BARATTI PAVILLION 2015

"Porta del Parco Archeologico" Competition


Location: Baratti (I)
Client: B.A.Co. (Baratti Architettura e Arte Contemporanea) - Archivio Vittorio Giorgini
Year: 2015
Status: 2nd Prize
with: sound designer Valeria Merlini


The project aims to introduce the visitors of the archaeological park through a suggestive path that recalls the key moments of the park: the necropolis of San Cerbone, the industrial area, the necropolis of the Caves, the monastery of San Quirico and the 'acropolis of Populonia. These five key moments can be interpreted as real "space-time events”.

 

Space and time have inspired the design of the path.

 

The proportions of the tombs of the acropolis of S. Cerbone have been divided into 5 modules of regular length, width and height varying between 2 - 3 m and they have been assigned sequentially to each of the 5 different times of the park. The moments are punctuated by some blank forms, to represent the typical difficulties of archaeological research.

 

Walking in the park through different historical periods: the introduction to the experience of time becomes a sensory experience for the visitor. On the two sides of the structure it is transposed curve equation of time that equips the path of a three-dimensional stratigraphy. Simultaneously, on the Bamboo-panels along the southwest side of the installation there are some holes which, activated by the strong winds in the area, act as a wind organ. Following a "musical score" suitably studied for variations in intensity of the sound, the visitors are guided from the necropolis of San Cerbone, to the industrial zone, to the necropolis of the Caves, to the monastery of San Quirico and finally the Acropolis. Since ancient times to the the industrial era, the Middle Ages and then again to the ancient period.

From the technological point of view the structure is very simple to build in order to meet the query of “self-construction”.

 

It is articulated by means of a system of portals, whose structural nodes are bounded with square-ligatures of strings of jute, anchored with steel elements (sleeves at sight, rather than components imbedded inside of the culm) to a slab in-ground concrete. The side panels of the structure will be made of bamboo-culms adjacent connected with falt-ligatures jute ropes.

 

The entire structure is made using 276 bamboo-culms of 4m. The remaining stalks are cut to 2 meters and arranged along the direction input, with random distribution.

The structure reacts to the stress of wind and turn them into music. The presence of the wind depending on its direction and intensity, activates otherwise the sound in the door structure, characterizing and strengthening the identity of the place. The sound atmosphere of the archaeological park becomes audible and recognizable at a distance. It becomes an element of recall, guidance and support for park visitors.

 

The sounds, not consistent and not invasive, depend on the weather and are inspired by traditional bamboo-organ wind used in South East Asia and the Pacific Islands to meet the collective, for funeral rituals, to celebrate the harvest and to protect villages from attacks by animals.

 

Similar to wind-organ and flute, the openings created in the structure of the bamboo (holes, cuts, cracks) allow the wind to vibrate the air in the cavity between the nodes. The resonance of the air column inside the cavity depends on its geometric shape (length and shape of the tube) and by the fact whether or not it ends closed. The cavity drilled between the two nodes supports and amplifies oscillations that occur at its resonance frequencies, while leaving extinguish the other frequencies. It is then applied the principle of acoustic resonators Hermann von Helmholz, showing the relationship between the size of a vibrating object and the frequencies at which it is able to resonate.

 

Depending on the shape and size of the cut between the two nodes of the bamboo-culm and depending on how these holes are oriented, in accordance to the blowing of the wind, it’s possible to tune the instrument, giving to it a voice of its own, unique. For long-term installations, it is recommended to coat the nodes with glass fibers to protect the crunch, painting the bamboo in order to protect it from atmospheric agents and to create the cut immediately in the vicinity of the node, in order to avoid rain water to stagnate and interfere with the quality of the sound generated.

 

The unique sound of the sound portal allows you to mark their territory acoustically, building a symphony with the wind park.