. 15m2 each.
• Meeting room. 30m2.
Maintenance and technical area

• Area for the storage of tools and materials. 60m2
• 4 workshop rooms. 50m2 each. Multipurpose workshop
for assembling the stage scene, ecc...

• Technical area for audio and light control. 80m2.

10

Course presentation
Il corso si propone di fornire gli strumenti teorici per sviluppare, innovare e gestire un processo di progettazione urbana ed architettonica sostenibile, e di
sperimentare tali elementi sul campo partecipando al concorso New York City Theater.
La parte teorica sottolinea l’importanza di coniugare nel processo progettuale Atomi e Bit (materia e flussi di comunicazione), integrando le tradizionali
regole di spazio dell’urbanistica e le classiche ‘misure’ dell’architettura, con la dimensione dell’immateriale e del virtuale. Questa visione dello spazio ‘dilatata’
nell’immateriale rappresenta un fattore importante per una progettazione capace di soddisfare gli obiettivi della sostenibilità, in quanto permette:
• di accelerare la dematerializzazione, con la diminuzione di materia nel processo progettuale e l’ottimizzazione del metabolismo delle risorse naturali e
sociali;
• la sperimentazione di nuovi rapporti di socialità, grazie alle relazioni virtuali possibili con le reti e gli strumenti di TLC ad alta capacità;
• la trasformazione morfologica degli spazi, in relazione ai cambiamenti prodotti dai nuovi processi di trattamento della materia e dalle relazioni immateriali.
Il principio di sosteniblità, spiegato attraverso la coesistenza di atomi e bit, mette in relazione una molteplicità di elementi sociali, fisici e naturali; questo
richiede di superare il sistema di scrittura del progetto lineare, a favore di un sistema di scrittura olistico, collaborativo e creativo, capace di recepire
simultaneamente la molteplicità degli apporti ed interagire attraverso feedback.

Tema di progetto
I fondamenti della sostenibilità sono sperimentati nello sviluppo di un progetto urbanistico complesso, che prende spunto dal tema del concorso per
studenti proposto da Archmedium: “New York City Theater”. Questa opportunità rappresenta per gli studenti la possibilità di connettere i complessi temi
della sostenibilità con luoghi, spazi, numeri, possibiltà, persone, ecc..., in un processo di continua sperimentazione.

Organizzazione
Il corso si propone di organizzare una comunità (studenti, docenti, ecc..) compatta e coerente che affronta i temi dello sviluppo sostenibile in modo
interattivo grazie ad una serie di supporti classici (il lavoro frontale delle lezioni e di laboratorio in aula) e telematici-interattivi:
• Moodle: http://vod.blogsite.org/vod/index.php?option=com_wrapper&view=wrapper&Itemid=145 postazione di e-learning, che permette la gestione
on-line del lavoro, la possibilità di comunicazione del lavoro con il blog;
• VoD: http://www.vod.blogsite.org/vod/ una piattaforma multiservizi attrezzata per ia didattica a distanza.

12

design models
Il concorso New York City Theater propone la trasformazione delle aree di proprietà della Hudson Eastern Rail Yard, prossime a Broadway, in campus
teatrale dedicato alla sperimantazione. La proposta si inserisce in una parte della città in cui sono pianificate importanti trasformazioni: il rinnovo della
Penn Station, il raddoppio del Trans Hudson rail tunnel, di connessione con il New Jersey, l’aumento della biodiversità con la riqualificazione delle rive del
fiume Yudson, l’ampliamento del corridoio ecologico verso Central Park. Inoltre nell’area di concorso la municipalità prevede la realizzazione di un distretto
finanziario ad altissima densità. Questo intervento sarà gestito dalla società pubblico privata Hudson Yard Development Corporation.
Tutti questi elementi hanno portato gli studenti del corso a due riflessioni principali riguardanti: la complessità della città (NYC complexity) e il modello di
teatro (Theater Idea):
NYC complexity: la città di New York si caratterizza soprattutto per la complessità del suo mix funzionale e l’attrattività che esercita sui flussi globali.
Questo sistema caotico è gestito dal NY City Plannig Deparment attraverso il NYCityPLAN, che prevede uno sviluppo armonico malgrado l’alta densità e la
complessità delle interazioni tra le forze di sviluppo economico, sociale e politico. La comprensione di questo sistema non è semplice e spesso sfugge a chi
non vive la città stessa, pertanto gli studenti hanno cercato di ricostruire gli elementi chiave sopra descritti come premessa alle proposte formali di progetto.
Theater Idea: Broadway, simbolo storico del teatro della città di New York, è in crisi per la difficoltà di lanciare nuovi spettacoli di avanguardia. Con queste
parole si apre il bando di concorso, ma quando lo stesso enuncia le caratterstiche tecniche del progetto, spazi e funzioni continuano a fare riferimento
a linguaggi del passato (sale prove, palco, posti a sedere, servizi, ecc...), senza tenere conto delle nuove potenzialita creative della città e delle modalità
innovative d’uso degli spazi anche in relazione alle nuove tecnologie di comunicazione.
New York infatti genera infinite possibilità di attrazione grazie all’uso di nuove tecnologie che permettono di comunicare e attrarre idee in tempo reale. L’uso
della rete semplifica di molto tutti i livelli di comunicazione e produzione delle idee, dando la possibilità di produrre in ogni parte del mondo e divulgare più
spettacoli contemporaneamente ad un numero infinito di persone, che possono essere o non essere fisicamente all’interno dell’Yudson Yard. Il nuovo teatro
non sarà quindi deliminato da spazi chiusi, ma sarà un “teatro del mondo” (recuperando idealmente il famoso progetto di Aldo Rossi per la prima Biennale
di Architettura) con un alto tasso di interconnessione.
Queste riflessioni hanno portato allo sviluppo di un modello olistico di progettazione, capace di sfruttare le potenzialità della complessità e delle
opportunità della città, articolato in sei diverse forze guida interconnesse: Social Dynamics, Metabolic Flows, Creative Dynamics, Smart Resources,
Governance Network, e Built Enviroment.

13

NYCT Driving Forces

The succes of the

Open Theater

The Broadway’s shows
Braodway’s show
successes has reduced
has reduced the
the theaterpossibiities
creative creative
chances in NYC. Today
of theater in NYC.
needs to import new
Reduced ability to
ideas and new ideas
import expressive
work overtaking the
and expressive work
shows focused focused
in the show on the
on the production of
production of classical
classical plays.
plays.

The high-income

Natural
Natulal
Environment
Enviroment

The new theater
word populations
metabolism will be
growth the risk of
inspired to increase to
famine. Is needed
the area foodprint in
change lifestyle and
a design concept as
way of producing...
“closed system”. For
• energy production
this priorities are:
• small foor print
- increasing biodiversity;
• food production
- food auto-production;
- no waste;
- renewable energy
production.

The NYCT OROJECT

New Knowledge

• Biotic Space
• Ospitatilty
Biotic Spaces
••Food Productions • •HospitalityKind of People
Different
Food Production
••Energy Productions • •Different Kind of People
Ideas
• Energy Production

• New Ideas

Formal Spaces
Phisical Spaces

Theater

Digital Spaces

Hight Tech

Tollerance + Creativity

Informal Spaces
Low Tech
Theater

Creativity + Urban Farm

The NYCT open - side by
wants to PROJECT
wants to opena new cycle
Braodway - – near
Broadway - a new
of creativity related to
creative cycleable theoffer
the theater for to
theater able to offer new
new jobs to different
jobs to different from
peope (artist) peope
coming places...
other from other
places. The theater will
• knowledge import
• knowledge production
import, produce and
• knowledge export
export new knowledge.

Work
Goods
Service
Communications
Networking
Research

Stakeholders
Citizen
Pubblic organizations
Associations
Enterprise
Communities

Creativity

ct
io
ne

s

Hardware
Software

er
co
n

ge

Ip

an

Smart
Resources
U-work
U-care
U-commerce
U-entertainment
Usafety
U-learning

Urban Metabolism
Phisical resources
Natural resources
Climate change
Landscape, Beauty
Art, Leasure
Wellness, Health

City

Ex
ch

Education, Knowledge
interactions

NYCT Sustainability paradigma

ns

14

15

NYCT holistic design model
People involved
in the project
Qualities of the people
Capability to stay connect
Relationship

Social Dynamics

Metabolic Flows

Demographic trend
Human capital
Equity

Ecosystem dynamic,
Food chain
Metabolic strategy
for the design

Map of knowledge structures
in manhattan
Map of the institutions connectd
with reserch in the field of art an theater
Map of the net in the field
of art and theater

Creative Dynamics
Knowledge
Research
Connections
Theater hisory
Theater futures

NYC Waterfront
The new green connection
Central Park-Penn Stations
The new waterfront rehabilitations
The tunnel and the New Penn Station
The “Theater Area” rehabilitations

NYC Theater

Built Environmet
Municipal strategy
Cluster strategy
Ecosystem services
and new urban landscape
Atoms&Bit morphologies

Governance
Network

Institutional structures
Informal structures
Organizations

Smart Resources
u-work
u-care
u-commerce
u-entertainment
u-safety
u-learning

Institutional and informal structures
and organizations
Mental Map of institutions involved
in design process
Map of Mangment organizational
model

17

hudson development corporation

18

hudson Planning Simulations

19

hudson Connection with Central Park

20

Trans hudson Rail Tunnel Fluxes

21

Trans hudson Rail Tunnel sections

26

Metabolism
Il metabolismo della città di New York è dato dalla combinazione tra metabolismo naturale e quello socio-economico. I flussi di energia, materia ed elementi
socio-economici si combinano e attraversano la città (input), poi vengono trasformati in energia utile, strutture fisiche, socialità e rifiuti (output)..
La città di New York sul principio del metabolismo sviluppa due progetti FoodPrint e New York Steady State entrambi affrontano il problema della
sussistenza alimentare in ralazione della capacità di carico e all’improta ecologica e propongono strategie sostenibili di auto sostentamento.

Food Print
Nel 1856, GeorgeDodd,uno storico vittoriano, scrisse: “La fornitura di cibo per una grande città è tra i più notevoli dei fenomeni sociali, pieno di istruzioni su
tutti i lati.” Il progetto Foodprint hanno confermato la verità di questa dichiarazione, poichè propone di risoprire la propria città utilizzando il cibo come una
guida, ne conviene una morfologia ridisegnata atrraverso i sistemi alimentari.. La città diventa autosufficiente per la produzione di cibo e riesce a soddifare i
biogni della sua popolazione riducendo il consumo di risorse.
I fondatori del Foodprint Project hanno inteso il loro progetto come un’esplorazione dei modi in cui città e cibo si modellano tra loro.
Dare da mangiare ad una città (qualsiasi città) è una sfida di design complessa che prevede interazione di diverse discipline scentifiche e ha come risultato
finale lo modifa della morfologia della città. Le alternative che sono state costruite negli ultimi venti o trenta anni in tutto il Nord America - sono state
costruite con pochi soldi e solo su su base volontaria, del tutto precaria, provengono da esperienze diverse come agricoltura biologica e sono modellati
dalle esigenze di una specifica comunità. Quello che FoodPrint popone è un intervento di pianificazione globale della città che coinvolga tutti i livelli di
produzione e consumo di cibo.
Anche se” molte amministrazioni comunali sono più avanti dei governi statali o nazionali in termini di innovazione dei sistemi alimentari, “ in ogni città
l’individuo è ancora indissolubilmente legato a un entroterra agricolo globale che opera su scala molto più vasta e di difficile controllo.

New York Steady State
Lo Stato (Steady) di New York City è un piano alternativo per New York basato su questa affermazione: è possibile per la città a diventare quasi
completamente autosufficiente all’interno dei suoi confini politici? Il nostro progetto presuppone che la chiave per la sostenibilità sia trovata riorientanto
drasticamente il modo in cui raccogliamo ed utilizziamo le risorse umane e naturali ponendo la domanda: e se si decide di fare affidamento su ciò che è
accessibile nelle vicinanze, all’interno della città stessa?
La città è New York, ospita 8 milioni di persone, coprendo un territorio di circa 790 chilometri quadrati. Per attuare questa strategia si è deciso di intervenire
su nove elementi di progetto - energia, edilizia, movimento, economia sociale, acqua, cibo, aria, rifiuti, clima, e produzione - ciascuno di essi valuta la storia e lo
sviluppo del sistema, la domanda corrente e l’aprovvigionamento di New York City come punto di partenza per reinventare il metabolismo della nostra città.
Sarà messo in moto lo sviluppo di una cultura urbana sostenibile attraverso l’introduzione di indicatori dinamici e target da raggiungere.. La timeline per la
trasformazione di New York diventa lo strumento di valutazione delle nostre azioni e stesso tempo lo strumento educational di divulgazione.

27

Canneti

Lecceta

Vegetazione
< 0.8m

Sabbia

Alghe

c
De

+A
ss
or
bi
m

Fondali < 2.00m

se fisiche
sor
Ri

Rigen
eraz
ion
e

Rete Ferroviaria
Rete stradale
Costruito
Sup. impermeabili

Soddisfazione
dei cittadini

Ou
Gnerazio
n
e di
rifi
uti

Riciclo

Riso
rse
im

riali
ate
m

Riu
so +

bili

Sup. Semipermea

@

Ma
nipo
laz
ion
e

emissioni
ut_
tp

a

ni
issio
Em ostruito
c
da
ni
o
issio
Em asport
tr
da
i
ban
ti ur
Rifiu
iali
ustr
i ind
ifiut
R

to
en

Pre
liev
od
im
at
er
i
on
po
siz
ion
e

Servizi
dell’ecosistema

se natur
sor
ali
Ri

Tasso
di rigenerazione

Fondali < 2.00m

Metabolism

32

Architecture and Cybernetic: Cedric Price
Fra i grandi interpreti empirici delle nuove opportuntità oerte dalla cibernetica e dall’informatica all’architettura e all’urbanistaca è Cedric Price1, il
quale propone un’architettura dell’improvvisazione, che, grazie alle sollecitazioni degli utenti, è in grado di adattarsi alla costante evoluzione dei
programmi grazie all’apprendimento, all’anticipazione, alla capacità di adattamento. Le proposte progettuali di Price nascono dalla sua sensibilità alle
profonde trasformazioni sociali e territoriali iniziate nella seconda metà degli anni ’60, che andavano concretizzandosi in profondi processi di
deindustrializzazione
e disoccupazione. L’esito è la proposta di soluzioni progettuali basate su provvisorietà, improvvisazione e interattività, altamente
adattabili alla volatilità delle condizioni economiche e sociali, rispetto al tempo e allo spazio. Nel tempo dell’incertezza e dell’instabilità, il lavoro di Price
rappresenta un nuovo approccio alla progettazione, basato sul riconoscimento del valore dell’improvvisazione, quindi senza ne nel processo di
costruzione, riassemblaggio, smantellamento.
Per far fronte ad una profonda crisi sociale ed economica, gli edici e la progettazione territoriale che egli proponeva erano nalizzati all’aumento del
sapere: il suo modello di riferimento era l’organizzazione spontanea del teatro di strada. Dalla combinazione di questi elementi Price trae spunto per la
proposta:
di edici, ispirati al modello del carroponte, in grado di modicarsi in relazione al variare degli obiettivi e dei programmi degli utenti (il più noto è “Fun
palace”). L’input per la trasformabilità era dato dalle indicazioni sulle preferenze e modalità d’uso degli spazi indicate dai cittadini, le quali, grazie ad una
selva di sensori e computer erano in grado di fornire le indicazioni operative e i feed-back per la trasformazione in tempo reale degli edici e degli
impianti;
di strutture territoriali complesse, come nel caso di Potteries Thinkbelt, in grado di sviluppare nuovi sistemi di organizzazione sociale, economica e
produttiva. Le strutture erano articolate in elementi statici (la rete ferroviaria e le basi logistiche) destinati a gestire, grazie a una rete interattiva alimentata
e controllata dai nuovi computer e dalle tecnologie emergenti delle informazioni, un sistema di unità didattiche mobili, che sfruttavano le opportunità
dei carri container. Le unità mobili erano come informazioni quantistiche, le basi logistiche di un ampio sistema di circuiti di computer. La Potteries
Thinkbelt denisce un nuovo genere di monumentalità architettonica, non un grande edicio statico, ma un articolato campo di oggetti discreti e di
eventi diusi, simile alla struttura di un circuito elettronico;
di modelli organizzativi evoluti: le proposte progettuali di Price, sono alimentate da un’ampia agenda di opportunità costruita sul sistema di preferenze
degli utilizzatori. Questo implica la capacità da parte del gestore del progetto di illustrare agli ignari cittadini/utenti le nuove opportunità oerte dai
progetti. Con la proposta “Generator” nasce il moderno sistema di gestione degli interventi complessi grazie alla presenza di due gure: i “polarizzatori” e
i “facilitatori”, per catalizzare on-site le dinamiche interpersonali e le esigenze logistiche degli utilizzatori. Ai “polarizzatori” spetta il compito di incoraggiare
gli utenti a sfruttare le nuove opportunità del progetto e di stimolare le loro interazioni, ai “facilitatori” quello di fornire istruzioni per rendere
operativi i desideri degli utenti, addestrandoli ad usare i singoli impianti e a sensibilizzarli alle opportunità del luogo.
Price intuì che le nuove modalità di sviluppo richiedevano un’architettura temporanea ed agile, capace di adattarsi non solo agli inevitabili cambiamenti,
ma di favorire ed anticipare le trasformazioni sociali.
1 Hans Ulrich Olbrist (a cura di), Re:CP Cedric Price, LetteraVentidue, Siracusa, 2011

36

A floating architecture: la stada nuovissima+il teatro del mondo
Si vuole ricordare come il racconto dell’architettura in occasione della prima Biennale di Architettura (1980), diretta da Paolo Portoghesi sia affidato a una
doppia dimensione di flusso, quella della via di terra, rappresentata dall’allestimento della “Strada Nuovissima” alle Corderie dell’Arsenale, e della via di mare,
rappresentata dal percorso da Venezia a Dubrovnich del “Teatro del mondo” progettato da Aldo Rossi.
L’idea di realizzare per questa esposizione una vera e propria via lunga 70 metri all’interno dell’Arsenale, è nata a Berlino, racconta Paolo Portoghesi, dove,
(...) scoprimmo un meraviglioso LunaPark chiuso in un recinto con una piazzetta circondata da stands che imitavano con materiali effimeri facciate di case, il
pianterreno al vero e gli altri piani in scala 1 :2 : una paradossale risposta ad un bisogno di città, di spazio chiuso ed accogliente al centro di uno dei crocevia
dell’architettura moderna”.
La progettazione è stata affidata a 20 architetti, ad ognuno di essi è stato richiesto di progettare una “facciata” pensando alla strada come un sequenza di
case, ognuna da intendere come propria dimora, ambiente di lavoro, casa di abitazione o semplicemente come affaccio di un edificio collettivo destinato
ad incontri di lavoro. Ricorda ancora Portoghesi “Si è voluto con questo rendere possibile una verifica immediata da parte dei visitatori, di quel ritorno alla
strada come elemento costitutivo della città, che è uno dei termini fondamentali della ricerca postmoderna”.
La costruzione proposta da Portoghesi conferma un punto fondativo dell’architettura, l’inscindibile connessione tra lo stare e l’essere connessi, dove
l’appartenere a un luogo significa esere cittadini del mondo. Idea storica che accompagna la progettazione dal mito fondatore della città greca, riconducibile
alla connessione fra Hestia, dea del focolare, quindi dello stare, ed Hermes, dio dei commercianti, e quindi dei naviganti, fino a i giorni nostri, con l’elegia
della strada operato da jane Jacobs in vita e morte della grande città.
Ma il fatto che negli anni ‘80 il racconto dell’architettura sia effettuato ricorrendo esclusivamente a strumenti fisici, ignorando i nuovi sistemi di connessione
immateriali e le nuove prospettive, sia per la città, sia per gli edifici, che derivano dalla fusione fra materiale e immateriale sono testimonianza di un ritardo
culturale destinato a pesare in modo rilevante sul non molto distante declino che colpirà la nostra comunità.
Nell’impostazione del progetto si stimolano gli studenti verso forme stabili integrate con elementi di provvisorietà e immaterialità, per adeguare un bagaglio
culturale altrimenti minato da un ritardo che potrebbe pesare in modo determinante sulla loro formazione, e, di conseguenza, sul loro futuro.

37

Aldo Rossi: Il teatro del Mondo

38

Glen Howells Architects: The Savill Building, Windsor Great Park

39

Tectoniks Ltd.: Inflatable Theater

41

Peter schladermund: improvisation
The Candelas are two fiberglass prefab shells that sit at the World’s Fair Marina, just north of the Mets new stadium.
These relics of the 1965/5 World’s Fair were designed by architect and industrial designer Peter Schladermundt
(not Felix Candela as the names and nearby signs might lead you believe).

42

MIT sensable city: The cloud

44

Driving Forces
La città di New York presenta una struttuta caotica caratterizzata da una trama molto simile alla costruzione delle mappe mentali. La definizione delle forze
guide, che ne ididentificheranno le potenzialità, saranno guidate dalla struttura e dalle aspirazioni delle risorse umane in rapporto con strutture fisiche, virtuali/
immateriali, naturali e di governance.
L’assetto fisico del progetto sarà dato dall’interrelazione questi differenti layer:
• Dinamiche sociali, motore del progetto sostenibile è la coesione sociale ed il suo incremento, si analizzano le sinergie che si generano nella città utilizzando
una serie di parole chiave (creatività, coesione, amenità, connessione, ecc..). Queste parole permetto di identificare un serie di parametri che oltre a fornire
gli elementi quantititativi ne identificano anche la loro localizzazione spaziale. In questo modo si riscono a individuare i luoghi con maggior flusso di creatività
e coesione che posso interagire con il nostro progetto di città teatro.
• Dinamiche delle risorse naturali, costituisce la base di un progetto sostenibile, la nostra missione principale è l’aumento della biodiversità, in sintonia con
gli obiettivi che il piano della città di New York porpone e le convenzioni internazionali. L’identificazione dei flussi di biodiversità e la loro definizione
morfologica sono il primo elemento che viene definito di seguito vengono proposte una serie di strategie necessarie al loro aumento come la diminuzione
delle superfici impermeabili, l’aumento della produzione di cibo, il potenziamento e la connesione con i corridoio di biodiversità verso il Central Park, ecc...
• Dinamica delle cratività, la densità e la diversità delle risose umane permetto a New York di essere una delle città più creative al mondo sencondo gli studi
di Florida in “ Creative City” pertanto si sono identificate le potenzialità della creatività che interagivano con il teatro, si sono identificati spazialmente i flussi
creativi e le loro dimamiche ed infine si sono definite le strategie di attrazione verso il nostro progetto.
• Dinamiche delle risorse fisiche, New York deve confrontarsi con la gestione di flussi sempre più complessi e densi di infrastrutture che per anni hanno
avuto la supremazia sulle risorse naturali e che sono la fonte del maggio numero di output nel metabolismo della città. Questa densità che in un primo
momento se si analizza a tecnologie costanti rappresenta un elemento di svantaggio, diventa un’ opportunità in quanto da l’avvio a nuove strategie di
rinnovo della città in cui l’edificato è l’infrastruttura tramite l’uso delle nuove tecnologie diventano sempre più simili a esseri vinenti che non impattano ma
che al contrario poducone energia e cibo. ;
• Dinamiche delle risorse immateriali, dettata dalle potenzialità di risorse naturali, come l’aria ed il vento, e dalle nuove tecnologie di comunicazione. La
sinergia fra queste risorse dà l’opportunità di integrare la rivoluzione digitale con la rivoluzione verde, aprendo nuove prospettive al progetto, esito di
un percorso culturale che va da Kevin Linch fino a Mitchell. Le tecnologie immateriali, oltre ad avere importanti effetti sull’organizzazione sociale, grazie
alla dematerializzazione contribuiscono alla diminuzione del livello di carico degli interventi, generando benefici effetti quali l’abbassamento dell’impronta
ecologica e del livello delle esternalità negative in termini di emissioni e inquinamento. La città teatro di New York grazie all’uso delle TLC potra diminuire
l’uso di risorse natuali e massimizzare al massimo le sue capacità di dialogo con il mondo.;
• Dinamiche della governance, si sono identificate le maggiori forze guida che interagiscono per lo sviluppo della città. Il NY City Plan definisce la strategia
globale, la municipalità e i suoi dipartimenti sviluppano le strategie specifiche come lo sviluppo del progetto dell’Yudson Yard e una rete complessa di
investitori e promotori pubblici e privati partecipa allo sviluppo dei progetti.

WASHINGTON HEIGHTS / INWOOD
Population
1,634,795
Density(1000p/sqmile)
71.3

EAST HARLEM
Population
126,609
53.9

M

MANHATTAN
Population
1,634,795
71.3

MIDTOWN
Population
145,155
Density(1000p/sqmile) 50.1

STUYVESANT TOWN / TURTLE BAY
Population
149,132

UPPER WEST SIDE
Population
207,754

UPPER EAST SIDE
Population
232,241

CENTRAL HARLEM
Population
125,875
86.8

MORNINGSIDE HEIGHTS / HAMILTON
Population
123,363
93.5

CLINTON / CHELSEA
Population
145,155

LOWER EAST SIDE / CHINATOWN
Population
168,794

GREENWICH VILLAGE / SOHO
Population
152,633

FINANCIAL DISTRICT
Population
152,633

47

51

GREENPIX:
Energy and screen wall

TOUCH SENSATION
SEE SENSATION
LISTEN SENSATION
SMELL SENSATION
ENERGY PRODUCTION

HOLOGRAM TECHNOLOGY:
Holographics in making theater

PIEZOELETRIC GENERATOR:
Stepping up for energy

U-CONNECTION:
energy by led

SCREEN:
flexible and cleare

53

CENTRAL PARK
1 Penn Station
2 Moynihan Station
1 Penn Station
2 Moynihan Station

5 Hudson Park
5 Hudson Park

HUDSON PARK

WELL DEFINED PLACE
EXCITING EXPERIENCE
WELL DEFINED PLACE
INVOLVING EXPERIENCE
EXCITING EXPERIENCE
SOCIALIZATION
IMPROVVISATION
SOCIALIZATION
CHARACTER
CONNECTION
IMPROVVISATION
CHARACTER
CONNECTION

6 Hudson Yard
6 Hudson Yard

WELL DEFINED PLACE
EXCITING EXPERIENCE
WELL DEFINED PLACE
EXCITING EXPERIENCE
SOCIALIZATION
IMPROVVISATION
SOCIALIZATION
CHARACTER
PARK CITY
IMPROVVISATION
CHARACTER
PARK CITY

HIGH LINE PARK

7 Hight line
7 Hight line

BATTERY PARK

WELL DEFINED PLACE
WELL DEFINED PLACE
EXCITING EXPERIENCE
EXCITING EXPERIENCE
SOCIALIZATION
SOCIALIZATION
IMPROVVISATION
IMPROVVISATION
CHARACTER
URBAN DENSITY
CHARACTER
URBAN DENSITY

WELL DEFINED PLACE
WELL DEFINED PLACE
EXCITING EXPERIENCE
EXCITING EXPERIENCE
SOCIALIZATION
SOCIALIZATION
IMPROVVISATION
IMPROVVISATION
CHARACTER
SUSPENDED PARK
CHARACTER
SUSPENDED PARK

56

design development
Il complesso dei concetti che hanno ispirato la progettazione hanno portato alla sperimentazione di un modello di progettazione articolato nelle seguenti
fasi:
• messa a punto della prima fase di ideazione grazie all’elaborazione di una matrice delle opportunità esito del confronto fra punti di forza e di debolezza
del sistema metropolitano, del quadrante urbano su cui insiste il progetto, dei diversi modelli di erogazione degli spettacoli;
• studio dell’interazione tra lo spazio fisico e la produzione teatrale, con particolare attenzione a quale fosse il confine del nostro teatro. Da subito è emerso
che il confine non poteva essere l’ area stessa, in quanto la sua dimensione avrebbe escluso una serie di opportunità, con il pericolo di riproporre il modello
Broadway, pertanto si è convenuto che la città di New York fosse il confine fisico mentre il mondo con la sua possibilità di esportare ed importare saperi
diversi fosse quello virtuale. Questo porta a un progetto ad alta intensità di “import/export” in grado di intercettare in tempo reale le spinte esogene che
provengono dal mondo;
• per lo sviluppo degli edifici del teatro sono state adottate le seguenti strategie: edifici adattabili “on demand” e in grado di funzionare 24h/24, ispirati al “fun
palace” di Price, che era adattabile in funzione delle esigenze degli utenti;
• per lo sviluppo dell’eco-efficienza del si sono adottate le soluzioni 0carbon-0Waste, quindi: produzione di energia: ogni edificio dovrà avere un bilancio
positivo in quanto produzione e consumo di energia. A questo fine si utilizzeranno sistemi distribuiti composti da impianti solari e di micro cogenerazione;
produzione di cibo: il progetto deve garantire il soddisfacimento del fabbisogno alimentare per la popolazione che lavora stabilmente nel sistema teatrale;
gestione dei rifiuti: il progetto prevede il recupero e il riuso dei materiali per acqua e fognatura: Il progetto prevede l’utilizzazione dell’acqua piovana e
l’ottimizzazione dei sistemi di scarico; minimizzare la produzione di rifiuti. Per la gestione ordinaria si adotterà un sistema pneumatico e di cassonetti a
scomparsa sul modello del quartiere BO02 di Stoccolma.

58

Space matrix opportunities
chiarezza della
distrubuzione
degli spazi

poca flessibilità
a variazioni di
S W programma

O T

vasta area libera

funzioni sono al
coperto da
intemperie

S W

costi elevati

S W
O T

esportare ris.
naturali, cibo...

poca visibilità
difficile portare le
persone

chiarezza della
distrubuzione
degli spazi
riconoscibilità
permeabilità

scarsa centralità e
rappresentatività

poca flessibilità
a variazioni di
S W programma

S W

espansione su
difficoltà a far
permanere le
altre direzioni
integrazione con persone
la città

area libera
democratico

è richesta
qualificata
gestione della
prossimità di
funzioni

O T

interlocutori
potenzialmente
infiniti

SUPERIMMATERIAL
la dimensione immateriale del NYCT è
predominante rispetto a quella fisica...

O T

non adatto alle
novità

AGORA’
organizzazione attorno ad un centro...

bassa tecnologia
dimensione locale

flessibilità
economicità

alto livello di
organizzazione
S W eventi digitali

non ha
autonomia dal
S W resto della città

riconnnetto i flussi del
teatro ai flussi generici
della città (residenza +
uffici+ etc...

INCORPORATO
nei grattaceli previsti dal piano attacco le
funzioni fisiche previste...

accessibilità
elevata
grande
dinamicità di
flussi

interrelazioni col
mondo

assecondo le
previsioni di piano

non adatto alle
novità

PONTE
il teatro si svolge nello spazio di collegamento...

.STRADA
il NYCT si svloge lungo una strada i cui poli
sono il Green River Side e il New Pen
Station...

O T

vasta area libera

O T

SOTTO
le attività si svolgono sotto il livello del
terreno, sopra è verde...

economico

O T

copertura/
sistema non è
membrana per
riconvertibile a
produrre energia basso costo

COPERTURA
le funzioni si svolgono sotto una grande c
opertura...

ampio superficie
biotica

poca flessibilità
a variazioni di
S W programma

O T

non adatto alle
novità

CONCENTRATO
il programma è soddisaftto in un edificio, il
resto è libero...

chiarezza della
distrubuzione
degli spazi
connessione

scarsa bioticità
costoso

chiuso

S W
O T

incertezza sul
teatro del futuro

cambiamento

PROVVISORIO
funzioni in spazi tempora...

poco aperto alle
novità tecnologiche

OP
ER
A

SOCIAL

unlimited

TE
AT
RO

ICO
OG
AG
ED

SYD
NEY

59

HO
US
EU

tz
o

n

P

Theater evolutions

O
ITIC
OL
EP

t
Brech
rtolt
Be

BUILDING

DIVISIONE

TRA DRAMMATURGIA

limited

E EDIFICIO TEATRALE.

AD

OGNI

GENERE, AD

OGNI

LINGUAGGIO ESPRESSIVO, IL SUO
SPAZIO.

limited

DISCORSO, OGGETTI IN GRADO
DI RISPONDERE AL MOVIMENTO

CONVERSATION
Performance
RELATION
Configuration

TEATRALE FUNZIONA-

LE A SPETTACOLI MULTIMEDIALI.

E AL GESTO.

TECHNOLOGY

unlimited

PEOPLE INVOLVED
Capability

CITTA’
USATI

E

SPAZIO

COME

PUBBLICO

SCENA. TEATRO

OPPOSIZIONE SCENA/PLATEA,
QUADRO/OSSERVATORE.

TA
’

PROVVISORIO E SMONTABILE.

limited

PUBLIC SPACE

unlimited

ME

DIO

HI

BUILDING

E VO

IC

EDIFICIO

IMMAGINI,VIDEO,SUONO,

NT

ropius-Piscator
TALE G
O TO
TR
TEA

THEATER
History

ER
-THEAT
TECH

BUILDING

A

60

perform attract
export
Theater activities

61

Space theater relationships

OUTPUT

material

function
62

Space theater transformations
mobile theatre

original
material

recyclabili

energy sav

permanen
theatre
oak

bamboo
chip
mobile
theatre
rotation

translatio

expansio

opening

subdivisio

coexistenc

closing

permeabil

minimize building's impact on waterways

sustainable site

Sustainable Design strategies

63

minimize building's impact on ecosystems
undeveloped land
stormwater runoff control

energy & atmosphere
metabolic flows

reduction of light pollution
reduction of heat island effect
reduction of erosion
energy-wise strategies

water efficency

energy use monitoring
efficient appliances
smart lighting design
renewable sources of energy

innovation in design

clean sources of energy
smarter use of water inside
smarter use of water outside

locations & linkages

water-conscious landscaping
improve building’s performance
holistic approach
promote walking access

materials & resources

open spaces access
physical activity outdoor
promote time outdoors
waste reduction

regional priority

waste reuse
waste recycling
waste reduction at procuct’s source

awarness & education

use green features
natural daylight
natural views
minimize ventilation blockage

indoor enviromental
quality

promote natural ventilation
carbon reduction

64

energy targets

Sustainable energy targets
r
t
on
fc
of

res

l
ro

s
ie

g
te
ra
st

n
ru

se

u
feat

i
-w
gy
er

n
gree

te
wa
m
or
st

use

en

cle
an

so
u

rce
so
fe

ne

natural

rgy

efficien
t applia
n

ces

daylight

70% OF
WATER SAVE

- 60% ENERGY
CONSUMPTION
ance
om
pr

form
g’s per

gie
s
olo
tec

hn

n
ortatio

nsp
an tra
te urb
promo

g

rin

ha

ing

- 1186 TONS/Y
OF CO EMISSIONS

dscap
us lan

increas
e green
areas

es
bik

r
te
wa

sp
ac
es
a

cc
es
s

om
pr

of

en

n

cio
-cons
water

e
ot

op

a
ur
at

ss
ce
ac

la

i
nt
ve
l

r

e
wat

ng

n

o
ti

u
red
use

e
us

c

u
red
ste
wa

n

ctio

i
alk
ew
ot

n
tio

wa
ste
wa
ter

in
e build
improv

66

You are the theater
Main project goals
The project morphology derives from the concepts of concentration and permeability, and has the aim to maintain and improve the existing pedestrian
routes from Penn Station to Hudson Yards, connecting them to the green corridor. The form is intended to be a volume that comes out from under the
11th Avenue. The concentration of buildings on one side of the area allows creating a large biotic surface on the front.
The dominating volumes containing the main halls are placed facing the Hudson River and embracing the large open space for big events. Additional smaller
volumes are sprawled around them. They have different functions, such as multi-functional and flexible rooms, workshop spaces and residences that can
be re-arranged as reharsal spaces. The spaces in between the buildings are characterized by a complex spatiality, they are meant to host spontaneous live
performances and to put in contact the passer-spectator with the performer. Therefore simoultaneous shows can take place inside and outside the venues
at every time of day. All the surfaces including the roofs are livable or interactive: there are transparent surfaces that allow the view of what’s going on inside
reharsal spaces, multimedia walls that broadcast events and hologram platforms that allow the tridimensional projection of shows. These create a virtual
ubiquitous theatre space and enables hyper-connectivity and import/export of creativity.

Human resources
Our project is a place thought to maximly increase human resources. The of the large biotic surface and the built spaces are designed to improve people
interaction, cultural exchange and social cohesion.

Innovation
The project wants to exploit the immaterial resources with technologic innovation such as interactive walls that display what is happening inside the theatre
and, at the same time, the content contribution from other brodcasters.
These walls allow to display various simultaneous performaces too, multiplying the possibilities of representation.

Environmental quality
The choice of densifying all buildings by 11th Avenue allows to concentrate the human apport to the urbanized area of Manhattan, keeping the rest of the
site as natural as possible. This leaves the maximum open space facing the river and creates a “green corridor” between the High Line and the new parks
planned in the Hudson Yards. Even in the built area the biotic surface is not canceled but simply shift on a higher plane, thanks to the green roofs.

Economic benefits
In contrast to the traditional theatre who attracts people only during the brief show time, our project is ment to become an aggregation centre thought to
be lived 365 days a year, being a city park, a workshop place and an hospitality structure for artists.
Impact on background context The project establishes an unusual connection with the city skyline: the new buildings develope horizontally in contrast with
the traditional Manhattan vertical rising. The pedestrian routes from Penn Station are maintened, so that passers become spectators of the performances
which take place simultaneously at various levels, including the roof-top. This way the existing city skyline becomes a living stage and background for shows.

Honorable Mentions
AACDLS Venice: Giovanni Asmundo, Nicoletta Aveni, Claudio
Corubolo, Laura Durighello, Valeria Lampariello, Francesco
Salvarani

67

SUN

WASTE

RAIN

HARDWARE

SOFTWARE

INSIDE
/
OSPITALITY

METABOLISM

OUTSIDE
/
VARIETY

SPACE NO SPACE
FOOD

DRINKING
WATER

CREATIVITY

ENERGY

foyer 500 m²
y
restaurant 500 m²
music rooms 140 m²

acrobatical discipline reh rsal room 1200 m²
cipline ehear
12
m²

administration sp es 144 m²
ation space
m²
laboratories 626 m²
6 m²
entry/media store 180 m²
y/media o
y/
/
m²
shared faciliti s for artists' residen s 288 m²
acilities
s
sidences

artists residences 960 m
sidenc
siden
60 m²

workshops 819 m²
shops 19 m²

theatres 2315 m²

Morphology | concentration and permeability
• Form. Intended to be volume coming out from under the 11th
Avenue
• Concentration. Densifying all buildings by 11th Avenue allows to
concentrate the human apport to the urbanized area of Manhattan
• Permeability. Improving pedestrian routes from Penn Station to
Hudson Yards and connecting to the green corridor
Spaces | in/out flexibility
• Main halls. Facing the Hudson River and embracing the large open
space for big events
• Smaller volumes. Multi-functional and flexible rooms, workshop
spaces and residences that can be re-arranged as reharsal spaces
• Spaces in between. Complex spatiality. Host spontaneous live
performances and put in contact the passer-spectator with the
performer
Surfaces | less hardware more software
• Transparent surfaces to see what’s going on inside reharsal spaces
• livable roofs
• multimedia walls to broadcast events
• hologram platforms for tridimensional projection of shows
Conclusions | No need for space. Theatre is everywhere.
You are the theatre.
• Virtual ubiquitous theatre space
• Hyper-connectivity
• Import/export of creativity

68

import-export 2.0
Main project goals
By establishing three levels of creativity ‘functionally interdependent, but spatially separated, the project proposes the creation of an urban campus where
the formal theater, experimental and informal come together and give rise to spatial difference’ each adapted to accommodate different socialities. The
flexibility of these spaces allows the definition of an annual and daily schedule of events and performances that can adapt and reconfigure based on the
needs of actors and spectators. The upgrading of the existing highline, the link with the flows of people in the Hudson River Park and at the same time, the
destination of this emptiness as urban green space, allow the project to fit on an urban scale and network with other green areas of the city. The design of
the project identifies the area of the western rail yards, the focal point of different streams, creativity loop to lower Manhattan and green and biotic network
to Central Park, whose potential are amplified through the design of public spaces designed as part essential in the project.

Human resources
The goal is to create a node within the network of intellectual relationships in Manhattan, a creative platform in which people interact and intertwine
relations would otherwise be impossible in these areas in the margins compared to Broadway.

Innovation
This area is intended as a creative place of hospitality of the technological and cultural creativity in New York. Into it, the space 2.0 and the ongoing definition
of the city in real time make possible the use of high efficiency services: the immaterial infrastructures lead the interactivity to social organization, a load
level reduction on the environment and particularly the development of new forms of entertainment involving the whole world through the network and
creating multiple relationships. Everything plays a multifunctional role generating services and socializing, without consuming energy but producing it.

In the NYCT area, we restore a nonstop biotic environment that flows from the Hudson River to the urban area. The metabolic formulation of the project
aims at limiting the collection of raw materials, limit and dispose wastes, reducing CO2 emissions, merging technosphere with biosphere. The goals are the
reduction of the ecological footprint and the food self-sufficiency linked with the foodprint program, promoting sustainable transport and animals and plants
species preservation.

Economic benefits
The New York City Theatre has a great value-added because it provides high quality interactive services, not only it contributes to raise the rate of culture
and performances but it also positively improves the exchanges of knowledge between New York and the whole world. In the area, we promote selffinancing programs, fair trade and ethical purchasing groups.
Finalist
NYCT Performances: Aurora Balugani, Alice Braggion, Marta
Michieli, Lucia Miotti, Lidia Savioli, Marina Tenace

70

Flexibility3
Main project goals
By establishing three levels of creativity ‘functionally interdependent, but spatially separated, the project proposes the creation of an urban campus where
the formal theater, experimental and informal come together and give rise to spatial difference’ each adapted to accommodate different socialities. The
flexibility of these spaces allows the definition of an annual and daily schedule of events and performances that can adapt and reconfigure based on the
needs of actors and spectators. The upgrading of the existing highline, the link with the flows of people in the Hudson River Park and at the same time, the
destination of this emptiness as urban green space, allow the project to fit on an urban scale and network with other green areas of the city. The design of
the project identifies the area of the western rail yards, the focal point of different streams, creativity loop to lower Manhattan and green and biotic network
to Central Park, whose potential are amplified through the design of public spaces designed as part essential in the project.

Human resources
The goal is to create a node within the network of intellectual relationships in Manhattan, a creative platform in which people interact and intertwine
relations would otherwise be impossible in these areas in the margins compared to Broadway.

Innovation
The smart use of resources and allows the virtual exchange of information aboutevents or theatrical events of the schedule, and similarly increases
exponentially involve people through the use of Web 2.0. The formal facade of the theater thinking,as a media building, will support multimedia technology.

The regeneration of natural capital is manifested through the creation of a low-densityurban park where the green is contaminated with the three forms
of drama in a different way each time. The lowering of the ecological footprint is manifested in an attempt to broaden its range of influence to the entire
financial district in comparingthe effects of capital-natural-artificial social relation to the plan proposed by the municipality.

Economic benefits
Relapses occur within the artificial capital in raising the value of the built environment and building near the project goal shared by the NY PLAN: A Greener
GREATER NY “green area 10 minutes walk”, in relation to climate change in view the future of the metropolis.

MAC group PRO: Matteo Artico, Alberto Cumerlato

007-JCR
SMART RESOURCES AND PEOPLE INVOLVED

CREATIVITY DINAMYCS
WASHINGTON HEIGHTS / INWOOD
Population
1,634,795
71.3

U SPACE

MANHATTAN
Population
1,634,795
71.3

MIDTOWN
Population
145,155

EAST HARLEM
Population
126,609
53.9

@

U SPACE

@

WORLD THEATER
live performance 24h

World
population

NEW YORK CITY THEATER
palinsesto 24h

manhattan
population

People involved in
formal theater

Artist & Actors

U COMMERCE
www

.com

shop online

STUYVESANT TOWN / TURTLE BAY
Population
149,132

CENTRAL HARLEM
Population
125,875
86.8

M

UPPER WEST SIDE
Population
207,754

MORNINGSIDE HEIGHTS / HAMILTON
Population
123,363
93.5

UBIQUITOS NETWORK

E
CLINTON / CHELSEA
Population
145,155

UPPER EAST SIDE
Population
232,241

U LEARNING

71

tutorial
E campus

PERSONAL SPACE
MY

LOWER EAST SIDE / CHINATOWN
Population
168,794

SMARTPHONE THEATER
Asincronia elettronica
Personale e personalizzabile

THE
ATER

PUBLIC SPACE

Informal Theater

GLOBAL VILLAGE SQUARE
New Spaces
New Understanding

Sperimental Theater

Formal Theater

GREENWICH VILLAGE / SOHO
Population
152,633

Green route
Cultural route

FINANCIAL DISTRICT
Population
152,633

Recreation route

NEW YORK CITY THEATER

HUDSON YARD MASTERPLAN, WHY NOT!
Hudson Yard Plan
urban
park

Proscenium

U
learning

art

2

free ways
smart
phone

9

3

music

8

U
commerce

6

3

theater

4

5

componenti
principali

4
3

IMPORT

TEATRO DI NY NEL MONDO

MA

utilizzo di risorse
impatto sull’aria
impatto dei rifiuti solidi
impatto sull’acqua

RI
AL
IZ
ZA
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URBAN PARK PERFORMANCE
ROOM

3

Studio Theater

Bipolar

Sandwich

Screen

Performance

Vertical green

AUDIENCE

3 pm

9 am

Indoor space solution

12 pm

ACTORS

FIVE PATIOS - STUDIOS

Small temporary exhibitions

rehearsal room
art expositions
media exhibitions
music and dance performances

Big rappresentation

Big exposition

Flat and free floor

OUTSIDE AREA

Big rappresentation

Urban farm

Urban park

Outdoor space solution

theatre performances

RESTAURANT

E

Progettazione sostenibile del territorio 2010-2011

regional gateway

ON

HUDSON RIVER

+

EMISSIONI

TE

high line park

Flat floor

le

DE

Hudson river park
Hudson Yard master plan

U M A N O

creativita’
connettivita’
socialita’
collaborazione

tota

PLANNING

VIVIBILITA’

ento
vim liéri
mo Po
del di
ro atro
Teat erte
cyb

C A P I TA L E

Lights

3

ACTORS & AUDIENCE

OUTPUT

UBIQUITUS

TLC

cool summer breezes from the south
cold winter winds from the northwest

Water

EXPERIMENTAL THEATRE

@

CLIMA

Art installation

mediafacades
show room 450 people

1

STREAMING
PERFORMANCE

EXPORT

TEATRO DEL MONDO A NY

Bike parking

2

2

METABOLISM
INPUT

Curtain

Traverse

2

mediafacades
entrance foyer

giudizio
complessivo
da 1 a 5

rilevanza
all’interno del
progetto

Arena

1

mediafacades
entrance foyer

SECONDARY PERFORMANCE ROOM

7

Natural Capital
12
climate change
13
footprint
14
foodprint
15
air quality
16
biodiversity

Human capital
6
ospitality
7
creativity
8
interactivity
9
flexibility of the program
10
cultural activity
11
people

MAIN PERFORMANCE ROOM

4

U space

5

Artificial capital
1
mobility
2
waste
3
FAR
4
shadows
5
connectivity

Thrust

1

hudson

1

retail

residential

FORMAL THEATRE

penn
station

art

10
free shows

High rise
buildings

16

ACTORS + AUDIENCE
metro 7

music

offices

High rise
buildings

resilient

creative
people

spectators

theater

5

O2
production

global
warming

sea
rise

2

riciclo
inhabitants

10
6-7-8-9

12

artist

11

worker

CO2
emission

14

penn
station

FLEXIBILITY OF THE LEVELS

Flexibility3

15

1
metro 7

15
14
13
11

New York Theater City
13

16

new york

design

city theatre

competition

RESIDUI STORICI
high line

“New York City Theater”

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pier 76
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warehouses

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www

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FOOTPRINT
Arch. Anna Omodeo

FLEXIBILITY

http://vod.blosite.org

3

1

Ensure that all New Yorkers live
within a 10-minute walk of a park


INITIATIVE & GOALS 2030

OVERALL FOOTPRINT

Ensure that all New Yorkers live
within a 10-minute walk of a park

UPPER MANHATTAN

15%

CHELSEA NEIGHBORHOOD
Population
145,155

Raise 02 production

Sperimental Theater

40%

GREEN THE CITYSCAPES
Make existing sites available to
more New Yorkers

LOWER MANHATTAN

45%

Increase quality of green space

Complete underdeveloped
destination parks

GEN

Increase quality of green space

FEB

Create or enhance a public
plaza in every community

MAR

APR

MAY

CHELSEA NEIGHBORHOOD
Population
145,155

Raise 02 production

Make existing sites available to
more New Yorkers

45%

INCREASE
NATURAL CAPITAL

1

INCREASE
NATURAL CAPITAL

GREEN THE CITYSCAPES

40%

3

Reduce Chelsea neighborhood
ecological footprint

Provide more multi-purpose fields

MIDTOWN MANHATTAN

Arch. Anna Omodeo

FLEXIBILITY


Time and space variations of the theater

LOWER MANHATTAN

MIDTOWN MANHATTAN


VARIATIONS OF THE PROGRAM

Reduce Chelsea neighborhood
ecological footprint

Provide more multi-purpose fields

15%

Small temporary exhibitions

Formal Theater


UPPER MANHATTAN

Actors
Audience

MANHATTAN ECOLOGICAL FOOTPRINT


INITIATIVE & GOALS 2030

LOW DENSITY URBAN PARK

Glo
balVi
llage

WATER NETWORK

MANHATTAN ECOLOGICAL
MANHATTAN ECOLOGICAL FOOTPRINT
OVERALL FOOTPRINT

ACTORS = AUDIENCE

improvisational performances
street art

HY
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CA

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http

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CLEAN WATER

INFORMAL THEATRE

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highline

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CLEAN AIR

AIR QUALITY

MEDIABUILDING

LOCALE
Hudson River Park

AL

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INCORPORAZIONE

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ject
pro

SEA RISE

CLIMATE CHANGE

CONNESSIONE

GLOBALE

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gree

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URBANFARM

FOODPRINT

CONNETTIVITA’

Arch. Anna Omodeo

AL

Ca

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NY
PLA

AP

foodprint

EM

C

EN

TA

TERRA

Improve life quality of inhabitans

Reduce Co2 emission

JUN

JUL

AUG

SEP

OCT

- 25%

ECOLOGICAL FOOTPRINT

NOV

DEC

Informal Theater

Complete underdeveloped
destination parks

Improve life quality of inhabitans

Create or enhance a public
plaza in every community

Reduce Co2 emission

- 25%

ECOLOGICAL FOOTPRINT

8.00 am

16.00 pm

22.00 pm

72

Ecoeffective city
Main project goals
Main goal is the design of a urban theatre-campus where the small theatre companies could use a space for rehersals and theatrical exibitions. This space
must allow the new types of exibitions, allowing at the same time a cultural supply always new, young and in constant evolution.
The project aims to provide a “classic” space for the “classic” theater and its facilities with a range of non conventional theatrical spaces based on flexibility,
reversibility, Hyperconnectivity and hospitality.
The new New York Ecoeffective Theatre City will produce and export a new knowledge about the different types of theatrical performance in a space with
a lower ecological footprint and with a positive food production.
The exportation of types of theatrical performance will be done both physically and virtually: physically through an open space working 24h, virtually
through immaterial resources from New York Ecoeffective Theatre City to others parts of New York City or of the world wich are connected.

Human resources
The project aims to provide an open space working 24h 365 days per year. The space wants to be flexible and open to improvisation and it also want
to be able to provide opportunities democratically to all theatrical forms. In this way the space allows cultural exchanges and exportation of knowledge
worldwide through the immaterial resources.

Innovation
Main innovation is the use of a natural infrastructure allowed by the new techniques of genetic engineering. This bio-structure is able to give a structural
support to the theatrical structures. These second type of structures are based on the principle of disassembly, in this way the spaces for the theater are
able to be adapted according to weather, to seasons and to any kind of theatre programs.

Maximum naturalization with a minimum quantity of waterpoof surfaces that makes it possible to recycle rainwater. Insertion in the area of food
production, indoor in a vertical farm, indoor and outdoor in agricoltural circles with stagional greenhouses. Utilization of a part of the vertical farm for water
indoor bio-depuration of the wastewater of New York Ecoeffective Theatre City and of the nearest parts of Manhattan. System of biomass microgeneration
in the basament of the tower. Utilization of native plants and of a new biostructure with the creation of a new natural habitat. Sales of fresh, local and healty
food.

Economic benefits
Economic indrect benefits through the reduction of ecological footprint and through the improvement of the quality of city life and of the urban
environment. Economic direct benefits through the utilization of the new services and facilities and throught the attraction of a new cultural and theatrical
tourism and the food production. Savings when the area will be abandoned from the theatre because of the reversibility of the structures of the theatre and
because of the lack of permanent buildings.

Finalist
MA DE &CO: Nicola Collazuol, Alice De Sisti, Daniele Macor

74

Treeater
Main project goals
0.TREE+THEATER=TREEATER : Inspired by a vision of Joachim Mitchell and experimental study of HVKN, the project Treeatre designs theatrical space as a
self-generating biotic structure capable of holding together biotic and food production with the creative and theatrical risources.
1.SUSTAINABLE MATERIALS+DEMATERIALIZATION+FLEXIBILITY: the reduction of the ecological footprint is pursued through a biotic building material
at zero embodied energy, the minimal and flexible nature of space allows the theater to get organized so intrusive among the eight hypothetical vertical
farm.
2.HUMAN RESOURCE+CREATIVITY: an alternative to cultural offerings of Broadway , so weak in experimentation and innovation, the functional program
of Treeatre provide for the implementation of the theatrical spaces fixed with small and flexible rooms, movable and transformable to respond more
effectively to the needs of dematerialisation multimedia theater that research is facing in recent decades.
3.GREEN NETWORK+HIGHER PEOPLE FLOW: the flow treeater acts as a catalyst who insist inconnecting the green inner side with the system of
Hudson river park.
4.VERTICAL FARM+FOODPRINT: the ecological footprint of the population is reduced thanks to a surplus of local food production achieved through eight
vertical farm designed having as reference other hypothetical foreshadowing of the project site.

Human resources
The achievement of a shared social welfare is the primary goal of the project NYCT, human resource appeared from start up in the design process, leading
to the creation of an area of strong cultural attraction alternative to Broadway, able to respond efficiently to the demand for hospitality theater companies
interested staying in the campus.

Innovation
The NYCT attracts young troupes capable of producing highly innovative events aimed at a range of users as large and diversified as possible. Promotes
innovation in the field of food production: the assumption that justifies the Urban Farm and the higher productivity, resulting from the adoption of the
sophisticated technology of the spacecraft.

Connecting Hudson River’s shore to Central Park, the Theater park reinforces the system of natural resources (and therefore the capacity to absorb CO2).

Economic benefits
The NYCT stimulates creativity, and thus achieve the highest level of product innovation stage to ensure market competitiveness of the cultural product. He
plans to achieve the perfect food self-sufficiency of residents in the Hudson Yard District ensuring a good supply food even to a surplus of about 130,000
people

Group: Laura mattioli, Silvia Merlo, Giuseppe Stella, Guido
Pantani

76

UP, on stage
Main project goals
L’obiettivo generale è quello di provare ad immaginare per una parte di città in trasformazione un nuovo scenario che riesca, partendo dal concetto di
teatro come strumento di dialogo diretto in una società che prende coscienza di se stessa, a proporre un nuovo modo di vivere manhattan coinvolgendo e
incrementando le risorse umane, in un processo ideativo e creativo.
Uno degli scopi è anche quello di proporre temi legati alla gestione di risorse naturali promuovendo la bioticità e cercando di immaginare un organismo che
punti ad ottimizzare il metabolismo attraverso la minimizzazione dell’inquinamento e della produzione di riuti, limitando il prelievo di risorse e cercando di
preservare la biodiversità.
L’attrazione di risorse umane parte dall’idea che l’eccezionalità morfologica urbana, l’unicità funzionale dell’edicio ,(in quanto non solo luogo dello spettacolo
ma campus di produzione artistica) , il suo essere conclusione di una riessione sul network culturale e creativo legato all’highline e la possibilità di utilizzo di
nuove tecnologie legate alla comunicazione, possano divenire elementi di riconoscibilità attrattiva nella
città e permettere al NYCT di divenire piattaforma culturale connessa alla rete globale . Il nuovo “Teatro” per NY non è concepito unicamente come luogo
per lo spettacolo ma come visione urbana in grado di proporre dinamiche nuove legate alla socialità e al concetto di Campus, in cui lo spettacolo diviene
momento di sperimentazione attiva reinterpretando il rapporto tra spettatore e attore , in uno spazio in grado di dilatarsi e dare luogo all’improvvisazione.

Human resources
La sperimentazione artistica nasce dall’incontro e dalla contaminazione di tradizioni e culture diverse. Il progetto mira ad aumentare la socialità e la creatività
attraverso spazi informali e essibili aperti pubblici del parco e del campus.

Innovation
L’idea di Campus punta ad interpretare il rapporto tra la città di manhattan e la promozione della bioticità mettendo al centro della progettazione le risorse
umane, il rapporto con le risorse naturali e la loro gestione.

L’ area dell’Hudson Yard è trasformata da vuoto residuale a parco. Fulcro tra l’Hudson River Park, il nuovo corridoio verde a nord verso il Central Park e
l’high line, il parco incrementa la supercie biotica cercando di divenire parte della rete ecologica . La struttura del campus ha un metabolismo contenuto, si
autoalimenta con fonti rinnovabili e sfrutta un sistema di recupero dell’acqua.

Economic benefits
L’incremento della qualità ambientale e le attrezzature pubbliche connesse al campus teatrale, aumentano il valore delle aree limitrofe, oggi compromesse
dal carattere infrastrutturale dell’Hudson Yard.

Honorable Mentions
Revolution 9: Luca Nicoletto, Daniela Maiullari, Emanuele
Paladin, Anna Venerus

78

Creative sprawl
Main project goals
Imagine an area off of Broadway that offers to the experimental companies of the whole world a way to explore innovative forms of entertainment.
Imagine an informal and hospitable space, which exploit any kind of diversity and is ready to welcome any news with flexibility, which opens up to
improvisation, to the involvement of the viewer. Imagine the theater returning to its roots: a traveling theater, free, highly evocative and not determined in
its forms of expression, not bound inside the walls of the theater-building as we know it. It has to be considered as an export commodity, in which men are
called to give life to a laboratory with the purpose of import ideas and spread knowledge.
According to the notice, the project area had been given as totally available, without considering the plan of the municipality of NYC to transform this area
into the new financial center. Pretend not to consider this statement, in our opinion seemed to consider the project as utopia. We are persuaded that the
free, informal and non-hierarchical nature of our proposal can involve and contaminate also spaces very different for uses and functions. We want make
everybody aware of the possibilities of the use of physical space, especially in the appreciation of the level zero: a surplus of social, natural and urban values.

Human resources
This site aims to be a hub of productivity and creativity: a world in which any constraint to free expression is categorically abolished and in which new
technologies will fully develop the human resource. Let’s figure out spaces in which the public response and the artist proposal are the actual generators of
the project: they are impossible to predetermine because they are the result of creativity of whoever expresses in this area, lives it or simply crosses it by
chance.

Innovation
Try to figure out a theater experiment that is no more expressed in discreet but operates in a continuum of space and time thanks to high-capacity
interconnects. The holographic representation, the chances of the technology of sound, the screen display of performances in real time, take up the challenge
to the ubiquity of our time: globalHyperconnectivity is the winning card in order to create a worldwide theater.

The project is organized around a rare good which is the land and therefore aims to have a low environmental impact and to increase production of food
and energy. The key driver is the intention to increase biotic factors: the aim is to turn the area into park, a new terminal of a future green belt, of which the
Hudson Yard is actually a part. At the same time, the theme of the Urban Farm of Art aims to build up a community that produces art, culture and food.

Economic benefits
The exploitation of unlimited resources such as sun, tides and wind make the area a producer of alternative energy. The possibility of using large vertical and
horizontal surfaces helps to reduce the foodprint, particularly high in Manhattan. Encourage a lifestyle directed to nature and sociality leads to a significant
advantage in terms of mental and physical health, which translates indirectly on the economics for the municipality.

PlaNet: Christian Faccio, Alessandra Feliciotti, Giovanni
Formentin, Massimo Gatti

CREATIVE

SPRAWL
MAKING SPACES
007-KVL International competition for the New York Theater City

EVOLUTION OF THE THEATER SPACES

FLOWS CARDIOGRAM

79
Throughout its history theater space definition constantly grew up to the detriment of the relationship between actor and spectator. Sperimental theatre breaks off this trend conceiving a new flexible space in which there is no edge separating the stage from the audience. Since then the Campus Theater started to live.

Daily the project will host different kinds of users and so we wanted to create an open, flexible space able to accommodate a huge variety of functions, such as relaxation, sport activities, politics manifestations and many type of events, in addition to the theatrical activities. Actors, spectators and simple citizens will love to spend their time here in the different times of day and year.
Imagine an area off of Broadway that offers to the experimental companies of the whole world a way to explore innovative forms of entertainment. Imagine an informal and
hospitable space, which exploit any kind of diversity and is ready to welcome any news
with flexibility, which opens up to improvisation, to the involvement of the viewer.
Imagine the theater returning to its roots: a traveling theater, free, highly evocative and
not determined in its forms of expression, not bound inside the walls of the theater-building as we know it. It has to be considered as an export commodity, in which men are
called to give life to a laboratory with the purpose of import ideas and spread knowledge.
According to the notice, the project area had been given as totally available, without considering the plan of the municipality of NYC to transform this area into the new financial
center. Pretend not to consider this statement, in our opinion seemed to consider the
project as utopia. We are persuaded that the free, informal and non-hierarchical nature
of our proposal can involve and contaminate also spaces very different for uses and functions. We want make everybody aware of the possibilities of the use of physical space,
especially in the appreciation of the level zero: a surplus of social, natural and urban values.

80

A green drop in a gray sea
Main project goals
The project aims to create a new style of Creativity, addressed to each target person who wants to experience it.
Artistic creativity, with the multi-sectoral event programming, and design of spaces equipped
(dynamic structures to accommodate any type of event, with reference to the project “Action Theatre”);
biotic creativity, with the creation of spaces for study and development of food-plant, with the aim of reducing the carbon footprint, make the area selfsufficient, and re-create a more harmonious with the natural resources. The new ideology of the theater will be disclosed to the city, with the development
of a subway line that will issue in the area with interactive stations, equipped with monitors to watch video, listen to music, creating paintings and touch
many other activities related to theater in the world

Human resources
Creating a hub of interaction, exchange and dissemination of ideas, expression and imagination, between people
Of different nationalities, lifestyles and ways of thinking. It has developed a new center of active sociality, a heart for the cohesion of the people involved.

Innovation
The intention is to create a hi-tech park in the countryside. We used the hanging screens structures, platforms and interactive touch, to connect the area
with the rest of the world, and expresses every idea, every movement of people into something tangible, visible by everyone in every area.

The objective was to increase capacity with the growing of food biotic structures temporary, and in the surrounding skyscrapers, the implementation of the
natural habitat for flora and fauna with the repopulation of the same, and the recovery and protection of natural resources.

Economic benefits
The focus has been in the planning field of energy and food, increased usability of the area with the organization of initiatives to attract commercial / artistic
and mutual coexistence with the residential and administrative areas already planned by the municipality.

Green Touch: Annalisa Righetti

82

cultural ecology
Main project goals
New York City Theater is also innovative as it differs from the the theater of the pre-digital age and the digital age, since it doesn’t use energy to maintain
itself the same everywhere, but it uses it to adapt with flexibility and relevance to the local physical and mental places in which it goes through, in order to
make the ecological conversion socially desirable.
In our theater, the city itself and the human bodies become interactive structures , able to mediate with the machines thanks to the availability of advanced
digital technologies, which will tend increasingly towards miniaturization, until they will be totally incorporated.
The city becomes an instrument for observe, which interacts in real time with the environment, allowing a square or a park to expand and invade the
vehicles areas, following the citizens needs.

Human resources
The encounter between several people generates more creativity, more ideas per square meter, more critical mass and therefore more opportunities for
the future. Increasing the value of human resources will increase the population and births.

Innovation
Try to figure out a theater experiment that is no more expressed in discreet but operates in a continuum of space and time thanks to high-capacity
interconnects. The holographic representation, the chances of the technology of sound, the screen display of performances in real time, take up the challenge
to the ubiquity of our time: globalHyperconnectivity is the winning card in order to create a worldwide theater.

We bring in an artificial environment the concept of biodiversity through the introduction of vertical / urban farms and large green biotic areas, which are
going to infiltrate the existing urban fabric by creating upstairs and downstairs scenarios.

Economic benefits
We create a dynamic model in perpetual evolution capable of power itself by exploiting the natural resources, increasing productivity and thus reducing
expenses.

Squeezed Building: Marina Caneve, Marina Mascarello, Massimo
Bresolin, Alessandro Donin, Alberto Favero, Letizia Lanzi

purposes
The main purpose is to encourage and support

rl
wo

theater

biotic

biotic

dematerialization

d

by using a kind of
which promotes
at the
same time.
New York City Theater is also innovative as it differs from the the theater of the
pre-digital age and the digital age, since it doesn’t use energy to maintain itself
the same everywhere, but it uses it to adapt with flexibility and relevance to the
local physical and mental places in which it goes through, in order to make the
ecological conversion socially desirable.
In our theater, the city itself and the human bodies become

of

resources

provenances

creativity

accessibility

physical
resources

from..?

interactive structures , able to mediate with the machines thanks

to the availability of advanced digital technologies, which will tend increasingly

miniaturization, until they will be totally
incorporated.

towards

europe

asia

objectives

usa
africa
south america

We create a dynamic model in perpetual evolution capable of power itself by exploiting the
natural resources, increasing productivity and
thus reducing expenses.

workshop | 2000 mq

biodiversity

materials

physical resources
2.000
human resources
8.000 penn station
600.000
natural resources
madison square garden
2.000
20.000

mediateca | 500 mq

physical

risto | bar | 1000 mq

human

theatervv | 5400 mq

radio city music hall
6.000

interactive

intangible
new york public library
6.000

empire state building
9.600

natural

2000

FOODPRINT
territorial surface 76 082 mq
total foodprint 7 000 ha
Deficit 6 987 ghae

Deficit / surface

theater

campus | 3000 mq

high line park
10.000

economical benefits

interaction
between performances

83

expressivity

560 times

2050

CREATIVITY DYNAMICS

We bring in an artificial environment the concept of biodiversity through the introduction of
vertical / urban farms and large green biotic
areas, which are going to infiltrate the existing
urban fabric by creating upstairs and downstairs scenarios.

riproduction of performances
in different places

urban

EVO

interactive

intangible
resources
8.000 +∞


multimedial

connectivity

creativity

integration

hotel | 6000 mq

MoMa
8.000

This is no “atom” theater, but a post-digital
one, achieved through the use of new technologies with a deep consideration regarding
less material use, reuse and recycling and by
introducing variables dematerialized scenarios.

interaction between actors
in the same place

human
resources

welcome

central park
95.000

broadway
35.000

Technological/Theatrical Innovation

physical

network
&
feedback

renewable
energy

ATTRACTIONS

The encounter between several people generates more creativity, more ideas per square
meter, more critical mass and therefore more
opportunities for the future. Increasing the
value of human resources will increase the
population and births.

theater

community
ubiquitous

social
cohesion

natural
resources

Human resources, cohesion, social relations

australia

biotic space

recycling
digital
platform

intangible
resources

The city becomes an instrument for observe, which interacts in real time with
the environment, allowing a square or a park to expand and invade the vehicles
areas, following the citizens needs.

north america

impossible...

multimedial

phisycal

informal

Territory pro-capita production 0,000625 gha
Deficit pro-capita local 0,349375 gha

art

and

cult

ural

ure

as c

atal

SUSTAINABILITY

cult

biotic space

ecol

ysts

for

sust

ogy

aina

ble d

biotic space
vertical farm

rain

evel

dance energy floor

opem

ent

solar energy

i’m possible!

VoD international - New York City Theater - Archmedium 2010-2011

VoD international - New York City Theater - Archmedium 2010-2011

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VoD international - New York City Theater - Archmedium 2010-2011