A.A. Portfolio

AA

Alessia Annunziata works collection

CV

Alessia Annunziata 07/06/1994 Via Kramer 20, 20129 Milan MI. IT. +39 3421093751 alessia.annunziata@gmail.com

EDUCATION

2018 Master Degree in Architecture 110L/110 Thesis: ‘Someplace Else. Inhabiting a forgotten Island’ Politecnico di Milano 2016 Bachelor Degree in Scienze dell’Architettura 110/110 Thesis: ‘Per amor del Vuoto. Riflessioni attorno alla misura e alla percezione dello spazio architettonico’ Politecnico di Milano

WORK EXPERIENCES

Jan. 2018-Currently Working at Castelli Folci Associati Office 2015-2016 Internship at Carlo Alberto Maggiore Office

ACADEMIC EXPERIENCES

2018 Decoding Milan. Understading the principles of the public real through effective mapping Workshop in Politecnico di Milano in collaboration with CEPT university 2018 D+D Design Workshop Contrast to Urban Poverty Workshop in Politecnico di Milano 2016 ModellArch Workshop in Politecnico di Milano 2016 Collaboration to “Lezioni di Architettura e Design” booklets Politecnico di Milano - Corriere della Sera 2015 Spatial and landscape planning in EU and in Lombardy Workshop in Politecnico di Milano

SKILLS

AutoCAD 2D, 3D Adobe Design Suite (Illustrator, Photoshop, InDesign) Rhinoceros SketchUp Office suite Hand drawing Physical modeling

LANGUAGES

Italian | mothertongue English |level C1 (TOEIC score: 895)

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CONTENTS

This portfolio contains selected works from my university experience in Politecnico di Milano, during both Bachelor and Master programs. The choice of the project is made in order to show and highlight the different context, scale and approaches that I went trough, during my education.

There are ‘rational’ projects and ‘explorative’ ones, which I meant to combine in this document to show all the different combination of space, time and human body.

Someplace Else.

Inhabiting a forgotten Island

8½ Building Technology Studio

Master Thesis professor: Antonello Sportillo collaborators: year: 2017-2018 city: Island Formica Grande, Italy program: Accomodation for one/ two person based on human body experience on the island

course: Building Technology Studio professor: Claudio del Pero, Mola Elena Francesca, Ingrid Paoletti collaborators:Carlo Mazzeri, Carlotta Olivari year: 2017-2018 city: Dubai, UAE program: 3D printed pavilion for Expo Dubai 2020

p. 04

p. 20

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Center for Contemporary Art Design Studio II

Collective Knowledges Design Studio I

Lost and Found Design Studio I

course: Design Studio II professor: Matteo Umberto Poli, Nicolò Riva, Stefan Vieths collaborators: Octavio Blanco, Marco De Donno year: 2017-2018 city: Berlin, Germany program: museum about Dada, Constructivism and Bauhaus in Berlin

course: Design Studio I professor: Eleonora Bersani, Stamantina Kousidi, Maria del Carmen Martinez Arroyo collaborators: Andrey Mikhalev year: 2016-2017 city: Lodi, Italy program: new public space and social housing

course: Design Studio I professor: Eleonora Bersani, Stamantina Kousidi, Maria del Carmen Martinez Arroyo collaborators: year: 2016-2017 city: Lodi, Italy program: enter pavilion in the site of Vegetal Cathedral

p. 26

p. 32

p. 40

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SOMEPLACE ELSE Inhabiting a forgotten Island

Everything contained in this thesis finds its origin upon the need of this place for a renovation.

In October 2015 was published “Valore Paese – FARI”, a project promoted by Agenzia del Demanio and Ministero della Difesa devoted to the strengthen of cultural offer and competitiveness of the Country through tourism, according to a strategy of re-development of the Italian historical heritage targeted on integration between tourism, art and culture sectors together with economic development and territorial cohesion.

The project comprehends a network of lighthouses to redevelop according to a model of “lighthouse accommodation”.

This manifesto is the starting point of the entire following research: based on the substantial need for a renovation I thought to visit the island and look for the essential needs of the territory. The tendency regarding the lighthouse accommodation often results in wide targeted tourist mechanisms that concur to soiling the territory with impressive sojourns that over-

crow the island. This is why some islands of the Tuscan archipelago settled the maximum number of visitors per day, this number can go from 50 to 250, Montecristo Island can host no more that 1000 visitors per year and the average time of waiting after the booking is about two years.

The approach taken into consideration in this work doesn’t want to pursue this course, instead it wants to determine a new way of approaching and rethinking the island: a methodology less focused on tourism and more dedicated on the experience of the island itself, giving to the visitor the possibility to understand the land and do an introspective journey as well, looking for sensations that can be lost in everyday life because of dull and estranging reality.

The buildings present on the island do not have a history, and they do not even belong to their context. Architecture itself in this situation is not able to give an understanding of the space because it can be interpreted differently and become anything inside the mind of the observer.

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6

porto di marina di punta ala

27,9 km 15 Mn

porto di castiglione della pescaia 20 km 10,79 Mn

marina porto azzurro (isola d’elba)

17,1 km porto della maremma 9,23 Mn

faro formiche di grosseto 22 km 11,87 Mn

faro saliente delle porto di talamone mura

23,5 km 12,68 Mn

20 km 10,7 Mn

faro di lividonia

porto vecchio santo stefano

faro di punta del fenaio porto di giglio porto

faro di porto ercole

faro di capel rosso

Ty rr

he

nia n

Se

a

39,5 km 21,32 Mn

faro di giannutri lighthouse port for tourists

porto cala spalmatoio

harbor mooring

10 km

Lighthouses

Name

Province

Municipality

Nominal range (Mn)

Latitude

Logitude

faro formiche di Grosseto

GR

Grosseto

11

42° 34,6’ N

10° 53,0’ E

faro Saliente delle mura

GR

Orbetello

15

42° 33,1’ N

11° 8,0’ E

faro di Lividonia

GR

Porto Santo Stefano

16

42° 26,7’ N

11° 6,3’ E

faro di Porto Ercole

GR

Orbetello

16

42° 23,4’ N

11° 12,8’ E

faro di punta del Fenaio

GR

Giglio

16

42° 23,3’ N

10° 52,9’ E

faro di Capel Rosso

GR

Giglio

23

42° 19,2’ N

10° 55,2’ E

faro di Giannutri

GR

Monte Argentario

13

42° 14,3 N

11° 6,3 E

lighthouses in Tuscany

7

102

EST

RA

103

GR

MA

EC A

79

LE

TRAMONTANA

107

LE

PONENTE

103

LEVANTE

100

IO

61 LIB EC C

SCI

CO

103

99

OSTRO

RO C

100

100 101

Formica grande

77 91

98

106 101

20 75 117

72

10

99 30

Formica media

100

100

124

86

18

120

97 3

Formichino

100 124

50

104

500 m

Yearly wind speed N

N

N

N

N

N

E

W

E

W

E

W

E

JUN

W

MAY

E

APR

W

MAR

18

FEB

20

JAN

m/s

E

16 14 S

12

S

S

N

N

10

S

S

S

N

N

N

N

E

W

E

W

E

W

E

DEC

W

NOV

E

OCT

W

SEP

4

AUG

6

JUL

8 W

E

2 0

S

S

S

Formiche archipelago

S

S

S

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Dwelling

Abandonment

Archipelago

the act of leaving someone or something or of ending or stopping something, usually forever

a group of small islands or an area of sea in which there are many small islands

Genius Loci

Identity

Island

The prevailing character or atmosphere of a place

who a person is, or the qualities of a person or group that make them different from others

a piece of land completely surrounded by wate

a house or place to live in

Cambridge Dictionary definitions

Actions

Relations

deriving Spatial estabilishment

To rest

with personal needs

Private space

To find oneself

within itself

Space of relation with oneself

To discover

with the past

Space of knowledge

To pray

with one’s spiritual part

Space of meditation

To consume

with the food

Domestic space

To lie (pool)

with the water ones lies in and the one enclosing

Space of observation

To reach

with the element to achieve

Space of connection

(bedroom)

(patio)

(library)

(chapel)

(kitchen)

(mooring)

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Castiglione della Pescaia 21.1 km Grosseto 29,5 km

Inhabiting a place heads to the definition of identity, a genius loci that portrays and denotes the territory.

A place without function, without perception and human presence, remains a suspended place, a non-place.

To reinstate an identity for Isola Formica Grande remained uninhabited for a long time, this research tries to develop a way of inhabiting that could allow human presence to unite its perception and its feelings inside the space with the environment.

Orbetello 30,9 km

identity of Formica island

The architectural process starts from the pre-existence of Bellic constructions, bare traces of the voiceless past, and tries to exploit new places to live following the theory of the concept of the house, using its outcomes and adapting them to the island.

Guiding this research, there are the words of the last inhabitant of the island, the lighthouse keeper.

10 Certain events about the island

Events that could have involved the island

1901 Lighthouse opening

1863 Project for the lighthouse

1919 Lighthouse restoration

1915 Italy enters the I World War

information taken by L.Lamberti, Descrizione generale dei fari e fanali esistenti sul littorale del globo a uso dei naviganti. Dedicata a Sua Altezza Reale il Principe Don Antonio Bonaparte, Livorno, Tipografia di G. Fabbreschi, 1872, p. 16

island masterplan

1984 Lighthouse automatisation

1939 Italy enters the II World War

1944 “Operation Brassard” Invasion of Isola d’Elba and control of other minor islands by Frech troups

This research and its following project are based on pre-existences.

Spaces that have been lying on the islet since the I World War and that nowadays cannot find anymore a relation with the territory, worn out by time and saltiness of the atmosphere.

Right there in those volumes can develop something more, a mechanism that could activate all the environment in which they lie thanks to human presence.

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section

plan

refurbishment of the existing lighthouse

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This project wants to be an opportunity for the human to understand the place and live an experience detached from everyday life, somehow projected towards both exploration of the space in which one stands and investigation of recondite feelings.

When arriving in the islet nowadays, is possible exclusively to perceive the presence of the lighthouse, which stands out about 14 meters; it is the unique point of reference for the visitor.

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The lighthouse Constructed during 1901, the lighthouse is the landmark of the island, solitary construction coming out of the ground that characterizes all the territory. It was inhabited by the Lighthouse Guardian until 1984, year during which the structure was automatised.

Now it has the opportunity to be inhabited again.

/ˈlʌɪthaʊs/ A tower or other structure containing a beacon light to warn or guide ships at sea.

To enter mooring The island has three moorings, three entrances: those are the doors of the house contained on the island. Their function, however, is not just to let the body pass from “outside” to “inside”, they also offer a point of contact for the inhabitant between itself and the sea, the space outside.

/ˈmɔːrɪŋ/ A place where a boat or ship is moored.

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The seven elements of the project have a hypogeum nature, their space is somehow hidden by the visitor’s eyes but is conceived in order to orient and make aware of the nature and the function of these spaces. As the structure of a house, where is possible to recognise where to find the bedroom or the kitchen, inside the island is possible to guess where one is going thanks to the shape of the emerging parts of the elements. Each of them, in fact, appears above the ground level differently: this is also due to the different ways in which they provide the space with light and aeration.

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To rest bedroom

/ˈbed.ruːm/ A room used for sleeping in

The necessity of safety can have a hypogeum answer that finds its origin in the past of residential architecture: even before the conception of the idea of the house materialised in the shed, the place where to find refuge was the cave, a stereotomic volume that infuses protection thanks to its mass enveloping the void of the space where to live in.

To find one-self patio What actually makes this space a room, is the human perception: the body has to go below through stairs, then pass a small covered ambient that brings to the patio; this one is the arrival space, the “room” where to feel inside even being outside, and where to find a relation with oneself.

The tree (Ceratonia siliqua) is not spontaneously present on the island, it is instead typical of Mediterranean habitat (Isola del Giglio, Isola di Montectisto ecc)

-3,00 m

/ˈpæt.i.əʊ/ an area outside a house with a solid floor but no roof, used in good weather for relaxing, eating, etc.

-2,80 m

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To pray chapel The physic absence of elements that could represent a belief and the ideologic situation that regards the chapel not consecrated by any doctrine, strengthen the concept of the void that human body can perceive when entering inside this space.

When being inside the space is possible to recognize the passing of time through the perception of the light: a sharp brightness drops inside the chapel, moving according to the position of the sun during the day.

/ˈtʃæp.əl/ A place of worship for Nonconformist congregations.

-6,00 m

-6,00 m

To lie pool The pool expresses the relation between human and territorial scale, in fact, when lying inside the water of the pool, one can observe the environment around: the Thyrrenian Sea. Although the endlessness of the sea surrounding the island, there is a wall with a hole: it acts as a visual cone that frames the Tuscan coast as a bare line on the horizon.

/puːl/ A small area of usually still water

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Lunedì 21 Marzo 1983 ore 6.00 Finto il mio turno di lavoro.

Di notte, la radio sempre accesa mi ha fatto sentire le voci degli occupanti i carghi che passavano vicino all’isola. Erano voci sconosciute e cieche; mi sono immaginato i volti di chi le pronunciava, li vedevo rugosi, scavati dalla salsedine, con pensieri lontani, alle loro famiglie e alle donne che li aspettavano a casa. In fondo i marinai sono come me: solitari in mezzo al mare, ad aspettare il giorno del ritorno sulla terra ferma.

Penso che navigare o stare in una piccola isola sia la stessa cosa: se è vero che il viaggiatore di mare vede cambiare il colore dell’acqua e del cielo spostandosi, altrettanto succede all’isolano pur, non movendosi mai.

Oggi il cielo è un po’ nuvoloso e il sole ha fatto fatica a scalare tutte quelle strisciate grigie di vapore colorandole d’oro ogni qual volta ci passava accanto.

Domenica 3 Aprile 1983 ore 23.00 Segnalo solo che verso le 17.00 il cielo si è aperto ed è scoppiato un meraviglioso tramonto.

Sento un profondo odio per le feste che amplificano, quando si è soli, il nostro isolamento. Ma oggi è Pasqua e sono da separato dai miei cari mentre vorrei vivere questo giorno con mia figlia, mia moglie e i miei genitori. Domani sarà la stessa cosa ma ora fa più male.

In lontananza uno stormo, mi pare, di rondini sta volando verso nord la primavera si sta annunciando.

Mercoledì 4 Maggio 1983 ore 17.00 La primavera, che era appena cominciata quando sono sbarcato sull’isola, splende in tutta la sua bellezza. Sento una strana frenesia nell’aria, le farfalle incominciano a volare sui fiori nascenti delle ginestre e dei prati e con loro le api, le vespe e i calabroni. Anche i pesci vivono questo risveglio della natura: i muggini cominciarono a saltare e le sardine s’avvicinarono a riva.

E’ un bello spettacolo guardare il brulichio di vita che c’è nell’acqua, ho anche preso a lanciarli del pane per farli avvicinare e per vedere sbollare le occhiate.

Martedì 17 Maggio 1983 ore 18.00 La berta più coraggiosa, è venuta a mangiare accanto a me e io, pian piano, ho cominciato a farle capire che non sono pericoloso per lei tanto che, sempre più spesso, mi è venuta vicino. E’ cominciata così una profonda intesa fra noi. Gli ho scelto anche un nome: Ruben, per alcuni riflessi rossi che ha sulle penne e perché mi sembra un nome neutro, io, infatti, non so riconoscere il suo sesso.

Mercoledì 25 Maggio 1983 ore 20.00 Ruben è la mia più fedele compagna. Arriva quasi al tramonto stanca di quel tanto girovagare per il mare e s’accuccia accanto a me, mangia quel poco che gli lascio e spesso s’avvicina fino a che io possa carezzarla. Dopo, di solito, devo andare a lavorare ma lei resta lì nei pressi aspettando che al mattino le porti qualche altra cosa. Nella notte mi fa compagnia con quel suono strano che emette: all’inizio mi sembrava come un pianto di bimbo ma, poi, è diventato, per me, quasi una musica. Penso che, le famose sirene di Ulisse, potevano essere proprio le berte, le quali, con il loro cantare, fanno venire in mente cori di fanciulle o altre immagini dolci e fantastiche.

Sabato 22 Ottobre 1983 ore 17.00 Le giornate si stanno accorciando e il mio lavoro aumenta.

La notte scorsa sono stato quindici ore alla consolle. Il mare era molto agitato e c’è stato bisogno più volte che segnalassi la distanza che le navi dovevano tenere per non andare a infognarsi nelle secche. Il cielo è grigio e incomincia a fare freddo.

Memories from the diary of the last Lighthouse Keeper of the island. source: http://www.farodihan.it/2005/09/28/lunedi-16-aprile-1984-ore-2300/

19

the island can be recognised from outside thanks to the lighthouse: the only presence noticeable when looking at Formica Grande from the sea.

Formica Island maquette made of cardboard and epoxic resin

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8½ 3D printed pavilion for Expo Dubai 2020

“Connecting” is the fundamental concept that lies underneath the development of the project for a playground pavilion in EXPO 2020, as the same slogan “Connecting Minds, Creating Future”. Still, connecting minds is not enough, sometimes, to guarantee a real connection between people. Sharing experiences is a key event in the creation of deep and fertile connections among peoples. One way to achieve this result is to experience reality playfully. To play means, at various levels, discover and give new meanings to the real world. Discovery is, therefore, the main experience that - approached in a playful system – the visitor will be invited to do.

The pavilion is – conceptually – a game. The two main components of the pavilion are the “cloud” and the “bubbles”. The shaped actions happen in the bubbles, and are strongly designed; the suggested actions happen in the cloud and feature a number of possible actions suggested by objects and spatial situations embedded in the design of the cloud; free actions can happen both in the cloud and in the bubbles, being unexpected actions, strongly related to the indi-

vidual player of the game, that are not related to the architectural structure.

The “cloud” is envisioned as a light structure of round-section white pipes interlaced in coherent yet irregular frames. This object encapsulates and hides variably the bubbles to the sight of visitors, reinforcing the will of discovery them through the “shaped” experience. This framed structure contains within itself different features that are user-activated: ladders, chairs, tables, shaders... that can affect the “suggested” experience; the “bubbles” are envisioned as heavy free form structure. These structures are printed on site via a 3D printer with local clay and sand.

According to a pre-set calendar, those will be destroyed and re-printed again, making the action of creating the shape fundamental for the pavilion experience. The setting up of those spaces, that provide the background of the “shaped” set of actions, will accompany the visitor from the analogic to the digital experience, with ludic stagins that will foster the cooperation between people, newly met or known friends.

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4th PAVILION

3rd PAVILION

2nd PAVILION

1st PAVILION

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4

3

2

1

plan

section

The pavilion, meant as a closed space (or an indoor situation) is articulated in four blobs, organic rooms where is possible to live experience trough lights, images and sounds that are shared between the structures; they are made of clay, a versatile and very cheap material that is 3d printed on site.

Outside the visitor can find a very light structure. Three 3d printer are placed above the blobs, they constitute the structural cores for the entire frame and give the possibility to the pavilion to be always under construction.

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EXPO starts

21 october

november

3D printer office

Red Pavilion

december

Panel Exposition

Cinema

january

3Dint pr er office

RedPavilion

Blue Pavilion Stairwer

Panel oExp sition Cinema

PLAN OF EXPERIENCE

Orange pavilion february

Blue Pavilion

Stair wer

Orange pavilion

Yellow pavilion

Back event / reading

Yellow pavilion

Back vent eread /ing

march

Front event space

Frontvent e space

waiting W aiting

3d int print blob 3D prrea A area Blob

to hear Hear

Queue

to Seesee

Event

3DI pr int Area Hear See II Blob III IV See Conf erenc esSpeech esConc erts VRMonitor V ide os Conten ts ARP rojectio ns Oth er 30 cm Signals rom (III) f Do Pl a y A cti v ate Coo r d inate Int e r act with (I, Int II) e r act with (II, III) RO 26/4 Conc erts Sounds rom (IV) f RO 76.1/8 Hear Sounds rom (III) f RO 88.9/25 es gam Light es gam Percei ve Darkn ess Ligh tsrom f (IV) Light RO 88.9/20 I II III IV 88.9/12.5 See RO Conf e renc e s Speech e s Conc e rts VRMonitor V ide o s Conten ts AR Projectio ns Oth er RO 88.9/8 Signals romf (III) 40 cm

april

Waiting

event Event

Queue

EXPO ends

10 april

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sun path and radiation analysis

total lenght (m) Blob 1 (S) 558 Blob 2 (M) 796 Blob 3(L) 1385

printing time printing time (days, considering (hours) drying period) 15 h 50 min 22 h 38 h 40min

consumption per print 66 kWh 96.8 kWh 167.2 kWh

study of the 3D printing system, time and material consumption

3 days 5 days 10 days

4,4 kWh consumption

consumption total consumption per 3 prints 198 kWh 290.4 kWh 501.6 kWh

990 kWh

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PAVILION

pavilion during Expo

blobs maquette made of clay

PAVILION RE-USE

The 8 1â „2 pavilion is characterized by the 100% of the possibility of re-use.

The external structure, made by steel columns and beams, can be desmounted and remounted with different shapes and functions thanks to the versatility of joints: from a metropolitan green area, to playground, bus stop, aquarium or sage for concerts or city events.

As regards the clay pavilions, they can be destroyed in order to re-use the material for other 3d printings.

Moreover, the smaller closed spaces can be transported to museums as exhibition spaces. pavilion possible re-uses after Expo

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CENTER FOR CONTEMPORARY ART Museum based in Nordhafen, Berlin

Berlin is one of the European cities that presents the highest concentration of museums, art centers and cultural buildings; also due to its history, in the city there are different areas that host several of these architectures, that have been developed through time into “Cultural Headquarters”.

The site of Nordhafen, in the north-west part of Berlin has strong industrial presences, as once it was one of the harbors for wares’ exchange between Berlin and the cities along the river.

The possibility to have a museum in this area not only can improve tourists’ and citizens’ in-

terest but it can create a vertical “cultural line” that reaches places such as Reichstag, Central Station, Memorial to the Murdered Jews […], being the head of this path, as a door for who is entering the city from the north-western side.

The center that will host exhibition about DADA, Bauhaus and Constructivism is conceived as a “three-space” building, one for each theme of exhibition. In this way the visitor can experience each space in a different manner, and perceive that the theme of the exhibition has changed also due the configuration of space in which he is.

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Nordhafen Berlin Central Station

Bundeskanzleramt

Berlin map Paul-Löbe-House MUSEUM head of the system

Hamburger Bahnhof - Museum für Gegenwart Berlin Federal Ministry of Economy and Energy Invalidenfriedhof

Haus der Kulturen der Welt

Berlin Central Station

Bundeskanzleramt Paul-Löbe-House Haus der Kulturen der Welt Reichstag building

Reichstag building

Memorial to the Murdered Jews of Europe

Potsdamer Platz

Memorial to the Murdered Jews of Europe

Martin-Gropius-Bau museum Topographie des Terrors museum

Berlin Story Bunker Jüdisches Museum Feuerle collection Deutsches Patentamt

Jüdisches Museum

STATION CENTER FOR CONTEMPORARY ARTS

NORDHAFEN

view of the museum in the context

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ground floor plan

1st floor plan

2nd floor plan

3rd floor plan

the secondary space forms a path with different situations such as light, views and passages

CONSTRUCTIVISM exhibition space

DADA exhibition space

open space circumscribed by colums that give rhythm to visitors’ walk

BAUHAUS exhibition space small pictures hanging on the wall of the lateral corridor

30

plan of temporary exhibition based on the work of Carlo Aymonino

Pathway Element defining the first part of the exhibition, guiding the visitor trough a straight and forced path from which is possible to observe the volumes outside

Central weight The passage inside the strucure is determined and dominated by the strong presence of the pyramid in the center that blocks the linear passage

Vault An arch shaped void is hide inside a rectangular solid, it is noticeable just staying under the structure

Point of view It guides the visitor to reach his internal point and turn, looking at the space he has to visit

Stairway Narrow staircase to climb.

Once the top is reached is possible to observe the entire exhibition from above

Arena Round aggregation volume inside a square one, the perception of the difference between internal and external shape can be experienced entering in

Passage Massive and solid form trough which is possible to pass, at one side looks as a cube, on the other is cirucular shaped

31

axonometry - Nordhafen

section

32

COLLECTIVE KNOWLEDGES Common platform for exchange

The project comes from the need of the city of Lodi to have a public space that could host social events and experiences.

Three enclosed and introverted courtyards are the starting point from which the public space have to develop. In order to link together these three courtyards and create a continuous atmosphere inside the site, vertical elements are provided. Their rhythm changes depending on two directions: in a transverse disposition taking the street as a reference, these elements have a fixed distance module which they follow creating a space shaped by their position; from a longitudinal disposition instead the vertical elements behave in a less regular way creating a dynamic rhythm that is meant to guide the walking tendency of people inside the space: when the space between elements is very narrow, visitors are

pushed to go on faster, while when there is a large distance between them the input given is to stop and stay inside this place, a ‘piazza’ created by the position of vertical elements themselves.

Another issue was the situation of the dismissed Garage structure; as a part of the project based on ‘social re-qualification’ it is intended to be used in order to develop a Social Housing. The Garage structure is used as a base to develop the housing construction which is prefab and very lightweight in order to have the minimum cost for the Municipality.

Apartments inside supposed to be changed and improved by inhabitants starting from their minimal asset. The ground floor of the Garage structure is indeed used as a common working space where to develop and construct elements and solutions for the spaces of the building.

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34

Lombardy region

health care

eating

sleeping

città bassa-borgo d’Adda

Lodi

Lodi province

working

living units working spaces

project area

linear path connecting public space of the courtyiards with the new public opening facing via vistarini, passing inside the structure of the garage

sleeping health care working

eating

discovering

sharing

social life

project areas connecting elements

textile elements

new cultural path

space definition (rhythm)

discovering sharing

social life

direct vertical connection connecting courtyiards to the new cultural path

boundary defining the space and creating a relation between the outdoor space and the landscape

concept

35

Main elements of the project:

experience - ramp

experience - boundary

experience - materiality

experience - clearness, density and opacity

physical movement

starting/ending point

change of speed according to rhythm

interactions

starting/ending point

36

Actions:

1| Improve the existing connection and create new passages inside the area

2| Give more permeability to the area using part of the ground floor of the buildings for the project

3| Characterize the streets that are facing the area in order to give strong identity images in the neighborhood

1|

4| Create strong points that can acctract flows of people and help to give identity to the space

Tools:

exposition space

aperitivo

current situation of courtyiards and connected spaces: 1| corte San Cristoforo, 462 sqm pending (waiting for the project “museo della Curia”)

green spaces

soft sports

playgrounds

co-working spaces

market

green houses

textile division possibilities

2| corte maggiore San Domenico, 2805 sqm pending head office of “Provincia Lombardia”

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3| corte minore San Domenico, 637 sqm pending head office of “Provincia Lombardia�

4| underused area project, 2446 sqm pending garage

4|

5| ex-asilo Garibaldi garden, 1445 sqm seat of cultural organizations

2| 5|

3|

masterplan

section of the three courtyiards

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Different materialities and colours inside the same space can create sense of movement: this can make the place where someone is walking perceived as a dynamic and always-changing.

rhythm

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The rhythm can change depending on where you are located inside the courtyard: you can experience order and disorder walking through the courtyards, according to whether you are in a space with vertical elements arranged in a rare disposition, or in one where the elements are dense.

materiality

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LOST AND FOUND Entrance to Vegetal Cathedral study on body measure, scale and relations

The aim of this short-period project during the class of Design Studio I, was to design a construction that could serve as an “entrance” to Cattedrale Vegetale site, in Lodi.

This Vegetal Architecture is standing in a void area of the city, close to the river Adda: when entering the site is possible to feel that there isn’t any scale reference, the only presence is the Vegetal Cathedral that reaches 10-12 meters of height and let the visitor being overpowered by its mole. What I designed is a small pavilion that could somehow welcome human body inside the area, presenting itself as an element that can help oneself to feel the human scale (pavi-

lion) in contrast to the vegetal one (cathedral); its modulus in fact, are 1x1 meter and their repetition defines a space where the body can pass trough, obtaining a measure reference and then go on towards the cathedral, every step forward is a movement to reach the bigger scale.

The need for “finding a human scale” is linked to a research carried out on the work of Peter Sloterdijck and Christian Borch. They investigate body feelings and measure according to the presence of other people and other scales, so the outcome of this project tries to summaries the theory coming from the research on their debates.

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plan

facades

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feel the module

fix the module

possibilities (1)

possibilities (5)

live the module

adapt to human scale

possibilities (2)

possibilities (∞)

feel the module

possibilities (3)

feel the relation between human and cathedral scale

possibilities

modulate the perception

live the module:

possibilities (4)

modulate the perception

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THANK YOU

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e: alessia.annunziata@gmail.com t: +39 3421093751