Milán, Italia

Oikos: White in the city

Milan Design Week 2017

Arquitectura - 04.04.2017

Oikos invita a distintos arquitectos de reconocido prestigio (Chipperfield, Hadid, Mateus, Urquiola...) a realizar un pequeño proyecto con la intención de ensalzar las virtudes del color blanco.

Esta instalación temporal, desarrollada por los arquitectos: David Chipperfield, Stefano Boeri, Patricia Urquiola, Daniel Libeskind, Zaha Hadid y Aires Mateus en Milán, es parte de 'White in the City: White architecture Design Week 2017' comisariada por Giulio Cappellini en el Cortile d'Onore del Palazzo Brera de Milán. Es un intento de representar las cualidades esenciales del color blanco.


Patricia Urquiola designs for White in the City a small interior-lookout for the curious. Just a few steps, always shielded to allow a different point of view, with the ability to browse without ever being seen. "I am interested in the concept of perception as an active process: the reality is constructed by the observer and not simply recorded because you never see what you expect to see."
Patricia Urquiola White sheets corrugated on the hips of the stair strech in the front, constituting the skin of the volume, more greatly modigying the vision, stimulating a new approach in looking at things.
Homage to Ramon Llull

Architect Daniel Libeskind's installation for the Oikos White in the City exhibition located at Brera museum is a study of the nexus of history, culture, architecture and the imagination. The sculpture entitled A Memorial to Memory is a 4 meter hight fragmented section that depicts the spinning wheels of memory invented by the Catalan mystic and poet Ramon Llull. Libeskind translates Llulls's machine into a mystical avatar of the modern computer into this three dimensional object- an encounter with the abstract.


Overview & Context: Through the investigation of form and pattern obtained by employing state-of-the-art manufacturing and computational methods, Thallus celebrates the disciples of art, architecture and fashion. Forged by automated additive manufacture as well as hot-wire cutting technology, the sculpture expresses the ongoing research in robotic assisted design carried out by ZHA CoDe and is a tangible demonstration of what can now be achieved in terms of mechanisation and customisation in the AEC industry.
Form: The sculpture is informed by the concept of Ruled Surfaces; a class of surfaces that are generated by the movement of a straight line in space around a given axis. The principles of Ruled Surfaces are applied in the fabrication process of the piece; the shape is tailored to a trimmed twisted cylinder in order to facilitate the use of hot-wire cutting technology to produce the moulds for downstream additive manufacture.
Pattern: Thallus continues ZHA's investigation in biological models and physiological processes to generate geometry through computation. The design explores differential growth and space-filling methods through expansion an diffusion arising from a single, continuous, seed curve guided iteratively via simulation parameters to approximately one kilometre in length with constrained to a reference surface. Density gradation and directionality of growth are defined by parameters such as proximity to boundary and direction of rulings. 


Architecture is made of space, empty space, void.

Void as a limit, determined by matter. 

A physical limit whose presence, absence and deformation defines a field for life and whose materiality and form is made evident by light.
In this installation, the space is carved out of a white monolithic volume, creating an introverted emptiness. The slits through which the light filters are nothing but absence, determined in its geometry by the intersection of the solids which generate the internal shape. The inner ambience, defined by convex, rather than concave, walls conveys a feeling of extreme compression. The surfaces evokes a crystalized movement; resembling tents, blown by wind or water, however their solid materialization creates an even stronger relation with the body, which barely fits inside. The exploration of scale and proportion is pushed to the limit. The experience is one of an intimate individual relationship with the space and a strong tension towards the light, whose essential role becomes evident.

A place to hug

An area where people can escape from their social interactions and hug each other for a few seconds. A place where people can leave their urban loneliness and hug someone; the friend, the stranger, the lover, the son, the grandparent, the floreist, the bartender, the boss, the policeman. URBAN HUGS is a variaton of Radura to saty together, accompanied by Piero Salvatori's cello. A fenced area where people can hug other people, protected from the city traffic, but not excluded from urban life, thanks to the tree trunks from Friuli's wood. A wooden micro architecture thta defines the physical border where people can stop and isolate themselves from everyday rythms. URBAN HUGS is composed of 95 wooden cylinders 5 m high, which constitute the perimieter of an area that is both permeable and intimate. The columns are anchored to the ground through a wooden platform, of external diameter 2.2 m and 1m of internal. 


The installation, a White Cube enclosing a White Space that can be entered, explores the qualities of White as the achromatic colour of maximum lightness, one of the most common colours in nature.

Externally, the White Cube measures as a perfect cube of 2.5m x 2.5m x 2.5m composed of long beams in White Chalk. The White Chalk, a natural stone of soft sedimentary carbonate found in geological strata, is this first of three White Components that form the installation. 

Internally, the floor is covered with the second White Component: the White Salt. A crystalline mineral element, White Salt is essential for all lifeforms and an enduring symbol of purification.

The third White Component is a 5000-degree Kelvin beam of White LED-Light piercing through a small aperture in the White Chalk ceiling.