Newissues and old perceptions start Circumvesuviana station’s
requalification project in Boscoreale and Boscotrecase and in its close areas
too: nature is seen as Bosco and cultivated camps memory, landscape as relation
to Vesuvio, sea and gulf, magma as memory and reality’s violence and paralysis,
man and his land history.
Buildings, considered almost as archeologic pre-existence,
linger in their original condition and have been re-used just trough soft parasite architecture
actions which contribute to keep strong strategies about some city parts
‘recycling’.
Following this strategy, the project works on building position’s value of both stations,
so they get stronger their urban role, related
to infrastructure being too, creating common spaces too, regardless of their functions.
About Boscoreale station, Vesuvio becomes a background
to the eye cones created by new shelters: they represent the land archeological
memories trough fiber glass panels.
Big stairs and sloping planers set new design to the ground,
pitching and playing with colors: green grass and plants and vesuvian grey’s
stones.
In Boscotrecase, some shelters define the space: for
bus stop waiting areas and for panoramic terrace on
the gulf.
Inside station’s buildings, the project wants to recover
the open hall, using it as exposition space, conforming to the ‘Art stations’ issue.
A brise-soleil system has been hooked to the
pre-existent glass roof, following its form and its structure, to improve the
existing ‘greenhouse’ and creating new spaces.
‘Impronte’, a system in 24 fiberglass panels (used to
the exterior shelters too), is hanged up by hall’s brise-soleil system and
create a permanent exhibition about Boscoreale and Boscotrecase history. Panels
represent the iconographic history and
land memory full of archeology trough
abstract and recovery processes of some iconographic fresco’s pictures, found
in Fannio Sinistore villa and of some Boscoreale treasures silverwares.
The architectonic quality of ‘waiting areas’
(platforms) and ‘way areas’(mezzanine floor) always changes in the project,
thanks to the use of micro-forated sheet papers in different colors and sinuous
shapes, going from the roof to the stairs and
joining the two floors.
This sheet papers make, on the platform, big painted
‘thin layers’ which turn around their selves until the ground, becoming a big
seat for train waiting areas and giving fluidity
and unity to spaces.
Finally, trying to conciliate art and architecture,
Stefano Esposito, a part for ‘Impronte’ elaboration, has also placed in
mezzanine floor ‘P-aleogramma’, a work in linguistic and conceptual continuity with
the whole architectonic project, thought just for studioelt.