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5+1AA Alfonso Femia, Gianluca Peluffo - Agenzia di Architett [..]

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Company details
Via Mazzini, 73/75
50050 Stabbia - Cerreto Guidi (FI) - Italy
Tel. +39.0571.586881_95651
Fax +39.0571.586885
2013-2015 Grand Prix Awards Ceremony in Venice
The IUAV University of Venice was the beautiful setting that hosted the awards ceremony.
The guest of honour was architect Simone Sfriso, from TAMassociati,
who curated the Italian Pavilion at the 15th Venice Biennale of Architecture

The awards ceremony of the tenth edition of the Casalgrande Padana Grand Prix was held on Friday 27 May 2016 in the prestigious Aula Magna of the IUAV University of Venice, in the heart of the historical Tolentini Complex. Leading figures in architecture and personalities from the world of design, critique, universities, and communication attended the ceremony.

Over 150 candidates from all over the world reached the final stage of the competition with high-quality proposals, thereby demonstrating the increasingly widespread use and value of ceramic materials in the construction field. And the places where these works were carried out – South Africa, Qatar, Peru, Russia, Hungary, Poland, Switzerland, France, and Italy – prove just that.
In the Façade coverings and external flooring category, the first prize was awarded to 5+1AA Alfonso Femia, Gianluca Peluffo – Agenzia di Architettura srl for the following three projects: Docks - Marseilles, France; IULM 6 - IULM University of Languages and Communication, Milan, Italy; Life - New residential district in the former Draco area, Brescia, Italy.

Docks - Marseilles, France
Project
5+1AA Alfonso Femia, Gianluca Peluffo Agenzia di Architettura srl

SPATIAL SYSTEM
Settlement context
Urban regeneration
Intended use
Shopping centre

TECHNOLOGICAL SYSTEM
Category of intervention
Restoration
Construction technique
Traditional
Application
Façade coverings, external flooring, interior flooring and coverings.
Settings
Courtyards, walkways, toilets
Type of installation
Exterior coverings installed on metal substructures and substrates

Ceramic materials
Granitogres
Unicolore collection, Blu Forte, Blu Chiaro, Blu Scuro, Azzurro, Bianco
Granitoker
Cemento collection, Cassero Grigio
Gresplus
Diamante Boa collection
Trims made to measure

Surfaces
2,915 sq.m

Distributor
Mattout
Photos
Luc Boegly
Justification

The sophisticated intervention for the recovery and functional redevelopment of the Marseilles Docks – an important port storage facility – straddles the boundary between architectural work and art installation, where the use of ceramics takes centre stage through two different application techniques. In the first one, the ceramic material is fragmented and expertly recomposed according to a precise layout. The other application technique features the superimposition of made-to-measure ceramic elements fixed to a metal substructure. An expression of “technological symbiosis”, the cladding covers the façades of the internal courtyards without destroying them, creating a high-impact visual effect while keeping the original structure intact.

Project
The Marseilles Docks: body, emotions, and awe.
Every major city has buildings that can be defined as heroic for their size and visual impact, for having been built in distant times or places, for having been many things – machines, devices, limits, places – and, more importantly, for still being here.
This dimension, which we consider heroic, can be found only in very few buildings and, in particular, in buildings that experience a strong contrast between their bodies and souls.
We wanted to create an interaction with the body and soul of the Marseilles Docks.
We approached the Docks in the same way as you approach a discovery. A mystery that has always been there revealed by a new identity according to other natures, relations, and intimacy.

Today, the building is a physical limit in the relationship between East and West, i.e. between the new contemporary city and the sea and horizon, and in the relationship between North and South, i.e. the future city and the historical centre of Marseilles.
As a geographic and social landmark, the Marseilles Docks must serve as a filter, as the meeting place par excellence to rediscover the various souls of this ever-changing Mediterranean city in its journey towards its future.

Through this project, we have asked a few questions to the building.

What?
What can the Docks become in addition to what they have been in the past and are today?
A space that is porous, permeable, public, convivial, and collective and, at the same time, personal, intimate, productive, and relational. Today, all this is not possible if not in a discontinuous manner. The Docks’ potential lies in its unitary and seamless body. If we can make it permeable, reinforcing the physical and perceptive relationship with the exterior, we can invent a new place.

Where?
Where can this delicate metamorphosis take place?
The pursuit of permeability, considering the Docks as a body, must start from its edges, along its perimeter. And it must be done transforming what is now a limit into a place to enjoy and cross, and the four courtyards, into extraordinary and unexpected places. This way, we can define a new spatial, dynamic, and vital relation dotting the long longitudinal path with voids (the current courtyards) and creating the chance to give the courtyards a new nature made of light, colour, reflections, and matter. The relationship between the material and with the material, so monumental and authoritative in the building, will be completed with the rediscovery of intimacy made of emotions and awe. Four courtyards, four emotions, four awe-inspiring places, which will make every hour of every day different from the next, thereby establishing a new relationship with time compared to the concept that raised the building according to a calculation based on the days of the year and the seasons.
Reminding that a year has four different and variable seasons makes every moment spent in these spaces truly personal and unique.

How? How can we achieve all this?
In our opinion, every planning action must be clear and evident. In addition to the concept of porosity, which must belong to the entire building, it is important to boost the use of the courtyards in their widest dimension, between the different existing levels between Rue de Docks and Quai du Lazaret. It is important to give an identity to the spatial sequence (the themes of the four courtyards) along its 365 metres in length. This is how the four courtyards came to life:
- The Corte Barcellone, in continuity with the Terasse du Port, embraced by nature that conquers light and serves as a sundial – where the sun allows so – letting time, colour, fragrances in the void of the existing courtyard.
- The Corte Rome, the Italian courtyard, where nature blends with ceramics, mirrors, fragments of an important passage in the pursuit of a dialogue between nature and artifice, sensuality and physical presence, reason and emotion.
- The Corte Village, the courtyard of everyday life, where nature becomes a physical presence and interacts with the size of the Docks and ceramics embrace and characterises every space. Through the material, the project underlines the importance of the perceptive and sensory aspects of those who experience or just pass through the Docks. The same elements of different nature are used in different ways, and all this does not go unnoticed as it often happens in contemporary spaces.
- The Corte Marchè, the courtyard of the people, a bustling place full of colour filtered by awnings. A place that reaches out to the overall perception of space, to the exterior, towards Place du Mediterranée.
We will cross the Docks perceiving the building’s structure and space, its new vitality, and the succession of lives and moments. We will cross the Docks protected by the awnings along Rue de Docks that reach out to the sea onto Quai du Lazaret.
Two squares, different by nature, constitute the two heads, two beginnings, which look consistently into history (Place de La Joliette) and the future (Place de la Mediterranée).
Two edges (the combination of roads and pavements) will become two linear squares that will expand the physical limits of the Docks and define a new cross-cutting ever-changing public space.

There is no place alike, but it’s already in Marseilles.
5+1AA Alfonso Femia Gianluca Peluffo

Ceramic project
The façade coverings of the Docks courtyards were made using made-to-measure ceramic tiles and installation systems.
For the Blue courtyard, the porcelain stoneware tiles of the Granitogres range were used. In particular, the Unicolore collection in Blu, Blu Forte, Verde, Bianco B, and other special tones.
These 30x30 cm tiles with a polished finish were fragmented and then skilfully recomposed in an original craquelure pattern installed on aluminium panels using suitable glue. The elements obtained this way were sent to the construction site to be fixed to a special metal substructure.
The same procedure was
adopted for the external flooring.
For the Green courtyard, specially-made 60x60 cm porcelain stoneware slabs with a 10.5 mm thickness were used. These slabs feature a structured surface obtained using a special plaster mould designed and moulded by ceramic artist, Danilo Trogu. The ceramic slabs, manufactured in 5 RAL colours in tones of green, were cut using the water-jet technique to obtain two rhomboid elements from each piece. Each piece was then reinforced by applying a glass fibre safety mesh. Finally, 4 undercut truncated cone holes 5.5 mm deep were created on the back of these elements to house the special Keil metal expansion washers to anchor each slab to the metal substructure fixed to the façade. The metal structure was supplied by the Turin-based company Bodino Engineering, which also installed the metal structure and the tiles on-site.
For the interiors, ceramic materials of the Cemento collection in Cassero Grigio colour and the Diamante Boa collection were used.