March 2015 ISSUE # 3
Learning from students
Architecture and Design Magazine
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ISSUE # 3 / March 2015
WHY
3nta.com
1. 3NTA is an online magazine, with the aim of giving to students’ projects and ideas the dignity they deserve. 2. 3NTA does not pretend to be young, 3NTA is young. While being young, it enjoys the privilege of being naive. 3. 3NTA doesn’t ask for your grades. It considers “interesting” as its only value. For 3NTA there is no “good” or “bad” intellectual work. 4. 3NTA is international and local at the same time. With the role of the rotating editor it proposes local points of view in an international way. The rotating editor changes every month and it is always based in different city. 5. 3NTA is neither serious nor friendly. It is seriously friendly. It believes that communication requires effort and innovation within both architecture and design. 6.3NTA is not a random name. There is a very long story behind it. Maybe one day we will tell you about it… Maybe not. 7. 3NTA doesn’t know if it is going to last forever. But a beginning is more than enough. 8. 3NTA is quoting SAN ROCCO with this manifesto. If you don’t know SAN ROCCO, it’s enough to know that it’s a very cool architecture magazine, but 3NTA is much cooler. 9. 3NTA realized too late that the points are just 9. Unfortunately 3NTA is made by people and people make mistakes all the time. Students more than professionals. Therefore 3NTA is wrong on everything it says, and loves it! 10. this is all.
WHY
the magazine
Students all over the world share their efforts on 3NTA every day and we decided to make it tangible in a Issuu magazine. Here we collected some of the best contents presented on the website in the last month. Articles, projects, graphics, special contents from the rotating editor; all re-edited and reorganized, in order to give you a small taste of what 3NTA is about: students.
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ISSUE # 3 / March 2015
#3
We are back[
360° students' architecture and design magazine
“Nothing is more difficult, and therefore more precious, than to be able to decide.” Napoleon Bonaparte
WE ARE BACK
ISSUE # 3 / March 2015
B Y T H E ED I T O R S We are back
It is 3.00 am. You are alone in your
make a decision: start over.
dark room working on your pro-
This is what happened to us with
ject. The music went off hours ago,
3NTA. We were aware of the po-
but you don’t care. Your mind is
tential of the idea but at the same
too busy with something else. The
time we were facing all its weak-
light from your laptop screen re-
nesses. Many aspects were very
flects off the features on your face,
successful, but others weren’t
enlightening your disappointment.
coming together as expected.
Your are tired and things just aren’t
We could have ignored it and fo-
working. You have spent weeks
cused on the bright side, but this
on a design that it is now showing
wouldn’t have been fair to the pro-
its inadequacy. You are stuck; you
ject. It wouldn’t have been us. We
can’t go further.
believed in 3NTA too much to let it
You don’t want to admit it, because you have invested too much time and energy already, but you know it is the truth. In the silence of the darkness, with the pale light of your laptop as witness, you finally
go into a dead end. A few months ago, as hundreds of students do every day, we decided to start over, keeping the good and getting rid of the bad.
Now we are finally proud and hap-
a new space to collect some of
py to present you a better 3NTA,
the most interesting posts of the
not only with students’ projects,
month and give a quick overview
but also articles, graphic resourc-
of the contents that we propose.
es and much more. A slightly changed and improved version
This first issue in particular in-
of what we used to be, to show
cludes the first two months of the
you what we actually want to be:
beta version of the new 3NTA. It
a new website with more use-
was, for us, a time to explore and
ful tools for students all over the
test the new team through bond-
world to share their ideas and im-
ing and getting along together. We
prove their abilities.
wanted to see what the new 3NTA could give us and what we could
One of the aspects we liked the
give back. Now, after all this time,
most about the first version of 3NTA was the Issuu magazine and we definitely couldn’t give up on that. We decided to keep it as a collection of the best of 3NTA -
Luca De Stefano
we finally feel that things are coming together. We started over and now we are where we had wanted to be. We are back!
Marco Mattia Cristofori
Lorenzo Bottiglieri
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ISSUE # 3 / March 2015
I N DE X [10 -19]
Project/Architecture
MUWAILE H CO MMUNI T Y CENTER Mohamed Rowaizak
[20 -24]
Articles
THE BIEN N ALE HA NGOV ER Aga Batkiewicz
[26 -28]
Cut out
Nicola Vecchio
FAN TASY O R R E ALi TY ? Ramona Deaconu
[44 -45]
Graphics, In
SH O RT H I STO RY O F th
[46 -49]
Projects/Des
AC E - B I KE Àlex Casabò
Articles
STAN DARDIZEd VS . CO S T UMI ZED Luca Baldini
[34 -37]
Articles
Deepa Parapatt, Valeria Loreti
SCRUBS CUT O UT
[30 -33]
[38 -42]
[52 -57]
Articles
I N LOV E WI TH MY WALLE Jimena Garcia Mateo
Graphics, Posters
DON ’ T BE Giulia Fioravera, Agnese Laguzzi
[52 -57]
Articles
7 WE B SI TEs YO U N EED Marco Mattia Cristofori
[58 -61]
Cooking for students
PUMKI NG & A LMO ND S O UP
?
Devi Petti
fographics
the C LOT H Es H AN GER
sign
LLE T
EED
[62 -68]
Projects/Architecture
DY NA MI C O F THE FLA ME Semen Ogurtsov and Andrey Merekin
[70 -72]
Articles
201 4 R I BA Pr esid ent ’s Me d a l s Kristian Rasmus Bjerre
[ 74 -79]
Projects/Architecture
MI CR O as a conscious choic e Marco Pioventini + Carlo Alberto Cusinati + Martina Pini
80 -81]
Projects/Architecture
TH I NGS TO R EMEMBER FO R 201 5 Elena Monteleone
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Projects/Architecture
M UWA I LEH COMMU N I T Y CENTER
Author: Mohamed Rowaizak Nationality: Egyptian City and date of birth: Cairo, 20-03-1995 WEBSITE: www.rowaizak.com EMAIL: mohamed.rowaizak@gmail.com Instagram: Rowaizak (Mohamed Rowaizak) Function: Community Center, Public Space Site location: Sharjah, United Arab Emirates Year: 2014-2015 Institution: American University of Sharjah Tutors: Professor Christiano Luchetti
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The site stretches 700 meters across University Road, Shajrah, UAE. It is humid, sizzling, and devoid of any convenient weather. I took a look at the Sociological, Morphological, Functional, Environmental, and Perceptual aspects of the site and why such demand is directed towards it. Due to its strategic location, there is an increasing students’ interest in the area. Currently, visitors (students) are confined to rituals, brought by the limited variety of services. The project is a long mixed-use community center which includes office spaces, study rooms, an auditorium, a multifunctional space and even a performance hall. The building program is organized to foster serendipitous social and academic exchanges, extending education beyond traditional classroom settings. Below the elevated building, greenery has been introduced with open spaces for the public. The underside of the floating structure becomes part of its main elevation from which a sunken glass structure offers a connection between underground and the floating object. Made out of natural cut-out stone, the main volume is an object floating 5 meters above ground. Cracking the object was the method used to create openings for views and access for sunlight. Primary circulation follows the form of the object.
Perspective view
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exploded axonometric view
site plan
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underground floor plan
ground floor plan
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site plan
facade
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Concept diagrams
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Articles
TH E B I E N N ALE HA N G OV E R Author: Aga Batkiewicz Nationality: Polish location: Delft, Netherlands/TU Delft, Delft
The Koolhaa’s party is over. Someone has already switched the light on and the last couples have left the dancefloor. The ocean of exhibitions, lectures and accompanying events that lasted for a long five months, might surely give one a headache. After the room finally stopped spinning from absorbing too many views on modernity (or perhaps from having one glass too many of sparkling prosecco) what will be left in our architectural memory? Will the fourteenth Architecture Exhibition, called by some truly rebellious, influence and add to the ongoing discourse on changing practice and the role of the architect or will we wake up with a hangover.
© Darrel Roland
Rem Koolhaas–Venice Architecture Biennale 2014
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The Koolhaas feast the day after It was a hot summer in Venice this year. Under the merciless sun, a swarm of architects that flooded Giardini and adjacent Arsenale had to abandon their beloved black dress code in favor of a lighter palette. The Biennale kicked off in style. A number of invited researchers, OMA/AMO team and students from the Harvard Graduate School of Design joined forces and worked for two long years under the guidance of Rem Koolhaas, the host of this year’s Biennale. As a result of this investigation Rem served us his favorite, bitter-sweet cocktail, a true mixture of critique, humor and cynicism.
© Darrel Roland
Elements Exhibition, ‘roof’
© Ivan Thung
© Darrel Roland
Elements Exhibition, ‘Balcony’
Elements Exhibition, “The Ceiling”
Garden-party By dismantling a building into independent elements, Koolhaas brought architecture “back to basics”. In the Gardini, under the roof of the Central Pavilion he managed to gather a number of artifacts, a tangible encyclopedia of what a building is made of.
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Meandering between exhibits in the soothing sounds of Rem’s favorite music, one could test the endurance of a kinetic floor, follow the evolution of a urinal or glimpse into the “intestines” of a suspended ceiling. It is there, in the domed chamber, where the recently restored gilded decorations have been partially covered by standardized sheets of a lowered ceiling system, where he makes his point: “The ceiling has become a thick volume full of machinery, of which the architect has very little to say. The expression has been reduced to that of a grid.” The constantly accelerating process of modernization leaves less and less space for freedom of architectural expression. Standing in a tiny room with an army of technicians, project managers and developers, the designer’s involvement is often limited and shrank to the choice of assembling the building from a catalogue of ready-made elements. Proceeding digitalization and mechanization often lead to disappearance of an architectural sensitivity and symbolism. “If, for example, a fireplace was once an occasion for social gathering and ornamental embellishment, there are now sensors that can track an individual and provide heating specific to that one person. The provision of heat becomes a solitary, dematerialized and invisible affair”- Rowan Moore states in his critique.
© Darrel Roland
Elements Exhibition, ‘FIREPLACE’
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Russia’s trade fair A charming hostess stood at the threshold of the Russian Pavilion, luring the visitor to come inside. Designed by Moscow’s Strelka Institute, the exhibition “Fair Enough” has been awarded with one of the three Special Mentions for the national pavilions. Not surprisingly, the authors of the exposition responded to Koolhaas’ call for “Absorbing modernity: 1914 - 2014” with a certain dose of irony - Rem himself is responsible for designing the institute’s educational program. Stepping inside, one could find himself at a trade fair, somewhere in a faraway land where the winters are long and cold.
© Darrel Roland
‘Fair Enough’, Russian Pavilion
The commercial stalls tightly positioned in a generic looking room showcase a hundred years long history of country’s modernization. “Russian’s past our present” — states the neon outside the pavilion. Ideas, once produced in a radical Russian urban laboratory and charged with theoretical value, similarly to Rem’s building elements, have been stripped to their conceptual essence, ready to be sold, in a package-deal or independently, and exported to anyone, anywhere in the world. Architecture became a product of a standardization and once again mechanisms of globalization and commercialism have triumphed.
24 Scarpa’s retreat Just around the corner from the Biennale’s hustle, between San Marco square, jampacked with tourists and the famous Rialto bridge, stands one of many Venice’s palazzos—the building of the Fondazione Querini Stampalia. This cultural institution, founded in 1869, hosting a museum and a library, has been restored in 1963 by Carlo Scarpa, an architect born and educated in Venice. Rumors say he could spent hours moving a single line around on his drawings, focusing on the details. Other time, he would join the masons, perfecting the form and experience of his architecture on a site. You can almost trace his design process inside of a building, a careful layering of colors, textures and materials in creation of a truly sensual space. Escaping Rem’s party I was left with insecurity and doubts. This year’s Biennale, focusing on architectural fundamentals raises question for which there are no easy answers. I don’t know what the future of architecture is, but here, at Scarpa’s museum I know that it does exceed the pages of a catalogue.
© THOMAS nemeskeri
Interior of the Fondazione Querini Stampalia building in Venice - Carlo Scarpa
© THOMAS nemeskeri
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Cutout
S C R U BS C UT OUT
Every month on 3NTA new cutouts (.png) ready to use in your renderings and collage.
Author: Nicola Vecchio Nationality: Italian location: Romagnano Sesia/L.A.S. Felice Casorati Function: Series of Scrubs cut out USED SOFTWARE: Adobe Photoshop CS6 Year: 2015
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Articles
S tan dardized vs . customiz e d Author: Luca Baldini Nationality: Italian location: Delft, Netherlands/TU Delft, Delft
If users can personalize their products more than before, where has the definition of industrial design based on the last century gone?
“The creation of standard types for all practical commodities of everyday use is a social necessity.” Walter Gropius, Bauhaus Dessauó Principles of Bauhaus Production (1926).
Gropius, the founder of the Bauhaus at the very beginning of the ‘20 of the last century, wrote a manifesto about the new intentions for the “modernity”. The new man must be surrounded by functional and practical commodities, the beauty of the object lies in its material and form. In fact the modern product has to be aligned to the modern clothes, worn by the new man. This discussion was quite active during the past century, because it was still linked to the art & craft of the previous XIX century. What Gropius said was a revolutionary about the designer’s way of
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thinking. This new figure had to assemble, think and design the object for a propose, having in mind an higher standard of quality work in the Bauhaus’s laboratories. Nowadays this took further steps from what Gropius was framing back in that time. Indeed the new perspective of a mass society have enlarged the standardization’s concept. The democratization of the society, as Gropius wished in his principles, has reached his peak. If products are mass produced they tent to cost less than art crafts commodities and they are more luckily to be sold and spread a peculiar idea of a product everywhere.
The comparison with the past is that products were made by people from different backgrounds of specialization and tradition. A chair was mad by the carpenter, a joule by the goldsmith and so on. Back at the last century, those traditions were flowing down the new idea of standardization. Craftsmen were still educated by generations of predecessor who did not face the mass production yet. In the Bauhaus, given as the maximum exemplum of the new way of thinking, those traditions were embedded in the knowledge of the students as well as the teachers. Indeed what Gropius was saying is that the Bauhaus de facto did not compete with the craftsmen but helped them out to have more vigor in their professions. That is modernity’s influence.
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When facing the mass consumption and the consumption society started back in the XX century, standardization was the winner over the customized product. People want to be part of communities and feel integrated within each other. Symbols and status of belonging to those were equally important with the feeling of seeing the tangible realization of someone’s own economic success. Still, the aristocracy and the upper class preferred to have a more individual taste, limited in their circle of elite. This is not new at all, because the social differences and other duality factors. But yet if we projected this in the contemporary, something has radically changed. We tend to be more interested in the product that shows up a difference if it is compared to what our friends or fellows own. This is included all the social classes. In fact if we are surrounded by mass produced objects, as individuals included in a collective society, we want to stend out and be different. This is indeed what big companies, that have made the standardization of products their own piece de resistance, are trying to do recently. Giving consumers more customized products.
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We expect to have a customized product, which is easy to realize when digital, but harder when tangible. Customized has taking its revenge. What is the price of all of it? Enormous for the companies and the environment, because suddenly we ask something of the mass production that used to belong to the small craftsmen. We now have global companies that want to be local somehow, we have mass production that users want to have with individual characteristics. We want more products that are different. This is indeed a big issues and answers are not yet arrived from the design field. Designers at the Bauhaus started a revolution because they interpreted a future tendency of the consumers, and the design started his origin from being standardized. But consumers now want design products that are customized.
What is the answer for the designers then? I beg that it will be possible to set a different way of designing products and services, they should be uncompleted. Like the non finito of Michelangelo, in a way that people can afterwards define their products and customized as much as they want them, not only in a decorative way, thing that is already happening but in a deeper way. It is a long process that includes the thinking local of brands, in a way that considers local resources that eventually led to a more characteristic products as well, defined by its original production place.
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Graphics/ Posters
DON’T BE cam paig n
DON’T BE is a collection of graphic tips, made by our Art Directors (pictures included) that we’ve created to encourage you to be different. In a competitive world like ours, it’s hard to stand out and find your place. But with daily work and determination, you can bring out the best version of yourself. So when you’re taking a look in the mirror in the morning or mentally preparing yourself for that last interview, remind yourself of these tips. We are not telling you who you have to be but we are suggesting you what to avoid!
Author: Giulia Fioravera, Agnese Laguzzi Nationality: Italian location: Berlin, Germany WEBSITE: behance.net/GiuliaFioravera behance.net/AgneseLaguzzi Function: Don’t be campaing USED SOFTWARE: Adobe Photoshop/Lightroom CS6 Year: 2015
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Picture by helena patelisovĂ
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Articles
Fantasy or re al ity ? Author: Ramona Deaconu Nationality: Romanian location: Bucharest, Romania/ MUAU, Bucharest
Located in Transylvania, Romania, Turda Museum is a place that has been transformed from an abandoned salt mine into a museum and underground amusement park. Let`s find out the story!
Salt is the only rock humans can eat, being vital for their body to function properly. Nowadays we can find it easily on supermarket shelves, being an affordable product for almost everyone. Yet it wasn’t always so. A visit to the Salt Museum of Turda can be seen as a jump into the past, witnessing the days when salt was considered “gold”. What was long ago a place of hard work, has become today a museum of salt, which is more than 100 meters belowground.
Salina_Turda
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The first evidence of the operation of the mine dates from pre-Roman period and lasted until 1932, when mining activity was stopped due to low yield and poor endowments. After that, it was closed and then reopened in 1992 with touristic purposes. The real potential of this place was discovered in 2010 when the local authorities started the modernization procedures. History of the mine is even more impressive if we consider that all underground galleries were dug by hand and machines and no explosives were used. The salt that was obtained from the galleries was extracted through a production well by using a machine called “crivac�. This is a pendulum extraction system that it is also used in modern mining, the differences being significant in the power in which it is driven.
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If you haven’t had the chance to visit a salt mine yet, I can assure you this experience could be a very special and surprisingly one that stimulates all your senses. At the end of a long tunnel that was once used as a salt transport gallery, beyond the darkness, from the first step into the mine, a strong smell of salt stings the nostrils. Arriving in Joseph Mine, also called the “Hall of echoes”, you can make fun of your own voice and express your anger or joy, screaming from the top of your lungs. Because of the special acoustics, the sound reverberates up to 10 times. The salt layers beauty is a pleasure for the eye and makes you feel like touching the walls. Underground space is perceived differently because everything is at a much larger scale than human. Personally, I felt smaller, insignificant and absorbed by the majesty and grandeur of the salt galleries. Since I was a child, I saw the underground as a fantasy world that gave me incredible thrills. Perhaps this is the same feeling which inspired the architects in creating this scenography that could very well be attributed to a science fiction film.
Before visiting this place, I was also wondering why anyone would want to spend time inside a mountain. Now, I found out at least two reasons. First, the saline is good for our health. Experts say that its microclimate offers many benefits, especially for people suffering from respiratory diseases. These benefits are due to a constant temperature of 12 C° and humidity of 70-80%. Secondly, the mine itself is an interesting place worth seeing. However, to make this space more attractive architects
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had the task of creating a dynamic multifunctional space in which people spend their leisure time while taking advantage of the saline environment. Thus, the underground space includes a number of recreational attractions achieved by restoring the old salt extraction equipment or by making new sculptural structures that keep the same design expression. Even if everything looks like something from the future, the intervention respects the history of this place. The biggest challenge that the architects had to meet was to find materials that resist to the particular environment in the saline. The new structures are made of fir wood and their shape is emphasized through light tubes. Each sculptural object becomes stage for a different activity and holds a sport arena, an amphitheater, mini golf course and bowling lanes. The landscape is completed by a small lake formed by the accumulation of water infiltration, so you can continue the tour with a boat. To my mind the mine becomes a playground for children, but also for their parents, because the atmosphere makes you enter the game and, why not, to remember the childhood fantasies.
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Unfortunately, this dream ends too soon. I remember when I went out and I suddenly woke up blinded by the sun rays. All the magic disappeared and I left with the impression that the old mine was broken from the outside world. As it is, its design may well compensate for the lack of quality public spaces throughout the city. It made me wonder if this place is indeed functioning as a utopian community space, broken from the outside world, or it’s just an amusement park that could be considered a child’s dream inspired by the novels of Jules Verne. I haven`t found an answer yet, but I hope the local authorities will get inspired by this intervention to improve also another places in the area.
all pictures by Š Adrian Petrisor
What do you think? Is this an inspiring place? At least a few students from an animation school thought so. The video they created is posted down here (https://vimeo. com/salinaturda/salinaturda). Have a look and judge yourself!
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Graphics/ Infographics
SHORT H IS TORY OF
THE CLOT HES H ANGER
Author: Valeria Loreti, Deepa Parapatt Nationality: Italian location: Rome/ISIA Roma Design Function: Infographic about the clothes hanger USED SOFTWARE: Adobe Illustrator CS6 Year: 2014
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March 2015 ISSUE # 3 46
Project/Design
AC E -B I KE Learning from students
Architecture and Design Magazine
Author: Àlex Casabò Nationality: Spanish City and date of birth: Barcelona, 13-07-1990 WEBSITE: http://www.tuvie.com/ac-ebike-by-alexcasabo/http://www.alexcasabo.com EMAIL: alexcasabo@gmail.com Function: Electric Bycicle Year: 2013 Institution: Elisava—Industrial Design Engineering
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March 2015 ISSUE # 3
Learning from students
Architecture and Design Magazine
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The AC eBike is a new concept of electric bicycle that mixes BMX and Fixie styles, made of the latest generation materials such as carbon fiber and aluminum.
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Articles
In Lov e with my Wa l l et Author: Jimena Garcia Mateo Nationality: Spanish location: Delft, Netherlands/TU Delft, Delft
Everyone knows St. Valentine’s Day: that 14th of February when a multitude of flowers,chocolate, cards, gifts and red hearts are exchanged across the world, all in the name of St. Valentine. And now here goes the question: Who was Saint Valentine and how did his name become the personification of love and romance? The Catholic Church recognizes at least three saints named Valentine that were martyred. The most widespread legend places the story in third century Rome. This legend contends that, according to the judgement of Emperor Claudius II, marriage was harmful for the effectiveness and strength of the soldiers, making them weaker, so he outlawed marriage for young men: the spark of his empire’s potential soldiers. Valentine, who was a priest in disagree with the decree and that found it unjust, performed marriages for young lovers in secret. When Valentine was discovered, Claudius ordered his death and he was beheaded on February 14, on or about the year 270 A.D.
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According to this same legend, Valentine sent the first “valentine” greeting himself. While he was in prison, it is believed that Valentine sent a letter to her love, the jailer’s daughter, signed with “From your Valentine”. For his great service, Valentine was named a saint after his death, and gradually this has evolved to what we know nowadays as St. Valentine’s Day, the day of love and romance. But, is the current St. Valentine’s Day still based on its roots? Or has it actually been absorbed and taken into the “dark side” of pure consumerism? While it started as a festivity of love, it has become a day during which lovebirds purchase any kind of product within the category “I-love-you-somuch” established by the stores and businesses of the new century. “I think the secularization of Valentine’s Day has cheapened St. Valentine’s legacy, without a doubt. What we have today is a Hallmark occasion [...] An explicitly spiritual and religious festival for a martyr turned into a feast day for valor and love, which then turned into a secular romantic opportunity for fine dining and diamond earrings and ‘every kiss begins with Kay’. Something got lost.” Philip A. Florio, S.J., assistant to the vice president of student life at Saint Joseph’s University in Philadelphia.
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While St. Valentine’s Day can still represent an opportunity to show love to those people we care about, it is well known that this feast day has transformed into a consumer-driven holiday. Now, in the 21st Century the sentiment of Valentine’s Day is worth millions of pounds. As EZBOB mentioned: “According to a study by the National Retail Federation, consumers spend on average just over £76 each on Valentine’s Day alone and this is expected to rise in the coming years. This makes Valentine’s Day a highly important event for the retail sector, generating millions of pounds each year.”
“A high proportion of consumers place very little personal importance to the occasion, with the majority believing it to be a waste of money. However, we continue to spend lots of it, with over half of all British consumers buying something” states the UK Retail Occasions 2013 report
You can even feel in the air that the day is approaching. Stores start hanging their extravagant heart-shaped decorations and advertisements, covering as far as the eye can see every surface in a bizarre mixture of red and pink colors that pursue you as a sarcastic reminder that...
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1.You need to buy a present or your beloved partner is going to think you donít love him or her and you are so not romantic! or, 2.Shame on you, you loser! You are single and you have no one to spend money on. But let’s be honest. We all know that Valentine’s Day has become consumerism in its perfect form and we still fall for the gimmicks. We forget about it, don’t have time for it or try to resist until the final moment, and then buy the typical useless, last-minute kitsch St. Valentine’s gift people will use and admire during a maximum period of a day and then forget about it from the 15th of February on till the end of their lives. I am now going to pose two questions I would like you to think about: 1.Do we really need to set up a day for showing how much we love each other? 2.Is loving someone really about spending money? That said, my advice if you are an incurable romantic and you want to go with the St. Valentine’s flow is to practice a bit what we know as DIY (Do it yourself) and think outside the box, because a great handmade and creative gift worth all the meaningless and kitsch gifts available in the market.
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And being honest, your wallet is going to be thankful for that. The possibilities are countless, but I am going to share now with you my ten favorite handmade St. Valentine’s ideas to surprise the people you most care about St. Valentine’s Postcards (1) Photo Block Puzzle (2) Valentine Lightbulb (3) Memories Candle (4) Valentine’s Take Out Box (5) Printable Love Coupons (6) 7 Days of Love (7) Vintage Paper Chandelier (8) Sweet Valentine (9) it’s all about the vibes (10)
So, if you feel like having a consumerism-free Valentine’s Day, step outside and celebrate that you are single or that you found your soulmate in a creative and fun way!
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Articles
7 w e bsit e s you n eed After a brainstorming speaking about “how a post for architecture students can be viral” lasted more than 15 minutes, I stopped thinking with my brain and I waited for the exams session. “Yep, it would be useful” I said. So, when I started working hard on my project, and you know what I mean: no sleep, no eat more-then-10-minutes-cooked-food, no sunlight, I figured out what I needed. A list of the most useful website for making a better poster to convince that damned jury that your project is better than the others.”This is so POP”. “This is so Hipster”, yes, it is true, and I love it. Remember: it won’t make you a good architect, but at least it will help to show better what you have in your brain! Everybody knows how Sweden peo-
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ple are smarts. For that reason Teodor Javanaud Emdèn, an Architecture student, created this amazing website where you can easily download .PNG of cutout peple. Of course, they Skalgubbar
are cool people, not random people! How many times were you about to
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freak out about choosing the right colors for your posters? Black and white is not always the solution, BORING! Our essential friend ADOBE created this website which will amaze KULER
you. Just have a look to understand the potential of choose the right colors. This website is the Mecca for the
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ones who love showing ideas with info-graphics or simple schemes as the new Bjarke Ingles generation teach. What is that? A binder of symbols created and uploaded by graphThe Noun Project
ics designers around the world. The graphics are for free, but remember to credit the creator!
ISSUE # 3 / March 2015
WE ARE BACK Author: Marco Mattia Cristofori Nationality: Italian location: IKU, Istanbul, Turkey
Do you want to learn with really fast
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tutorials how to make your white and flavourless 3d renders or 2d drawings more realistic using photoshop? Check this website by Alex Hogrefe, my little Guru. Visualizing Architecture
Also, choosing a font can be hard if
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you are a meticulous student. If you want to be out of the box, without using Helvetica, Bodoni or Avenire, which I love, check DaFont. On the other hand, if you have a pic with a DaFont/Whatfontis
text and you don’t know which font they used, upload it on Whatfontis to discover it!
Easy, I know, but to start is more then
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enough. This website is an amazing portal where all kind of students and designers share their ideas. Be inspired by them trying to search for architecture or design presentations! PINTErest
Of course. www.3nta.com
#7 3NTA
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Cooking for students
P UMKIN G & A LMON D SOU P
How many times have you not been able to eat because you’re rushing to complete a deadline? No way, it’s time to eat, unplug everything, take some time off and enjoy food! I’m an Italian product design student in love with good food and flavours. I think that one good meal can make the day and if that meal is cooked by you it is even better. My hope is to provide inspiration to allow you consider food not as a survival act, but as an enjoying taste experience, by sharing some ideas for dishes. So please: find your time, take the kitchen tools and start cooking.
ISSUE # 3 / March 2015
WE ARE BACK Author: Devi Petti Nationality: Italian location: Rome, La Sapienza University
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INGREDIENTS 200 g yellow pumpkin 20 g almond 1/2 onion 10 g butter 60 g yogurt 200 ml stock salt & pepper
DIRECTIONS 1. Make the stock (veg/meat as you prefer), you’ll need it later. 2. Meanwhile take the pumpkin, clean it and slice into little pieces. 3. Slice the onion and sautÊ it into the butter in a large pad. 4. Add the pumpkin and leave it for 5 minutes to sear. 5. Add 10 g of almond pieces and the stock and leave it cooking from 10 to 30 min, depending on the consistency you prefer. 6. Whisk the pumpkin, add the yogurt and the resting almond. Your pumpkin & almond soup is ready, have a good taste experience!
HOW TO CHOOSE A GOOD PUMPKIN First of all check the color, it has to have concistent colorinf throughout. Place pressure on the bottom with your thumbs, would not flex if it is fresh. Look for soft spots, mold, wrinkles or open cuts that would indicate damage or early spoilage. Check the stem, it should be solidly attached and green.
WHY EAT PUMPKIN Reach of Vitamine A and C, eating pumpkin would help your immune system preventing winter cold. It is also a great source of fiber to help wash out any toxins and keep your body running smoothly. Furthermore, the fruit contains L tryptophan, a chemical compound that triggers feelings of well being that aid depression in a smooth and natural way.
DOWNLOAD THE RECIPE HERE: 3nta.com/pumpkin-almond-soup/
ISSUE # 3 / March 2015
March 2015 ISSUE # 3
Learning from students
Architecture and Design Magazine
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Project/Architecture
DYN AM I C OF THE F L A ME
Author: Semen Ogurtsov and Andrey Merekin Nationality: Russian City and date of birth: Semen Ogurtsov- Yaroslavl, 23 July 1992; Andrey Merekin-Yaroslavl, 25 October 1995 EMAIL: semo4ka_ogurec@mail.ru / andrew.merekin@gmail.com Function: Boiler station Site location: Yaroslavl-Russia Year: 2014 Institution: Yaroslavl State Technical University, Russia
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plan
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sections
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perspective views
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Articles
2014 RIBA
Pr esi dent ’ s M ed a l s Author: Kristian Rasmus Bjerre Nationality: Norvegian location: TU Delft, Delft
Architects are obsessed with utopia. Spawning not only a new word to the English language, but also a whole new notion of how people, from all social layers, could live well. It is unlikely that Thomas More predicted how much his novel on precisely Utopia from 1516 would influence architectural thinking—consciously or subconsciously. It spans from Claude Nicolas Ledoux’ work on the saltworks in France, to Le Corbusier’s relentless development of utopian projects during the 20th century. I will not dwell on the history of these developments, but a parallel can be drawn to the regular student in architecture, only to be drawn out of university and realise the reality is not like architecture school.
© Yannis Halkiopoulos
Brooklyn Co-operative by Yannis Halkiopoulos
ISSUE # 3 / March 2015
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As a 1st year tutor at my university (The University of Nottingham), the pragmatism in the early projects of the students is, in contrast to later projects, astonishing. This can be explained for various reasons, but possibly because one has not sussed out the very essence of architecture or the architectural education. Fast forward to the RIBA President’s Medals 2014, the Silver Medals can be said to be the exact opposite of the very first projects of a students architectural career. As far as utopias go, this can be said to be the pinnacle, and there is nothing wrong with this. As students, we are supposed to be speculative and push the boundaries of what we believe we can achieve—once we start working we have to revert to the pragmatism of actually creating a building instead of primarily a lifestyle or experience.
© Oliver Riviere
The Institute of Concrete Poetry
It is exactly this extended notion of architecture which is displayed in the projects of the RIBA President’s Medals Student Awards. Studying the medal winners, one will discover there is a lack of drawings showing how the projects would be erected and technically work. The concern has shifted, due to the perceived extended power of architecture, from the technical aspects of the building to the social, cultural, political, and historical context and concern of the local conditions. However, digging in to these conditions present at every single architectural project creates far more interesting architecture–as the projects of the 2014 RIBA President’s Medals show.
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So, without casting my biased opinion on each project, look in to the awards, be inspired by the story and the development behind the projects, and understand what architecture can put on the table. Don’t be enticed by the beautiful drawings (because there is an endless supply of them!), but let them inspire you to convey the essence of your project (and hopefully a President’s Medal in the future!)
© Louis Sullivan
The Living Dam by Louis Sullivan
If you haven’t looked at both the winners and the shortlist, head over to RIBA’s website for more information:http://www.presidentsmedals.com/
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Projects/Architecture
M I C R O as a conscious choic e
Author: Marco Pioventini + Carlo Alberto Cusinati + Martina Pini Nationality: Italian City and date of birth: Verona, 27-05-1990 EMAIL: spioventinimarco@yahoo.it Function: Housing Site location: Robin Hood Gardens, Woolmore St., London, United Kingdom Year: 2013 Institution: Politecnico di Milano, Architecture, Milan, Italy, 2009-2014
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The goal of the project is to find a way to act on huge scale through micro and specific actions and to create the possibility for each inhabitants to take possession of spaces and personalize them. We redisigned the existing RHG dwellings introducing architectural devices suggesting different uses of space in order to answer inhabitants’ needs. The new towers deal both with the minimal impact they have on the ground level and with the creation of a new landmark.
perspective view of the site
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facade
perspective view of the interns
plan
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Graphics/ Posters
THI NGS TO R EM EM BER FO R 2015
Author: Elena Monteleone Nationality: Italian location: Rome/ISIA Roma Design WEBSITE: behance.net/EleMonteleone Function: Poster USED SOFTWARE: Adobe Illustrator CS6 Year: 2015
ISSUE # 3 / March 2015
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ISSUE # 3 / March 2015
STAFF
In this issue
Editor in chief Luca De Stefano
communication manager Marco Mattia Cristofori
ART DIRECTORS Giulia Fioravera AGNESE Laguzzi
co-founder Lorenzo Bottiglieri
EDITORIAL STAFF ELENA Monteleone
WRITERS Aga Batkiewicz LUCA Baldini Ramona Deaconu Jimena Garcia Mateo Kristian Rasmus Bjerre
DESIGNERS Mohamed Rowaizak NICOLA Vecchio VALERIA Loreti DEEPA Parapatt
Alex Casab첫 Semen Ogurtsov Andrey Merekin Marco Pioventini Carlo Alberto Cusinati Martina Pini
PE O PLE
In this issue
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