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ARMINE MAKSUDYAN MSc Architecture


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TABLE OF CONTENT

SCENOGRAPHY Interior Architecure Venue Design

005-019 La BANCAROTTA IL TESTO DI CARLO GOLDONI

RETAIL AND TOWN PLANNING Architectural and Urban Composition Urban Studies

021-035 VIA della SPIGA URAN RETAIL

BUILDING TECHNOLOGY STUDIO Construction Techniques Architectural Technology Environmental Technical Physics

037-057 C.SCAPE GREEN BUILDINGS FOR THE URBAN LANDSCAPE

T0WN PLANNING DESIGN WORKSOP Road, Railway and Airport Construction Architectural and Urban Composition Urban Studies

059-073 Laboratorio ROSARNO RESEATCH GROUP: COMMUNITIES

FINAL THESIS Design Architectural and Urban Composition Urban Studies

075-103 PRISON AND THE CITY A MANUAL

ONSITESTUDIO S.r.l. Architectural Studio Formative Experience

105-109 Hotel in Milan 2012-2015

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2011-2012 Politecnico di Milano SCENOGRAPHY Interior Architecure Venue Design Prof. Pierluigi Salvadeo

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La BANCAROTTA IL TESTO DI CARLO GOLDONI

lettura, una quantità di informazioni sempre maggiore, attraverso le quali ciascuno spettatore possa ricostruire una personale rappresentazione della realtà.

L’opera teatrale per la quale è stato pensato questo allestimento scenografico è “La bancarotta” di Carlo Goldoni, messa in opera per la prima volta nel 1741. Questa commedia segna un momento di passaggio, di evoluzione dalla Commedia dell’Arte, che aveva rap- presentato la forma teatrale prevalente per quasi due secoli. Tra i diversi elementi innovativi, oltre all’ambientazione in un luogo preciso, ovvero la città di Venezia, la scelta di non lasciare la recitazione “a soggetto”, ma di scrivere interamente il copione da far recitare agli attori.

Un palcoscenico, di forma rettangolare e realizzato con un materiale trasparente, verrà quindi collocato al centro della sala, permettendo al pubblico di sedere su due lati opposti e avere così un duplice punto di vista dello spettacolo. La volontà è quella di creare all’interno di questa “città da immaginare”, attraverso l’inaspettata trasparenza del palcoscenico e la libertà di movimento nello spazio della scenografia, un elemento evocativo dell’originaria ambientazione dell’opera, ovvero Venezia, dove il rapporto con il mare e il regolare alternarsi di alta e bassa marea concorrono alla definizione di una realtà, di un rapporto tra terra e acqua che muta ad ogni istante; allo stesso modo questa scenografia vuole diventare una realtà in continua evoluzione, influenzata dallo scorrere del tempo ed in grado di adattarsi alle diverse necessità sceniche e di interagire con gli attori, diventando così parte integrante della rappresentazione stessa. Infine, la scelta di utilizzare, per gli elementi componenti la scenografia, un tessuto traslucido di colore bianco, che consenta una grande permeabilità della luce una volta “aperto”, pur rimanendo visivamente percepibile la sua identità materica, vuole essere un richiamo simbolico al teatro della Commedia dell’Arte, in cui la presenza di schemi molto precisi, riconoscibili rappresentati dalle forme semplici e rigide dei suddetti “volumi” era accostata ad un contenuto molto vario, lasciato a improvvisazione salvo per una traccia, il Canovaccio, che, proprio per la grande libertà che lasciava agli attori, vuole essere interpretato attraverso porzioni cli tessuto, elemento che, grazie alla sua grande flessibilità, consente di trasmettere in modo immediato l’idea oli movimento e continua trasformazione che accompagna la composizione scenografica nella sua totalità.

Nella progettazione della scenografia per lo spettacolo che verrà rappresentato nel Teatro Arsenale di Milano si è deciso, in primo luogo, di riproporre un’organizzazione spaziale del palcoscenico che richiami idealmente la morfologia della città stessa, in particolare il suo rapporto tra l’edificato e l’acqua, che attraverso l’articolata rete di canali ha sempre rappresentato un elemento fondamentale perla definizione di un tessuto urbano tanto caratteristico quale quello di Venezia. Un lavoro di estrema sintesi formale che permette di creare, attraverso pochi elementi, strutture di lineare semplicità e leggerezza, una rappresentazione dello spazio che può assumere una pluralità di valenze evocative, trasformandosi nel potenziale interprete, a livello spaziale, di molteplici realtà; realtà appartenenti ad un generico periodo storico, a sottolineare come l’opera di Goldoni, per l’attualità dei temi trattati e per la vividezza dei tratti caratteriali dei personaggi, eredità delle Maschere che nella Commedia dell’Arte divenivano interpreti dei vizi e delle virtù dell’uomo, sia in realtà di un’attualità sorprendente e rispecchi tutt’oggi le caratteristiche di una società non più solo Veneziana, ma universale. Si è scelto quindi di realizzare dei pannelli, delle veneziane in tessuto, sui cui listelli poter ricreare delle rappresentazioni degli oggetti scenici, visibili solo quando gli stessi pannelli sono “chiusi”; questi possono scorrere lungo i binari della struttura metallica a cui sono appesi, permettendo così agli attori stessi di “costruire” lo spazio scenico, che perde la sua rigida configurazione originaria, la tradizionale netta separazione tra interno ed esterno, trasformandosi in una spazialità più complessa e articolata, in cui i confini fisici diventano sempre più immateriali e flessibili. Questa nuova spazialità vuole anche essere rappresentativa di un processo di trasformazione che sempre di più vede lo spazio espandersi verso molte direzioni diverse, divenire una realtà in cui l’elemento temporale gioca un ruolo fondamentale e in cui la dimensione volumetrica lascia il posto a quella bidimensionale, delle immagini; è uno spazio eterogeneo, complesso ed esperienziale, percepibile da direzioni diverse e in grado di trasmettere, proprio grazie alla pluralità di punti di vista che ne consentono la 007


VENEZIA NEI TEMPI DI GOLDONI

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IL PALCO SCENICO

LE SCHENE CITTA’

CASA

CAMERA

FINESTRA BOTTEGA

I PANELI

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ATTO PRIMO Scene 1-2-3 Esterno_Strada, varie case

Scene 4-5-6 Interno_Casa del Dottore

Scena 7 Esterno_Indefinito

Scena 8 Alla finestra

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Scena 1 Silvio, Brighella Scena 2 Brighella, Truffaldino Scena 3 Truffaldino, Servitore

Scena 4 Truffaldino, Smeraldina Scena 5 il Dottore, Truffaldino, Smeraldina Scena 6 il Dottore,Truffaldino, Servitore

Scena 7 Truffaldino, Leonardo

Scena 8 Leonardo, Vittoria

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Scena 9 Esterno_Indefinito

Scene 10-11-12-13-14-15-16 Interno_Camera in casa di Pantalone

ATTO SECONDO Scene 1-2-3-4-5-6-7-8 Interno_Bottega di Pantalone

Scene 9-10-11-12 Interno_Camera in casa di Clarice

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Scena 9 Leonardo

Scena 10 Marcone Scena 11 Aurelia e il Dottore Scena 12 Leandro, Aurelia, il Dottore Scena 13 Pantalone, Leandro, Aurelia, il Dottore Scena 14 Aurelia, Leandro, Pantalone Scena 15 Brighella, Aurelia, Leandro, Pantalone Scena 16 Il Dottore, Vittoria, Smeraldina, i suddetti

Scena 1 Leandro, Truffaldino Scena 2 Leandro, Silvio, Brighella Scena 3 Pantalone, Leandro, Silvio, Brighella Scena 4 Pantalone, Silvio Scena 5 Pantalone, il Servitore Scena 6 Pantalone Scena 7 Leandro, Aurelia Scena 8 Leandro, Truffaldino Scena 9 Clarice, Brighella Scena 10 Clarice, Pantalone Scena 11 Pantalone, Clarice Scena 12 Il Servitore, Pantalone, Clarice

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Scene 13-14-15-16-17 Interno_Camera in casa di Pantalone

ATTO TERZO Scene 1-2-3-4-5-6-7-8-9-10 Interno_Sala ballo

Scene 10-11-12-13-14-15-16 Interno_Camera in casa di Pantalone

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Scena 13 Aurelia, Marcone Scena 14 Pantalone, Aurelia, Marcone Scena 15 Pantalone, Marcone Scena 16 Marcone, Leandro,il Dottore Scena 17 Leandro, il Dottore

Scena 1 Pantalone, Truffaldino Scena 2 Pantalone, Marcone Scena 3 Pantalone, Graziosa Scena 4 Il Servitore, Pantalone, Graziosa Scena 5 Pantalone, Graziosa Scena 6 Marcone, Pantalone, Graziosa Scena 7 Pantalone, Clarice, Silvio Scena 8 Marcone, Pantalone, Clarice, Silvio Scena 9 Pantalone, Marcone Scena 10 Marcone Scena 11 Aurelia e il Dottore Scena 12 Leandro, Aurelia, il Dottore Scena 13 Pantalone, Leandro, Aurelia, il Dottore Scena 14 Aurelia, Leandro, Pantalone Scena 15 Brighella, Aurelia, Leandro, Pantalone Scena 16 Il Dottore, Vittoria, Smeraldina, i suddetti

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SEZIONE AA SCALA 1:100

SEZIONE BB SCALA 1:150

DETTAGLIO DI PALCO SCENICO

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PIANTA SCALA 1:150

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2011-2012 Politecnico di Milano RETAIL AND TOWN PLANNING Architectural and Urban Composition Urban Studies Prof. Luca Tamini

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VIA DELLA SPIGA URAN RETAIL

for the tourists and city dwellers may make it more attractive cite seeing and the following shopping. Since the decrease of spead and exluding the dangerous vehicles of high speed it will encourage the “flaneur” to look around and be attracted with boutique windows and the goods in it accordingly. The following action will lead to advancing the permeability of the shop windows and strengthen the eye and physical contact of seller and buyer. Moreover the goal of the “green” street is to support the existing green areas of the existing urban block rearranging it to the green pattern system, visible and hidden, public and private.

VIia della Spiga è una via del centro di Milano, considerata una delle zone più lussuose, e uno dei maggiori centri dello shopping dell’alta moda a livello mondiale. Fa parte del ‘Quadrilatero della moda’. In questa zona si concentrano numerosissimi negozi e atelier delle griffe più importanti della moda. Il quadrilatero è racchiuso tra le via Montenapoleone, via Manzoni, via della Spiga, corso Venezia. Il suo nome deriva da quello di un’ omonima famigliao da una vecchissima lapide applicata sulla porta di una casa al nr. 20. Tradotta significa infatti : “chiunque chiede pace in questo luogo ove cresce la spiga, il nome ha di pace”. La via ha un charattere ed un profilo assolutamenete personale, straodirnamente differente ed unico luogo dedicato della moda italiana, stravagante affaccio delle proposte vetrinistiche piu’ nuove ed originali. Praticamente nella questa ingagine conoscitiva e’ studiata la strip principale, cioe’ la striscia di negozi al piano terra, mentre che la via della Spiga ospita maggior parte degli atelier e showroom degli stilisti. Deve essere anche sottolineato che e’ l’unica via pedonalizzata nel Quadrilatero della moda, quindi gia’ puo essere trattata come la via dedicata alla moda piu’ sostenibile, chi offra uno shoping estremamante raffinato. The approach of sustainability is one of the key movements in the contemporary policy making touching economical and social life. According to Bruntland Report “OUR COMMON FUTURE” , one of the seminal environmental documents of the 20th century, representative of the growing global awareness in the second half of the century of the enormous environmental problems facing the planet, and of a growing shift towards global environmental action. The relationship between economical development and environment is a central part of the sustainable development (in facts, the social issues were introduced later) and it is recognized by most of the people as the Environmentally Friendly Development. According to the questions made by the Comnune di Milano of an economic development that is compatible to the environment preservation. The question is then if the natural evolution of economical systems goes towards the objective spontaneously. The market making part of economics is an institution invented by the human kind in order to exchange goods and services through their property rights. Thus as an intervention which is considered to be minimal but functional the project action is aimed to firm the links between Social life, Economis and Environment. Requalification of the street tissue and reversing to the sustainable pattern which can be applied as a initial and stimulating model for the future actions on the way of Sustainability. Making the street absolutely pedonal with the possibility of bicycle riding and suitable for in the city promenade 023


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RIVELLO ATTIVITA’ - TERZIARIO COMMERCIALE

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B

B’

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Spiga 14 CHOPARD N.31

Spiga 8 GHERARDINI N.32

Spiga 8 CARLTON HOTEL BAGLIONI N.33

Spiga 6/A PASQUALE BRUNI N.34

Spiga 6 PEUTEREY N.35

BB’

Spiga 9 SCAVIA N.56

Spiga 9 COLOMBO N.55

Spiga 9 GIO’ MORETTI N.54

Spiga 7 MALO N.53

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Spiga 7 MONCLER N.52

Spiga 5 BRUNELLO CUCINELLI N.51

Spiga 5 GILLI N.50


Spiga 6 CHIUSURA: BVLGARY N.36

Spiga 4 Spiga 2 GIO’ MORETTI FARMACIA SAN BABILA ERMANNO SCERVINO N.38 N.37

Spiga 2 HANIEL N.39

Spiga/c.so Venezia CHIOSCO CALDAROSTE N.42

Spiga/c.so Venezia CHIOSCO EDICOLA N.41

Spiga 3 Spiga 1 STUART WEITZMAN CAR SHOES N.49 N.48

Spiga 1 BUSATTI N.47

Spiga 1 CHIMENTO N.46

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Spiga 2 DOLCE&GABBANA ACCESSORI N.40

Spiga 1 FALCONERI N.45

Spiga 1 PREMIATA N.44

Spiga 1 VICINI N.43


CONNESSIONE VISIVA - TIPOLOGIA DELLE VETRINE EFFETTO BARRIERA

IMPERMEABILE

Spiga 26 DOLCE&GABBANA N.27

Spiga 4 GIO’ MORETTI ERMANNO SCERVINO N.37

INTERNO

ESTERNO

Spiga 20 SPORTMAX N.29

Spiga 23 KRIZIA N.67

STATICOD

Spiga 30 MOSCHINO N.26

INAMICO

Spiga 2 DOLCE&GABBANA ACCESSORI N.40

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VETRINA DI NEGOZIO

VETRINA D’UFFICIO

VETRINA DI NEGOZIO-UFFICIO

Spiga 15 MIU MIU N.58

Spiga 42 CHIARIVA N.14

Spiga 32 NILUFAR N.21

VETRINA A PIANO TERRA

VETRINA RIALZATA

VETRINA DI ZOCCOLO

Spiga 18 PRADA N.30

Spiga 1 VICINI N.43

Spiga 21 TESSUTI ALTAMODA N.65

VETRO

CANCELLATA

SARACINESCA

Spiga 30 BRUNELLO CUCINELLI N.22

Spiga 31 DE NICOLA N.73

Spiga 14 CHOPARD N.31

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HIGH ACCESSIBILITY

HIGH ENERGY CONSUMPTION

SECURITY

ABSENCE OF ELEMENTARY SHOPS - INCONVENIENCE FOR THE DWELLERS

HISTORICAL AREA NON STRICTLY CONTROLLED CAR FLOWS

STRONG CONNECTION WITH QUADRELATERO DELLA MODA

ABSENCE OF PUBLIC AREAS

PEDONAL AREA

ABSENCE OF GREEN PUBLIC AREAS

PART OF A TOURISTIC ROUT

LACK OF INFORMATION FOR CONSUMERS AND PASSERS-BY PRESENCE OF PUBLIC EVENTS AND OFFERS ABSENCE OF URBAN FURNITURE BIG VARIETY OF SHOPS LACK OF BARS/RESTAURANTS/LOUNGE AREAS

UPGRADING GALLERIA MANZONI

OVERCOMMERCIALIZING

IMPLEMENTING PARKING AREAS FOR DWELLERS

HIGH FLOWS OF CUSTOMERS WILL CAUSE INCONVEIENCES FOR DWELLERS

ECO IMPLEMENTS: RESTRCITING THE MOVEMENTS OF VEHICLES WILL CAUSE INCONVENIENCES FOR DWELLERS AND DELIVERIES INTO THE SHOPS

PEDONALIZING STREET BY REDUCING CO2 APPLYING PHOTOVOLTAIC PANELS ON THE ROOFS TO REDUCE HIGH ENERGY LOSSES

SATURATING NIGHLIFE WILL INCREASE THE NOISE FACTOR

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2011-2012 Politecnico di Milano BUILDING TECHNOLOGY STUDIO Construction Techniques Architectural Technology Environmental Technical Physics Prof. Luca Maria Fabris

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C.SCAPE

GREEN BUILDINGS FOR THE URBAN LANDSCAPE

with building physics analysis regarding to the envelope components, climatic data, orientation, HVAC systems etc. The main façade is facing south, thus maximizing the solar gains during cold period and minimizing thermal needs for heating. The opening the middle of the building is made to provided proper amount of solar gains for the residential part and to make use of the terrace of the 3 floor for common use. Owing to the fact that there are no high obstructions in the site the building roof gains the maximum solar irradiation useful for PV panels and ST systems.

“... the landscape constitutes an important part of every citizen quality life, wherever he lives”. The European Convention on Landscape (2000) So, the C.Scape studio project faces the complex topic of the environmental design in the historical, architectural, urban and landscape multilayered fabric of Milan and Nagoya, introducing a reflection on the value, importance and problems in adding new architecture in an historic place. In the within of Architectural Technologies subject students are called to respond to the relationships between greenbuilt and light-massive as the characterizing elements of the technological and architectonical design, with attention to the solar gain, the air circulation, the cycle of the water, climate change, to the recovery and the energetic saving and to the use of building materials with high innovative value. The students will be guided in the planning of built structures, through the application of documents and relative drawings to the preliminary, definitive and executive design.

The calculations given in the following summery are related to the residential part of the building. In some points you will find the values valid for the total residential part of the building in rest for the portion of residential part. Nontheless the values are coherent. In the sketch bellow the functional scheme is provived.

In the within of Constructions Technique subject will be requested these minimal documents: structural drawings of storeys slabs, vertical elements list, structural design report, joint detailed drawings. The BT Studio A focuses in merging the knowledge of the two subjects in a unique project where the aesthetical and compositive matters are developed together and in relation with the technical and structural features the building should have. In few words: buildings are complex but they are a whole, and we have to obtain the desired performances required by the brief by design. In the within of Building Physics subject…. The main building, one in Milan, will be developed through three steps: a preliminary design first phasem, a definitive design second phase and a detailed design third phase due at the end of the course. The building is situated in Leonardo Campus of the Politecnico di Milano. The main concept is focused on a ‘new community habitat in eco-friendly environment’. The building provides different functions starting from Exhibition and Common space, Community Housing and SOHO apartments for students. The building consisted of 11 floors by 3m hight each, with the exception of the ground floor which hosts exhibition with ceiling of 4 m. The footprint is 470 m2 which minimizes the land-use. Our aim was to analyze the building not only as an architectural volumetric and esthetical sides but also go in deep 039


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*Calculations for Primary Energy Balance, Thermophysical Properties, Lighting are made for the portion of the building standing the tower part, which includes two apartments facing east, south and west sides.

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DHW DHW demand

Solar thermal system data

PV

 

Cash flows/Net Present Value

 

 

Electricity demand = Heat Energy(SCOP=4,8) + Electrical Appliances

Solar photovoltaic system data

 

Cash flows/Net Present Value

 

 

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SOHO The type of the apartments is located on the last two floors of the building facing South with angle of rotation 0 and 30 degrees. The main activity is concentrated to the side of the window. In the bathrooms we have an opening for the ventilation and light bearing camera of 2000 mm per 700mm. The floor are is 20 m2. WINDOW AREA Aw = 3 X 3.5=10.5 m2 S Tsi = Ti - Ф/A/hi = 17.075 Ф C WALL AREA A = 3 X 3.5 + 7 X 3 X 2 = 52.5 m2 *Tsi = Ti - Ф/A/hi = 18 Ф C (envelope)

BEDROOM As the example we consider the bedrooms located in the West tower. The window system is the same as in the SOHOs. The bedrrom has two sided glazing facing South and East. The floor Area is 12 m2. WINDOW AREA Aw = 3 X 3.5=10.5 m2 / SOUTH Aw = 3 X 3.5=10.5 m2 / EAST Tsi = Ti - Ф/A/hi = 17.075ФC WALL AREA A = 3 X 3.5 X 2 = 21 m2 *Tsi = Ti - Ф/A/hi = 18ФC (envelope)

LIVING ROOM As the example we consider the bedrooms located in the West tower. The window system is the same as in the SOHOs. The living room has a one sided glazing facing East. The floor Area is 20 m2. WINDOW AREA Aw = 3 X 5.3=15.9 m2 / WEST Tsi = Ti - Ф/A/hi = 17.075ФC WALL AREA A = 3 X 3.5 X 2 + 5.3 X 3 = 36.9 m2 *Tsi = Ti - Ф/A/hi = 18ФC (envelope)

*As a shading system we are implementing blinds specially designed for fitting within insulating glass units. Precisely ScreenLine double glazed unit with Venetian blind. The slats have a possibility to change the tild Angle according to the season and daytime.

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2011-2012 Politecnico di Milano T0WN PLANNING DESIGN WORKSOP Road, Railway and Airport Construction Architectural and Urban Composition Urban Studies Prof. Stefano Boeri

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Laboratorio ROSARNO RESEATCH GROUP: COMMUNITIES

small farmers to adapt to non-traditional crops, resolved in a local crisis, leading to a rural exodus of native workers gradually replaced by immigrants. Rising unemployment and shrinking resources determined an extraordinary development of criminal activities, which gradually became the predominant source of income. The massive influx of immigrants subjected to all forms of exploitation due to economic difficulties of small landowners and the influence of the ‘ndrangheta on all aspects of the local economy, has determined the levels of impatience and exasperation to intensive exploitation and hazardous hygienic conditions that have resulted in a major revolt of February 7-8, 2010.

January 2010, Rosarno, Calabria. The immigrants’ manifestations of rage reveal, for a short while, the conditions of deterioration and injustice thou- sands of African labourers live every day. Labourers who are exploited by an economy held by the ‘Ndrangheta mafia power. For a moment Italians become aware of them, they are scared of them and react with violence. In a few hours the immigrants are “evacuated” from Rosarno and the problem is “solved”. But the faces and the stories of the protagonists of Rosarno’s riot say things are not like that. Finding out these stories and giving them a voice are the only way to bring back to the country its own memory: the memory of those days of violence and the memory of a recent yet forgotten past of rural poverty (...)”

The project starts from the observation of the territory that is both from a productive and a landscape point of view homogenous with the agricultural system and the exception of the harbor. The harbor is disconnected to the nearby settlements. We tried to think how to reconnect those three settlements with the harbor, and the area that looked more calling for an intervention was the triangle behind the Harbor, characterized by the presence of the abandoned fabrics. The idea is to implement green energy production technologies in the triangle with the development of five main technologies: windmills and photovoltaic panels to produce energy, garbage treatment, with biogas production center, a waste division center and the preexistent incinerator, and water treatment, with water collectors and water treatments centers.

A. Segre, “The green blood”, 2010 Rosarno suddenly became known to the international press for a riot of African immigrant workers in January, 7-8, 2010. Starting from this chronicle fact we would like to focus on Rosarno case study, as paradigm of an economy held by vested interests, that force immigrants to wage and housing slavery conditions, with a strongly social twist on the local urban tissue. These events exposed the existence of a complex social situation in Rosarno. Our thesis is that it is not possible to understand this social and economical condition without a deep investigation of the territorial organization of this landscape. Rosarno is a city in Calabria, at the centre of the piana di Gioia Tauro (Gioia Tauro plain). The territory of the piana is mainly cultivated with citrus and olive trees. The piana is immediately linked to a large commercial harbour (Gioia Tauro), which currently is the largest transshipment terminal in the Mediterranean Sea. The harbour was created in support of a large steel plant that was never realized (a typical story of state intervention in the economy of the Italian South). In reality, at the moment there is an overscaled industrial area settled with barely surviving small businesses, that have not delivered any real development. The main economic activity in the territory, apart from criminal activities related to the ‘ndrangheta, is therefore agricultural production, especially citrus cultivation. In fact, following the drainage began in XIX century, the territory of Rosarno developed a thriving citrus culti- vation based on small peasant property. This agricultural activity involved and supported the large majority of the settled population.

The output if those investments, that producing green energy will have the benefits of the EU funds will be used to implement a landscape intervention and a huge area for social events. This intervention is required in order to promote social gathering, social identification and economical gaining. The polifuctional area is a huge space taken from the harbor of 600X400 m that will use the cranes and the containers of the harbor to shape itself in an always different ways. Flexibility and bigness will create a unique area that can host concerts or exhibition of out of scale elements. The triangle will appear shaped by three stripes. One connected to the harbor activities, one with the previous industries treated with photovoltaic panels, reused for the water/garbage treatment, and the third one will be a mixture of landscape intervention in reference with the fields and high technological elements such as windmills and water collectors.

In the last decades of the last century, the globalization of markets, the resulting exports to Europe of large quantities of cheap agricultural products, and the inability for the 061


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2012-2013 Politecnico di Milano FINAL THESIS Design Architectural and Urban Composition Urban Studies Prof. Nicolo’ Maria Riva

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PRISON AND THE CITY A MANUAL

In any case, Carcere di San Vittore can now be distinguished by two main concepts, overlooking its future. Being a sort of an urban container in a dense historical city center, it becomes controversal to the proper development of the third millennium society. Though being a civil artifact, it cannot be anymore separatedfromthecitydewtoitslocationand andthequality and quantity of relationships that are intertwined and that the prison is able to generate. The potential of the place plays a vital role in the social aspect of the city. The 150 year old building has to be equipped for at least another 50 years.

“La vita è stupenda, ma può rivelarsi la tua peggiore nemica, un'avversaria temibile che fa paura. La vita non bussa, lei prende e toglie quando vuole, senza preavviso. Questo chi è detenuto lo sa benissimo e lo riconosce meglio di chiunque altro. Dietro le fredde sbarre non ci sono solo delinquenti incalliti (e forse anche quelli hanno un loro percorso), ma c'è soprattutto la più ampia selezione di quelle persone troppo sensibili, gente che si è arresa alla vita, alla società che detta modelli e stili di vita da sogno.” Cos’è il carcere La risposta di un detenuto

On the other hand, the microcosm inside the San Vittore Prison goes on having its own life, but dew to numerous questions and problems , thanks to poor political and economic organization, the life inside of it faces today the hard times. Having become a purely theoretical building in itself (as built by the rules of a panopticon), it proves its undeniable architectural quality and the convenience that it existed, reinforced by the fact that the prison was relatively popular with its inmates, as well as with the native milanese, who made “san vittur” be a collective name for all the prisons today.

In architecture sometimes it is very important to touch the topics, uncommon dew to their forbidden nature and the elevated attention, with which it has to be studied. The part of the society in a close relation with prisons, from the detainees themselves up to the people working for the sphere, all form a kind of a microcosm, a separate life inside a normal human one, and in many cases - a separate city, with its own rules and regulations. While having a relatively rigid structure and function principles, and thus being totally separated from the «behind the walls» urban life, in many cases, famous in history all over the world, the numerous examples of such organisms are right inside the city or somewhat close to it. Therefore, here comes the question of any connection between them, if it is possibleandwhereexactly, orifthereisanychanceoftheir interaction, and in which points, or at which levels.

San Vittore appears to be quite a vivid example, of both the behavior of such a complicated organism inside the proper urban environment, as well as a representative of the general Italian prison system and functioning. Considering it as an example to study, the following research will bring to a list of possible solutions to many prime considerations of the prison systems and architecture all over the country. A set of instructions to a number of questions. A USER’S MANUAL OF A PRISON.

The native Milanese are familiar - many of the tourists or foreigners, on the contrary, have hardly noticed - there is a prison in the center of the city, Carcere di San Vittore. A strange grey and not ending wall - for those who have never known. An organism with an embarrassing content - how come in the city center?! - for those who live close. A remand prison or Casa Circondariale, where an inmate stays from 2 to 6 months average, before he is finally sentenced - for the accused detainees. Having been constructed as an official prison of the city of Milan in the late 19th century, in our epoch the San Vittore remained as a remand center, with many characteristics, similar to the jail, where the sentenced people stay. Having whitnessed the discussions on its requalification into another function, saving the architectural value as a monument, it finally got a decision to stay as it is, a remand center, and the reasons lie more in the social and political sphere. 077


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OPTION#1

2013


POSSIBILITIES The possible solutions for the case discussed have to be considered from several points of view. Being unique as a purely theoretical building, having an undeniable architectural quality, it has to receive a very tolerant and a gentle approach in any of the solutions found. Resting in the center of the city, it gives a chance only for contextual intervention, enriching but not destroying the genius loci of the area.

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OPTION#4

OPTION#3

OPTION#2

Every idea produced with the aim of elevating the quality of life of the inside of San Vittore, has to consider carefully the over-thewall urban context, morfology and territorial use, and vise-versa - everything in a direct connection with the city has to respect a still regulated way of life inside.


OPTION#1

L IV RAGGIO The 4th arm is closed today for the danger of collapse, having a rich, historically originating system of ground waters, passing right under it. The neighboring territory on the other side of the wall has a green space, potential for the whole territory. To perform a connection of the unused 4th arm of the prison and the space beyond, all the floors, partitions and the roof are being demolished, leaving the perimeter walls take the aim of the dividing objects, and a portion of the prison wall is taken away to give an access to the space now open. The perimeter walls save their metal bars, so that now the theoretical «inside» is the practical «outside», and the dwellers of the «inside» still posess a barrier from the outside world. A visitor can theoretically enter the prison without being inside.

floor. The broken belt of the wall, for security reasons, proceeds above the actual break as a metal bridge structure, where the guards ftill fulfill their duty. Apart from becoming an official public space, the 4 Raggio is now able to peform various functions. The Messa della Domenica, held every Sunday inside the Rotonda for the detainees, can have a sound being transmitted outside, on the territory of the 4 Raggio, permitting a free access for those who want to listen. «I hear but i dont see». The Prisons privacyw would rest undisturbed. Like the chirches having one part for the cloistered monks and another for the people, as the monks could not have any kind of relationship with the outside world, The monumentality of the long vertical cut of the back wall will turn it into a conseptual altar.

The back wall, becoming now an actual partition of the Rotonda from the outside, has a cut, from the upper border untill the level of the 2nd

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OPTION#2

L’ORA D’ARIA / OFFICES + OPEN SPACE presupposes the insertion of the adjacent two-storey units, following the traces of the former walls and a passage, leaving the entrance/exit corridor be a staircase to reach the first floor, that will serve exactly the same task of the place - a facility for the detainees to walk in the fresh air, having grass zones, and zones for the exercise.

The territory of the prison, between the wall and the buildings, is being used today in several ways: five spaces between the arms serve for the hour of fresh air that detainees have every day, the places have concrete walls of 4 meters high and the shadow roof sat some points; series of sheds proliferated, randomly fulfilling spatial needs for additional activities and making the grounds cluttered and difficult to guard. On the other hand there appears to be a great shortage of spaces needed for the offices of administration and the police, sport facilities for both detainees and police, who appear actually to live there, working, and a number of many other needed spaces.

The ground floor spaces can be used in a multiple way, depending on the needs of each adjacent arm. The unit, facing the actual Via Vico, has two storeys, for the reason of the partial erasing of the outer wall, dew to the fact that Via Vico becomes a pedestrian street, giving the possibility to the prison wall to try its flexibility in respect to the city environment. Another units will partly house the facilities for the police, giving them a more functional and equipped space for their convenience and an adequate work atmosphere, that permanently lacks in the prison today.

The hour of air facilities are poorly developed and unequipped, scarcely improving the rehabilitation treatment expected. The following option

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OPTION#3

LIVING ROOMS The current situation of the arm’s planning is based on the mixed-use of the cell spaces. Almost half of them have been transformed into the activity rooms, storage spaces, infermerie’s and offices, leading to the inevitable overcrowding of the whole complex for the absence of place for the detainee cells. As for the meetings with the families, numerous inconveniences happen to take place dew to the scarce spaces devoted both to the waiting rooms and the meeting rooms, not talking about the facilities for the kids, for whom the 3 to 4 hour line is a disaster.

closer, moving to the units for eather meeting the families or taking par t in the activities. The two units, one attached to the 3d arm, another to the 5th, serve totally for the rehabilitation activities of the detainees, each having 4 floors in correspondence with the floors of the arms, the ground floor having a passage or a console, for the need of overall permeability and availability of the inside-the-wall territory. The other two units, attached correspondingly to the 2nd and the 6th arm, serve for the meetings with families. The 2nd arm unit, in particular, has its front facade elevated from the plane of the wall, forming two guest entrances, following the actual position of the existing ones, facing Viale Papiniano. the thickness of the wall hides inside itself the staircase, elevator and the police check-in point. The waiting room goes to the last 4th floor, under the slope roof, where part of the roof cover is transparent, providing the views and a better light.

In this light the 4 of the 6 remaining arm get the prolongations, injected between the end of each arm and the wall, and forming a sort of a several storey units, full of light by means of using the milk non-transparent but rigid and secure facades, where from the inside you get tons of light but no view. The general concept is primarily based on the idea of turning the prison’s boundaries «inside out»: decentralisation of the movement idea, when the detainees would have a chance to approach the walls much

TRANSLUSENT GLASS

ASS

WAITING ROOMS ATRIUM

MEETING ROOMS MEETING ROOMS MEETING ROOMS

CHECK-IN

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MEETING ROOMS

SAN VITTORE


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OPTION#4

POLICE AREA The penitentiary police takes a great and indispensable part in the life of the San Vittore prison. In fact, the kind of work these people carry out, preceposes in many cases a 24-hour control of the whole complex, not mentioning each of the gates of the main passage, and all the entrance gates of the arms, all having policeman controlling them constantly. The surrounding wall has a 24 hour guard’s control pf the perimeter.

The project preseposes the insertion of a block of 1-2 floors, above part of the buildings inside the prison territory, going over Via Olivetani , and upon the unused ruined blocks, forming the whole complex for the use of the police department on the inside part - and the city on the outside. The city use can introduce activities, interesting for many. These can be the classrooms for the lectures of criminology, law, psychology and medicine, all that is studied in connection with the penitentiary system. Given that the whole area has a strong police oriented use (carcere, questura, ex-Beccaria in Piazza Filangheri), it has a chance to become an actual point of custody and justice of the whole city. The light structure rests on columns above the area, having at some points direct connections with the existing buildings.

The obvious shortage of appropriate areas for work, stay and rest for the police department, makes a way to the idea of trying to find the areas to ampify and enlarge the spaces for the use of the police, both work and recreational. Taking a closer look at the NW angle of the complex, to the right of the main enterance, its possible to see the potential areas of use, now being empty or used as storage. Also, on the other side of Via Olivetani, there is the whole complex of buildings, now being empty and partly in ruins.

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2012-2013 Politecnico di Milano ONSITESTUDIO S.r.l. Architectural Studio Formative Experience Prof. Angelo Lunati

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Hotel in Milan 2012-2015

Client Reale Immobili s.p.a. Project status Restricted design competition, 1° prize - ongoing Projects developement through team work. Work on models and drawing production. Development of project including the work on model making and design using the knowledge and skills obtianed during the study. Work on the development of definitive stage of the project of the hotel based in piazza Duca D’Aosta 4/6, Milan, Italy. Design skills and work on architectural software to be apllied. A new hotel in Duca d’Aosta square means creating a new space in the memories of the city that could be a new presence in the daily experience. The former building, designed by M.Baciocchi in the 50’s, is a remarkable architecture especially for its urban character, its color and materiality. The clinker facades have always been an austere backdrop in front of the massive and exuberant presence of Milan Central Station and of the Pirelli’s thin volume. We decided to work on these features, using them as material for the new building. The pace and the depth of the new facades arise from the extent of the Baciocchi’s one, whose modules were doubled in accordance with the monumental square and portico. The vertical elements get gradually thinner in the upper levels of the building while in parallel the openings become larger till they disappear on the top floor, merging with the sky. We chose to use a steel structure and prefabricated panels in gfrc colored with red aggregates. The system of floors is also prefabricated, due to the regular dimension of the structure’s grid. The hotel has approximately 200 different rooms overlooking the square, and is crowned by a rooftop terrace facing the city.

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MILAN 2013


Armine Maksudyan Portfolio