Abujia, Nigeria 2016
CHRIST EMBASSY LOVEWORLD ARENA
Abujia, Nigeria, 2016
|Name:||CHRIST EMBASSY LOVEWORLD ARENA|
|Designers:||GianPaolo Di Benedetto, Alex Braggion, Paolo Meneghetti, Gabriella Giacomoni, Maura Franch, Stefania Weber, Paolo Zanella, Gabriella Giacomoni, Roberto Pedrolli, Dario Di Benedetto, Silvia Fantoni, Daniele Bincoletto, Mauro Gasparo, Antonio De Stalis, Roberto Pedrolli, Eugenio Rigotti|
The project involves the aesthetic and functional redefinition of the arena, keeping the recesses and the existing openings, using as coating material the Topakustik® and 4akustik® system by Fantoni, in order to enrich the image and also to ensure the acoustic well-being of the room sound thanks to the unequalled performances of this sound system, original Fantoni, and adopted with success in the most important theaters, arenas and auditorium around the world. The design of the wall provides the cladding with a continuous panelling system, on which several squared panels in different sizes will be placed, raised from the main level. The distribution of these panels expects a thickening of it toward the center of the stage, and a rarefaction to the lateral sides. The “random” distribution and the gradual grouping of the panels to the center of the stage helps to give more importance and to accompany the look and the attention towards the heart of the auditorium, creating a perspective effect. In fact the wall, thanks to the continuous overlap of Topakustik® plans, seems a three-dimensional texture, doing vibrate the light differently, creating light and dark games of incredible scenic effect.
In the wall behind the panels, between a level and the other will be placed led strips with dimmer remote control, distributed at “random” and with greater concentration and emphasis toward the center of the stage. This will allow to manage the back wall as a fifth stage, which can be either a monochrome texture and a vibrant light wall.The existing recesses on the sides of the stage will be linked between them and the stage trhough an horizontal cut at the top of the wall, even to underline the union, as well as the closeness and the interaction between them, while retaining their identity. These will be painted with a dark blu tone, almost material and velvety, as an ancient and precious fresco: it is an historical reference to the art in the holy places of Christianity, to highlight the great spiritual value of the atmosphere. In such a way it will be in the same tone of the colour used by Giotto for the famous frescoes in the Cappella Degli Scrovegni in Padova.