HILL

OF THE
27.01.2020
29.04.2020

RTS
> INTRODUCTION
Architecture is the branch of knowledge that shapes
and structures places for human activities. It gives an
answer to several and various issues, where solutions
embody designer’s creativity and intellect. Architectural
quest doesn’t simply resolve itself nor in a stylish, nor a
functional, nor an economic, nor a technological answer.
A genuine architectural answer comes through making
a patchwork of all those issues, where designer man-
ages to blend and structure them together with sensi-
bility and control. YAC aims to promote contemporary
projects that embody a temporal and personal approach
to architectural space. Idea is the keyword, Architecture
is the answer and project is the medium through which
intuition transforms into concrete reality.
2
> BRIEF
Cantabria, Spain. Upper Paleolithic.
A man- in all likelihood a Sapiens Sapiens- dips his fin-
gers in a reddish hematite-based solution and traces
the unequivocal traits of bisons on the bare stone of his
cave.
This is the beginning of the history of art.
Over the centuries, human beings have been looking for
different ways to express themselves. Over time, may-
be they have lost the meaning of such revolutionary and
avant-gardist gesture. However, art is still the most ef-
ficient human instrument to explore what lies beyond,
what is unsaid and unthought.
Art is the relationship between the artist and the view-
er. It is the relationship between artists and the context
they live in. Art implies the observer’s involvement. It re-
quires an effort of attention and contextualization. Art
takes time. It takes time to be made. It requires time to
be understood. In a world that has everything but the
ability to take time, art is the most refined form of luxury
people can pursue.
Based on this awareness, Urban Up | Unipol is pleased
to present Hill of the Arts. This is the competition that
aims to create a new generation of [luxury] houses-ho-
tel to enhance the consolidated art hotel model.
Situated in a Savoy Villa, Hill of the Arts invites design-
ers to create a context boasting numerous forms of art.
It will be a retreat for artists and a place where enthu-
siasts and visitors can live a regenerating experience
thanks to the most refined human language: art.
Hill of the Arts will surely be a hotel. However, it will
mainly be a performative center. It will feature music,
painting, video-art and acting. It will be a place where
the most distinguished creative minds can meet to out-
line, improve and comment on contemporary artistic
trends.
It will be a refuge for avant-gardists. Exactly like Sapiens
Sapiens (or Neanderthals) 30,000 years ago, here artists
will give to the world masterpieces able to defy time and
arouse emotions and mystery thousands of generations
later.
Urban Up | Unipol thanks all the designers who will take
part in this challenge.
3
 45°01’08.4”N
7°41’04.7”E
> SITE
Sooty winds used to rise from the chimneys of a nine-
teenth-century Turin. The sound of hammer strokes
on the futuristic cast iron architectures resonated in
the streets. At sunset, gas-powered lights enlightened
the streets of the future Kingdom of Italy with Caravag-
gesque shades.
In the East, on the wooded slopes of the hills surround-
ing the city, Villa Altissimo is expanded and renovated.
For more than three centuries, the Villa has been
overlooking Turin with tranquil indifference. It is close
enough to the city to enjoy its view. Likewise, it is far
enough from it to not be contaminated by its complexity
and frenzy.
Looking at Turin from Villa Altissimo is like contemplat-
ing a painting pulsing with life. From there, one can see
and enjoy its occurrences and tensions. Yet, the Villa en-
ables people to keep their distance from such events.
There, people are protected and shielded by pictorial fic-
tion.
The Villa was built approximately in the mid-eighteen
century as a retreat from court life. It was the place where
to flee from the complexity of affairs of state and insti-
tutional etiquette. Since its construction, many events
have occurred. A Kingdom has aroused and faded. Turin
is not the capital city of Italy anymore. Monarchs are not
in the city anymore. Yet, there are still the palaces of the
Savoy court and its entourage. There are majestic build-
ings that are often abandoned. Still, they are as fasci-
nating and solemn as they were when they were built.
Today, their fascination and solemnity are extremely val-
uable. They are remarkable elements to be taken into
account in designing the project of the competition.
In order to ensure a contextualized design aiming at
proposing feasible solutions, hereby follows a list of the
main constraints and features to take into account for
the design.
1. Turin; its unique skyline is framed by a stunning
background of mountains covered in snow. The Mole
Antonelliana stands out at the horizon. Turin is one
of the most fascinating and ancient cities of Italy. The
first proofs of the Celtic-Ligurian settlement (the Tau-
rini) dated back to approximately 300 BC. Then, the
original Taurinum disappeared during the Punic Wars
when Hannibal moved from the Alps to the Italian region
Lazio. Subsequently, the Roman Empire conquered it. At
the fall of the empire, Turin – also named Iulia Augusta
Taurinorum- suffered the same fate as numerous frag-
ments left by the previous political system. Firstly the
Lombards and then the Carolingians conquered it. After
that, it became the city of the dynasty of Savoy around
1280. It firstly became the capital city of their Duchy.
Then it turned into the capital city of the Kingdom of It-
4
aly. Turin perfectly reflected the fate of its sovereigns. It
stood out for splendors and victories and was affected
by sieges and austerity. Turin played a crucial role in the
Italian unification process. It became the driving force of
the Italian Risorgimento. At its height, it was the Capital
city of the newborn Kingdom of Italy from 1861 to 1865.
Then, it thrived as industrial city at the beginning of the
twentieth century. Moreover, Turin is the birthplace of
great intellectuals as Italo Calvino, Emilio Salgari and
Primo Levi. Without any doubt, this city is a remarka-
ble context for a new accommodation formula. This new
model will stand out thanks to a unique approach to art
and contemporary culture.
2. History of the Villa; there is no extensive informa-
tion regarding the events that occurred in Villa Altissimo.
The only documentary sources are a series of property
deeds and architectural transformations of the building.
What is certain is that the villa was built around 1730 as
Luigi Amedeo Talpone’s residence. He was the butler of
the second sovereign of Savoy king Charles Albert III.
His reign was deeply affected by his father’s cumber-
some and controversial influence. During his crown, the
Kingdom of Savoy boasted prosperity and growth in stark
contrast to the rigor and severity of the previous court.
With all likelihood, Villa Altissimo was built in the wake
of this rediscovered levity and consolidated optimism.
There is no trace concerning what happened to the vil-
la until 1840. In that year, the value of the building was
enhanced by numerous added elements. A monumen-
tal terrace, an inner staircase and several decorations
were made. Today, such adornments are still embel-
lishing the residence. Additional information regarding
the villa dates back to the second half of the twentieth
century when Renato Altissimo purchased it. He was a
distinguished businessman, minister and deputy of the
Italian Republic. The current toponym of the villa derives
from him. The Altissimo family’s fortune is due to the
production of accessories, which were purchased and
used by Fiat factories. The owners decided to expand the
twentieth-century cottage of the residence that replaced
the farm buildings of the villa. By doing so, they gave this
architectural complex its current look.
3. Natural system; Villa Altissimo boasts a 6hapark.
A private walkway gives access to the complex. Through
sharp hairpin turns, it leads from the level of the public
road to the higher level of the Villa. Neat rows of an-
cient trees literally embrace the walkway. They create
vegetal wings with bright colors that change according
to the season. This is a natural sculpture offering sug-
gestive panoramas and splendid views. Around the villa,
elegant promenades cross the park. Lindens, chestnut
trees and Japanese maples tinge the autochthon for-
est with colors. With coquettish attention, the park is
studded with water pools and tranquil panoramic view-
points. Here, one can enjoy the rustling of leaves and the
5
singing of the birds. Because of the steep configuration
of the land there are few lowlands. However, this topog-
raphy can be a valuable element to design routes able
to combine the design of the villa with a real art park.
Therefore, recesses, overlooks, amphitheaters and sus-
pended paths are some of the numerous architectur-
al possibilities. They will enhance the use of the park
through promenades and extremely fascinating instal-
lations with a remarkable architectural value.
4. Admitted interventions: in order to fully respect
the architectural and landscape value of Villa Altissimo,
hereby follow some design indications that participants
must take into account;
a. new volumes - independent, adjacent or in existing
facilities- are admitted as long as:
i. they do not damage or affect existing architec-
tures;
ii. they do not exceed 5 meters in height;
iii. they do not exceed 300sqm altogether; f. excavation operations or the creation of underground
iv. they are situated in the area of the competition spaces are permitted;
(see file dwg);
v. they guarantee an harmonic design with the ar- g. the planting/removal of trees is permitted. Suspend-
chitecture and the surrounding landscape. ed structures on trees are admitted.
b. materials must be consistent with the existing archi-
tecture and the surrounding area. They can be com-
patible or dystonic, traditional or high-tech as long
as the overall design is guaranteed in order to better
enhance existing architectures.
c. the complex must guarantee the highest level of vis-
itability. Architects will have to make it accessible to
people with reduced mobility too;
d. the complex will have to be sustainable from an en-
ergy point of view;
e. the demolition of existing buildings is not permitted;
6
> PROGRAM
Without any doubt, frenzy is one of the main features of
current contemporaneity.
Too often, new expressions to name the tragic effects of
a struggling society have to be coined. “Workhaolism”,
“burnout”, “kuroshi”: all over the world work-related
stress generates phenomena that show the limits of so-
cial and economic systems.
Consequently, there is an increasing demand for plac-
es to retreat. They can be natural or artificial refuges to
allow human beings to stay away from the hyper-con-
nection, information bombardment and overstimulation
that constantly affect them.
In this sense, Hill of the Arts aims to virtuously meet the
need of spaces to retreat and regenerate that the com-
plex contemporary society demands. It will be a place
where to turn phones off, regenerate body and mind and
enjoy the natural rhythm humans were born for. Here,
one can take the time to be unproductive, to distance
oneself from the wave of errands flooding our daily life.
Here, one can take the time to lose time, to dedicate
time to art.
Retiring to Villa Altissimo will mean living a comprehen-
sive and exclusive experience. This experience will in-
clude luxury, psychological and physical comfort, spac-
es aiming to enhance relax and wellbeing. This will be a
rehabilitation experience through art.
The design challenge will be creating contemporary ar-
chitectures to live up to an extremely valuable architec-
ture (the historical villa) and to the natural surrounding
(the park). Moreover, it will have to establish a new rela-
tionship between the accommodating function and the
artistic purpose.
1. Theater; the facility will have to include a small
theater/auditorium (max. 50 people) to accommodate
different types of performances: jazz concerts, dance
shows, readings, acting both for the guests of the villa
and a wider yet exclusive audience;
2. Artist Room; the facility will have to include 3
apartments for artists. These rooms will have to be
apartments used for guest stays. Moreover, they will
have to meet the artists’ needs regarding artistic pro-
duction. For this purpose, they will have to be partially
open to visitors or visible in order to display the artistic
production activity;
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3. Guest Room; they will be rooms to host visitors
(architects must design at least 14 suites);
4. Art cabin; they will be elements halfway between
an artistic installation and a refuge. These pods will have
to be situated in the park. They will be extremely valua-
ble elements to implement the accommodation capacity
of the facility. Visitors will have the opportunity to walk
through the surrounding forests enjoying diversified and
remarkably fascinating architectural elements;
5. Workshops/ateliers; together with the spaces
dedicated to the artists’ rooms there will be artisanal
workshops/ateliers to provide guests with collective
activities. Moreover, they will host all the creative pro-
duction activities that cannot be carried out in the Artist
Room;
6. Art gallery; it can either be a space complete-
ly dedicated to this function or an installation situated
throughout the public spaces of the facility (connect-
ing spaces/hall/reception etc.). The villa will have to be
equipped with specific spaces to display and collect all
the works of art purchased by the facility and the ones
donated by the hosted artists;
7. Restaurant; it will serve the guests of the facility.
Moreover, it will have to be a fascinating element for a
wider audience too. Visitors will specifically visit the Villa
to live an excellent food and wine experience. In addition
to that, it will support all the events connected to the
artistic animation of the Villa (max. 400 smq);
8. Wellness area; consistently with common accom-
modation standards, the architecture will have to include
a wellness area with saunas, Turkish baths, (indoor and
outdoor) swimming pools and any other experience con-
sistent with the positioning of the facility.
8
> CALENDAR > PRIZES
27/01/2020 “early bird” registration – start 1° PRIZE
10.000 €
01/03/2020 (h 11.59 pm GMT) “early bird” registration – end
2° PRIZE
4.000 €
02/03/2020 “standard” registration – start
3° PRIZE
29/03/2020 (h 11.59 pm GMT) “standard” registration – end 2.000 €

GOLD MENTION
30/03/2020 “late” registration – start 1.000 €

26/04/2020 (h 11.59 pm GMT) “late” registration – end GOLD MENTION

1.000 €

29/04/2020 (h 12.00 pm – midday - GMT) material submission deadline GOLD MENTION

1.000 €

04/05/2020 jury summoning GOLD MENTION

1.000 €
25/05/2020 results announcement
10 HONORABLE MENTIONS

Fulfilling an “early bird”, “standard” or “late” registration does not affect the submission
deadline, which is uniquely set on 29/04/2020.
30 FINALISTS
All the awarded proposals will be transmitted to architectural magazines and websites
and will be hosted in international exhibitions. All the finalist proposals will be published
on www.youngarchitectscompetitions.com

9
> SUBSCRIPTION
The whole procedure is computerized:
• open: www.youngarchitectscompetitions.com;
• enter registration area;
• fill required fields;
• at the end of the procedure the first member of the team will be notified with a val-
idation mail containing the team ID number (“teamID” is a randomly and automati-
cally assigned number); if no mail arrives check the “spam” folder;
• a username, a password and a link will be received; open the link to confirm the
preregistration;
• once the pre-registration confirmed, enter personal area and fulfill fee payment;
• once pre-registration and fee payment are fulfilled, uploading will be enabled;
• open personal area, insert username & password; upload the materials; the first
member of the team will be notified with a validation mail; if no mail arrives check
the “spam” folder.
It is highly recommended to be early on deadlines with subscriptions and payments.
> FAQ
During the whole contest, until 29/04/2020- submission deadline - competitors can ad-
dress any question to yac@yac-ltd.com. YAC staff will individually answer the compet-
itors by e-mail and will weekly publish updates in the FAQ section of the competition
website. Answers will be published in English and updated on Facebook and Twitter.
Surely, YAC staff will be providing technical support in case of technical and functional
problems during the upload procedure.
> MATERIALS
• n. 1 A1 board (841 x 594mm) in .pdf format, maximum size 10 mb, horizontal or verti-
cal layout, to be uploaded on the personal login area. This layout must contain:
i. design concept / conceptual idea;
ii. graphic framework aimed to illustrate the project (i.e. plans, facades, cross-sec-
tions) – choosing what to display and the relative scale is up to the competitor’s
choice;
iii. 3d views - i.e. renderings, pictures, hand sketches;
File name: A1_TeamID_HA.pdf (i.e. if “TeamID” is 123, file must be named A1_123_
HA.pdf)
• n. 1 A3 album (420mm x 297mm), .pdf format, maximum size 10 mb, horizontal lay-
out, maximum 7 pages long, to be uploaded on the personal login area. No cover.
Album must contain:
i. general layout on 1:500 scale;
ii. significative layouts on 1:100 scale;
iii. at least one significative cross-section on 1:100 scale;
File name: A3_TeamID_HA.pdf (i.e. if “TeamID” is 123, file must be named A3_123_
HA.pdf
• n. 1 cover .jpeg or .png format 1920x1080 pixel size. It should be a relevant image
showing the project that will become its avatar icon:
File name: Cover_TeamID_HA.jpg (i.e. if “TeamID” is 123, file must be named Co-
ver_123_HA.jpg)
Texts should be short and written in English. Layouts cannot contain any name or refe-
rence to designers. The materials cannot report the team ID number on them. This code
is only meant to appear on the filename, since jury will not be enabled to seeing it during
the voting procedure.
10
> RULES
a. Competitors must respect calendar dates, procedures and fees.
b. Competitors must respect all the instructions regarding required material.
c. Competitors can be students, graduated, freelance architects, designers or artists: it is
not mandatory to be involved in architectural disciplines or enrolled in architectural
associations.
d. Competitors can join the competition either individually or with a team.
e. Teams must have at least one team member aged 18 to 35.
f. Teams can be composed of any number of team members.
g. Teams can be composed of members coming from different countries and universities.
h. Paying one registration fee allows to join the competition with one project.
i. Paying further registration fees allows to join the competition with additional projects;
fees are determined by the competition’s calendar.
j. Prizes include bank commissions and fees.
k. Prizes are established regardless of the number of members of the team.
l. A technical staff nominated by Urban Up | Unipol will assess the eligibility of the pro-
jects. Such assessment is not binding for the purpose of the jury’s work.
m. The jury’s verdict is incontestable.
n. It is forbidden for competitors to ask a juror about the competition.
o. It is forbidden for competitors to publicize their own proposal material before the official
announcement of winners has been made.
p. It is forbidden for competitors to join the competition in case they have or had business
collaboration or blood-relations with jurors.
q. By violating the rules, competitors and their teams will be disqualified from the compe-
tition without any chance of getting a refund.
r. By participating, architects fully accept all the rules, terms and conditions as stated in
the description of the competition with no exception.
s. The authorship of each project is equally attributed to each member of the team.
> INELIGIBILITY
a. Layouts showing texts bodies not written in English will be banned.
b. Layouts showing names or referrals to their own team / their identity will be banned; Te-
amID is considered as a referral to the competitors and can appear on the file name
only, since jurors will not be allowed to see it.
c. Files named not according to the prescriptions of the competition will be banned.
d. Material which is considered incomplete or non congruent to the criteria of the compe-
tition will be banned.
e. Material which is submitted by times and procedures different from the ones of the
competition will be banned.
f. The team which does not include a competitor younger than 35.
g. Team members trying to ask a juror about the competition will disqualify their own team.
h. Any participant with ongoing work or family relationships with one or more members of
the jury;
i. Team members who spread their own proposal material before the winner of the com-
petition is chosen;
j. Any participant that is not the owner or author of the submitted project or parts of such
project;
11
> NOTES
a. All the projects that will win a money prize and any (available) intellectual property right
and/or industrial right on the projects are definitively acquired by Urban Up | Unipol.
The latter acquires the exclusive right of economic exploitation of the project and the
right to reproduce the project in any way or form, including the right to use, realize,
adapt, modify, publish in every media, display, reproduce and distribute the pro-
an identity document regarding the data of the registration.
k. YAC and Urban Up | Unipol are not responsible for false data provision by candidates.
l. By entering the competition, the candidates accept the competition’s terms and condi-
tions.
m. Italian law regulates this regulation. Controversy arising shall be of exclusive compe-
tence of the Court of Bologna.
n. YAC srl will share with Urban Up | Unipol all the data provided by competitors to take
part in the competition;

> NOTES REGARDING PRIZES

ject also for marketing and advertising purposes, review the editorial, create works
based on the project or giving the project or parts of it to third parties in any means,
way or through any technology also including the freedom of panorama without any
limitation in time or place.
b. For all the awarded projects (including projects that have received a non-monetary prize) a. The publication of the results according to the calendar of the competition has to be
architects undertake to provide any further digital material (e.g. three-dimensional considered a provisional publication. It shall be bound by the verification of the req-
models) regarding the project to help YAC and Urban Up | Unipol better report the uisites defined by the competition;
results of the competition through publications and specific publishing products; b. Consistently with what stated in the article j in the section “notes”, after publishing the
c. YAC and Urban Up | Unipol reserve the rights to use the participating projects for exhi- results, YAC srl shall reserve the right to verify and collect a copy of the winners’
bitions and publications, digital or paper catalogues and dossiers- without prejudice identity documents;
to the right of the architect to be mentioned as the author of the project; c. After verifying the identity of the winners, the prizes will be awarded once the winners
d. Projects must be new and original and the result of the intellectual activity of the can- have signed a self-declaration certifying that they fully accept the terms of the com-
didates who cannot present works that does not comply with these aspects. For petition regarding the eligibility conditions.
this reason, YAC and Urban Up | Unipol will not be responsible in case the uploaded
projects are not the result of the candidate’s or teams’ creativity or if the candidate
or teams are not the owner of the right of exploitation including the right to take part
in a competition like this one.
e. The available and necessary material for the competition is available in the download
section of the competition site www.youngarchitectscompetitions.com regardless of
registration in the competition; it is allowed to use additional material collected by
each member.
f. YAC has the right to change dates or other details in order to improve or fix aspects of
the competition, a notice will be given within a reasonable time through all YAC’s
media channels.
g. YAC is not responsible for web malfunctioning or technical difficulties due to servers; it’s
highly recommended to submit required material, fees and subscription with a good
advance of time on the deadline.
h. The processing personal data of participants will be carried out with both manual and
computer modalities. Urban Up | Unipol and YAC will carry it out for the sole purpose
of the participation in the competition in compliance with the applicable regulation
as in the Italian Legislative Decree 196/03 and subsequent amendments. They will
both process personal data as independent data controllers. The conferment of data REFERENCES
is optional. However, any refusal to provide them will prevent architects from taking
part in the competition; pg.3 - Villa/ Gallery in Karuizawa by Makoto Yamaguchi Design
i. This competition is not an event in accordance with Article 6 of the Italian D.P.R. 430/2001. pg.5 - Designmuseum Danmark by COBE
j. Candidates will be held accountable for the personal data they provide and the promoter pg.6 - Atelier Arranc Bravo by Garcés - de Seta - Bonet arquitectes
does not assume any responsibility for wrong data provided. The promoter, accord- pg.7 - OTA Fine Arts by B.L.U.E. Architecture Design Studio
ing to privacy policies, has the right to verify candidates’ data by requesting a copy of pg.8 - OTA Fine Arts by B.L.U.E. Architecture Design Studio

12
> JURY
Daniel Libeskind
Studio Libeskind
In 1989, Daniel Libeskind founds its renowned ar-
chitecture studio in Berlin, after winning a competi-
tion for the project of the Jewish Museum in Berlin.
In 2003, the studio is moved to New York to redesign
the World Trade Center, which is currently under
construction in Lower Manhattan. He deals with dif-
ferent planning areas all over the world: museums,
concert halls, university campuses, hotels, shop-
ping malls and residential towers, among others.
Some of its most important works are the “London
Metropolitan University Graduate Centre” in 2004,
Military History Museum in Dresden in 2011 and the
Sapphire in Berlin, which was ended in 2016. He
has been holding numerous lectures and has been
participating in many international meetings. He is
interested in art and all its forms and in an origi-
nal and sustainable architecture. His approach has
been influencing contemporary creativity.
Patrik Schumacher
Zaha Hadid Architects
Patrik Schumacher is principal of Zaha Hadid
Architects and is leading the firm since Zaha Ha-
did’s passing in April 2016. He joined Zaha Hadid
in 1988, has been a co-author on most projects
and was seminal in developing Zaha Hadid Ar-
chitects to become a 400 strong global archi-
tecture and design brand. In 1996 he founded the
Design Research Laboratory at the Architectural
Association where he continues to teach. He is
lecturing worldwide and recently held the John
Portman Chair in Architecture at Harvard’s GSD.
Over the last 20 years he has contributed over 100
articles to architectural journals and anthologies.
In 2008 he coined the phrase Parametricism and
has since published a series of manifestos pro-
moting Parametricism as the new epochal style
for the 21st century. In 2010/2012 he published his
two-volume theoretical opus magnum “The Au-
topoiesis of Architecture”. He recently guest-edi-
ted the magazine AD - Parametricism 2.0 – set-
ting architecture’s agenda for the 21st Century
with a new emphasis on the societal relevance of
parametricism.
Emmanuelle Moureaux
Emmanuelle Moureaux Architecture + Design
Born in 1971, France. Emmanuelle Moureaux is a
French architect living in Tokyo since 1996, where she
established “emmanuelle moureaux architecture +
design” in 2003. Inspired by the layers and colors of
Tokyo that built a complex depth and density on the
street, and the Japanese traditional spatial elemen-
ts like sliding screens, she has created the concept
of shikiri, which literally means “dividing (creating)
space with colors”. She uses colors as three-di-
mensional elements, like layers, in order to create
spaces, not as a finishing touch applied on surfaces.
Her representative works include the architectural
design for Sugamo Shinkin Bank, space design for
ABC Cooking Studio, installations for UNIQLO and
ISSEY MIYAKE, and stick chair. Member of “Tokyo
Society of Architects”, the “Architectural Institute of
Japan”, and the “Japan Institute of Architects”, in
2016 she completed the artistic design of the Mass
Rapid Transit “Circular Line commissioned by the
New Taipei City Government in Taiwan where her
colors will spread into city-scale.
13
> JURY
Emanuele Montibeller
Arte Sella
He was born in 1959. In 1986, Emanuele Montibeller
founded Arte Sella. This is a project aimed at crea-
ting a place of encounter, dialogue between artists
and ideas sharing. Such project highlights the im-
portance of the Valsugana valley in the international
dialogue between creativity and natural world. He
is artistic director and curator of cultural projects
for the association Arte Sella both in Italy and abro-
ad. He helped creating the route ArteNatura, which
is a forest itinerary studded by works of art made
by masters of the Art in nature. Some of them are
Nils-Udo, Chris Drury, Patrick Dougherty, Miche-
langelo Pistoletto.
Edoardo Tresoldi
Edoardo Tresoldi
Edoardo Tresoldi plays with the transparen-
cy of mesh and with industrial materials to
transcend the time-space dimension and
narrate a dialogue between Art and World,
a visual summary which reveals itself in the
fade-out of physical limitations. Since 2013,
he performs public space interventions, fo-
cusing his research on genius loci and the
study of landscape elements. In 2016 he
carried out, together with the Italian Mini-
stry of Culture, the restoration of the Basi-
lica Paleocristiana of Siponto (FG), a unique
convergence between contemporary art and
archaeology awarded the Gold Medal for Ita-
lian Architecture, the most prestigious pri-
ze of Italian Architecture established by the
Triennale di Milano. In January 2017 he has
been included by Forbes among the 30 most
influential European artists under 30 and in
2018 he conceives Etherea for the famous
Coachella Musics and Arts Festival.
Lukas Barry
Carmody Groarke
Lukas is a highly qualified architect, specia-
lising in cultural, arts and heritage projects;
he has been working at Carmody Groarke
since 2006 and has been part of the senior
leadership team since 2012. He has delive-
red a number of culturally-significant and
award-winning projects both in the UK and
internationally. Lukas has extensive expe-
rience in the cultural, arts and hospitality
sectors, delivering projects such as Surreal
House at the Barbican Art Gallery, Frieze Art
Fair, Double Club for Fondazione Prada, The
Filling Station and several projects for the
artist Antony Gormley. Most recently, Lukas
has led a project for the S1 Artspace in Park
Hill in Sheffield, a new gallery complex, set
to be one the most significant new cultural
buildings within the refurbishment of one
the largest listed buildings in Europe.
14
> JURY
Giuseppe Lobalsamo
Gruppo Unipol
In 1981, he graduated in Civil Engineering at
the University of Bologna and in the same
year he was conferred the right to exercise
the profession. Giuseppe Lobalsamo has
been working for more than thirty years in
the real estate field. He currently holds si-
gnificant positions in the Unipol Group. He is
the person in charge for the Real Estate Di-
rection of UnipolSai Assicurazioni S.p.A. and
he is part of the Board of Directors of Con-
sorzio Castello, Protos S.p.A. and UnipolSai
Investimenti SGR. He is also the chairman of
Hotel Terme di Saint Vincent and the CEO of
numerous companies: Meridiano Secondo
S.r.l., Ambra Property S.r.l., Midi S.r.l, Nuove
Iniziative Toscane S.r.l. and Villa Ragionieri
S.r.l., among others.
Giorgio Palmucci
Associazione Italiana Confindustria Alberghi
Born in 1961, in Milan, he has been chief
accountant for the Mediterranée Club Italy
between 1989 and 1993. He then became
Director of the Administration/Finance and
Control department, in a team of 25 mem-
bers. Since 1999 he has been General Mana-
ger of Villaggi Italia and Legal Representa-
tive of the company, by managing 7 holiday
villages and a total of about 8000 beds and
1500 employees. Between 2010 and 2011 he
has been appointed as CEO and General Di-
rector of Hotelturist spa, a company which
manages 11 hotel facilities in Italy and Swi-
tzerland. He is currently member of the
Governing Council of Astoi, Vice President
of Federturismo and President of EBIT (the
National Tourism Industry Institution) and of
the Italian Confindustria Association Hotels.
Paolo Danelli
DAP Studio
He graduates at Politecnico in Milan in 1989
and founds, together with Elena Sacco, DAP
studio. In his professional activity, he mainly
deals with cultural projects (cultural centers
and libraries) and buildings’ refurbishing
and repurposing projects.
He taught Architectural Design at Politec-
nico of Milan School of Architecture from
2010 to 2018. In 2018, he was invited - as stu-
dio DAP - to the competition to restore and
enlarge Palazzo Diamanti in Ferrara, where
he ranked second.
15
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