The Edicola (Kiosk) is the name of this small pavilion, whose fragmented cube-like appearance translates the Caritas theme of "Divide and multiply" into architectural terms. The structure was designed with simplicity as the basis of its composition and the uncluttered nature of its appearance.
The structure is divided into 5 structures similar to each other but of different sizes and designed for different purposes. They are positioned on the ground and joined by vertices, a reference to the typical square plan of the kiosk. The uniformity of the construction is ensured by its structural profile characterised by the same external dimensions, colour and materials.
Although its structure is extremely simple, the Edicola is truly eco-sustainable. The structure has been designed to be easily dismantled and reassembled elsewhere. Due to its shape, structure and size the building can be used as a school, a counselling centre for the disadvantaged or a care centre for the needy.
Externally, the pavilion is made of pre-stressed plastic mesh which allows air to circulate through it without the need for air conditioning and allows natural light to illuminate the interior, all with the aim of reducing energy consumption.
The land occupied by Caritas has a number of different features: a 200 m² paved area in the open air that welcomes visitors, a 150 m² covered area divided into different rooms, and 550 m² of green space. This pavilion is not only a place, but 5 situations, 5 experiences that help visitors get closer to the theme "Divide and multiply" and the Caritas world.
The itinerary leads visitors through the different rooms, each dedicated to a specific experience and presenting, at its heart, a work of art: The energy of the installation, made in 1973 by the German artist, member of the neo-dada Fluxus art movement, Wolf Vostell.
The work comes from the artist's own museum in Malpartida in the Extremadura region of Spain and features the carcass of a large Cadillac full of machine guns and surrounded by breadsticks wrapped in newspaper. By irreverently placing a status symbol and the ultimate lowly necessity side by side, he expresses a critique of consumer society.
The individual experience of each person is to be transformed into a collective experience and will live, even after the Expo, on the web. Indeed, as the itinerary ends, visitors are invited to record a video message that will be reconstituted with the messages of other visitors in a collage, a collective spiritual legacy of this experience that will then be shared and thus multiplied on social media.