Italian Pavilion of Expo 2020 Dubai Project by Dodi Moss and Edoardo Tresoldi
Dodi Moss and Edoardo Tresoldi have won the third place at the competition organized by Invitalia for the italian pavilion at Expo 2020. The pavilion is centered around the theme “Beauty unites people” and features an emotional path through a layering of transparent, material and vegetable elements.Take a look at the complete project after the jump.
From the press release: Dodi Moss is leading a group, composed with the artist Edoardo Tresoldi, SCA, Progettando, Emanuele Donadel, Studio Tecnico Gaetano Farella, Leo Francesco, Francesco Marzulli, third place in the competition organized by Invitalia for the design of the Italian Pavilion at Expo 2020 Dubai. Dodi Moss is a young design company based in Genoa and composed of 19 partners with specific expertise that aims to respond with innovative skills to complex design challenges.
An architectural body, shifting from the given lot, is composed of two complementary identities: a transparent volume, a pure structural element, in which references to architectural archetypes stratify impalpably, and a solid, material pedestal, in which all the functions of the pavilion, which constitutes its opaque imprint, are accommodated.
This is how Dodi Moss’ design proposal for the Italian Pavilion at Expo 2020 Dubai manifests itself, third place, after those of carlorattiassociati and Gianluca Peluffo & Partners, in the competition launched last autumn.
The team of designers led by Dodi Moss, in collaboration with artist Edoardo Tresoldi and with SCA as architect of record, proposed a large volume from which different environments that stylistically evoke the palaces and courtyards of Italian architecture are subtracted in negative. The intersections and subtractions with the “parallelepiped container” create repeated cuts and volumetric decompositions and accompany visitors on an emotional, tactile and visual journey.
“The stratification between transparent, material and vegetable elements -the designers write- codifies some sort of ruin of memory that refers to the continuous synthesis of the past as the deep root of our work today.” In this sense “the Pavilion proposes not only the Italian point of view, but the awareness of the Italian identity as a stratified entity that has its roots in a millenary cultural history.”
The pedestal gradually rises to a height, shaping a material shell that jealously guards the garden, making it visible only in part from the outside, and placing itself beneath the majestic transparent metal mesh structures that evoke the environments and vaults of Italian courtyards and palaces. The fusion between the materic and ethereal elements gives life to the large central spaces -the Prologue and the Square- which, pervaded by water and the garden, key elements of the great tradition of the Italian Gardens, constitute the evocative and functional fulcrum of the project.
If on the outside the volume shaped by man is clearly visible, on the inside the architectural lines disappear completely to be covered by vegetation, water, metal mesh and glass, which form an enveloping and suspended environment. The stratification between transparent, material and vegetable elements codifies a sort of ruin of memory that refers to the continuous synthesis of the past as the deep root of our work today.
The Pavilion is a symphonic place where nature and architecture converse -following the original definition of garden- composing a formal and geometric space: it is on transparent architecture that vegetation develops and takes shape. The wire mesh structure determines the reading of the space within a unitary tale in which the two worlds elegantly blend.
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