It is a circuit in which we identify six (6) types of intelligence that articulate human action throughout its evolution: individual_collective_natural_artificial_artificial_emotional_rational. Each of these intelligences acts individually, but they interact with each other in different ways. From the interaction between two intelligences emerges a tension (a chaos) that is evident through the expressiveness without an apparent logic of the structures that sustain them.
From these points of conflict emerges a synapse, an interconnection, a relationship between parts, a structure that – through chaos – aims to interlink (in the sense of intelligence) the intelligences in question, providing the content of the exhibition as a support. In this way, the pavilion is traversed by threading together the six types of intelligence that produce five intersections, which, sustain and illuminate the whole of the work.
The arrangement of these five traversable supports, materialised by means of scaffolding and articulations, are arranged in the space in an a priori random way, contrasting with the central, serene and linear path that offers the visitor the possibility of stopping, sitting down under the cloud of supposed intelligences and recovering the capacity for contemplation.

The content is proposed under a curatorial criterion in the 5 intersections according to a chronological order. The exhibition criterion that defines each of the intersections then exhibits a selection of works that entails an integral and direct relationship to what is exhibited, and responds to a timeline that begins in the individual intelligence and culminates in the artificial one.
The pavilion is built from the combination and arrangement of tubular pieces and knots that form scaffolding, these structures being the representation of the human capacity to evolve from intelligence in which solid wooden planks give format to the application of audio-visual content. In turn, the scaffolding structures support and elevate the six hanging volumes that levitate in the space generating the circuit of the proposal. The light volumes that crown the structures are materialised by means of white and ethereal canvases through the recovery of discarded plastic burlap bags.

The proposal has an integrated circuit, meaning an element that sews the entire program of uses of the Villa Altissima. A circulation of irregular geometric configuration that contrasts intentionally with the living organism defined by the hanging wire mesh. This piece shares, along with the nature trails, the responsibility of sewing the whole of the project’s circuits. Its erratic configuration responds to experiencing interstitial spaces, ( serendipitous exchanges ) some are spaces in themselves and other circulations where the artistic and exhibition experience is integrative.

This circulation is turned into theatre, generates exhibition spaces and connects the visitor to the workshop and atelier areas, concluding in the performatics square (-6.00), as well as in the restaurant (level +/- 0.00). In this way the visitor can stay in the Palazzo, and experience the theatre, art gallery, atelier visits, workshops and restaurant all under one footpath. The route does not have a beginning or an end, it has the versatility of being able to enter from any point. There is one piece in particular that functions as a return point, creating a loop within the art gallery: the long ramp that runs along the façade between the old façade and the new ETFE skin that covers this circulation. Three spaces complement the program, these are: the terrace viewpoint, the “forest eye lookout” and the performatics square, all of them are an integral part of the circuit.  These three spaces combine environmental awareness and artistic exploration as a vehicle for self-knowledge.

The available square meters are used for guest room programs, artists’ rooms, restaurant, ateliers, workshops. The strategy in the original buildings is fundamentally to preserve the Pallazzo and the Cottage and to work through volumes that operate slightly on the old building, suggesting a respect for the conservation of the original building. This sober resolution integrates a contemporary proposal and with it an awareness of the flow of time translated into calm and contemplation.

These volumes propose a sub-programme within the programmes and are made up of two skins, the exterior through the thermoformed PES fibres with open joints and the interior in both acrylic or timber deking depending on the use.

The art cabins, are semi-covered structures conformed by the same constructive logic as the wire mesh, which are integrated through natural paths in the different levels of the whole Villa. These spaces have the same logic, but a different materialization, of an organism whose native vegetation and geometry, interpellates the visitor inviting him to be aware of the finiteness of human existence and the importance of understanding that art is a foundational tool for the human being.

Old Markets: We investigate the original morphologies of fairs and markets.

Agora: Origin of the polis and first market headquarters. Meeting point, place that summons to the meeting.

Landscape: Natural event. Interactivity space. Centre for eco-perceived sustainability.

The proposal is based on the idea of recomposing the DNA of sustainable public space within the Shopping Mall, recreating green areas for recreation. Far from integrating a real nature, we emulate an intentionally orthogonal organic universe constituted as a topographic checkerboard.

We recreated a picnic environment, through the eco-perception of several of its elements as a design strategy. Its sustainable materials are part of the same concept.

We revindicate the spontaneous/deliberate congregation of mixed uses, typical of a contemporary city, as a unique and possible proposal to be implemented in today’s shopping malls. These we have divided into cells and denominated:

• Eco-wellness: Green areas recreated for use from the gastronomic (picnic).
• Recreation: Recreational spaces for leisure through topographical configurations.
• Connectivity: Areas prepared ergonomically and through specific furniture for remote work use. (networking)
• Market: Areas under the atriums ( tribunes ) for the use of commercial shops which are ideally complemented by the new use of the recreational areas.

These 4 (four) cells form a set of mixed uses and represent a dynamic, prepared to accommodate all types of audience.

Two large atriums I & II, work as viewpoints from which to view and be viewed, which cohabit and resolve recreational and gastronomic uses.

Abasto shopping centre has a long tradition, and we believe it is essential to build an independent identity, so that this space has a life of its own.