“Il Tunnel, Il Ponte, La Storia” Anas Competition

INTERNATIONAL DESIGN COMPETITION

The elements that the ban requires to “valorize” are archaeological remains, the nature of the nearby park and the main and fundamental theme:
“RECOVERY OF THE AUTOSTRADAL DISMISSION AREA” with renaturation and landscape enhancement.

The transformation of the site with the old motorway is not the last reason for environmental degradation, but at the same time the element that inspired our project.

All the design process has been directed with sensitivity towards choices of reduced environmental impact, eco-sustainable and with the elimination of any architectural barrier.

Having positioned the new area on the site of the disused motorway, there are numerous advantages, among which the location of the museum’s plant on the site of the existing disused motorway, the lifting and idealistic maintenance of the deformed road surface, such as the crowning of the building below, a sort of overturning of the section of road embankment in trench-built architecture with the last section of the building that becomes open, linkage.

The new area condenses under its long and undulating architectural development, the result of the geometric abstraction of the road axis in a TELLURIC DEFORMATED, all the functions provided for by the call, some in the underground part and others always contained in the sky-line of the maximum altitude of the old road embankment.

The fundamental point of the composition of the project is that area with its functions is “ALIVE”, in “MOVEMENT” in its conception of semi-open fluid space, place of stimulating experiences for every age group, for every social class, in the name of multiculturalism.

In the restoration of a “environmental and landscape quality”, we proceeded with a sort of “STYLISTIC RESTAUREAN” of the landscape, which draws its figurative references not in the traits of nature and existing landscape, but in the landscape representations, evidence of a still uncontaminated and “unspoiled” nature of the pre-industrial era.

As in the case of a work of art, a cultural asset, a historic building, historical documents have been sought that are contemporary to the good, capable of legitimising the choices for restoration work.

In the “restoration”, therefore, nature was not taken as a model but the works of art depicting nature as it was in the age “700s and “800s, landscapes of pre-modern times for the “stylistic restoration” of the current nature deprived of its significant elements.