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Elena Rigato serial number 279614 rigatoelena@gmail.com +49015129052392 University IUAV of Venice Architecture, Tecniche e Culture del Progetto


CURRICULUM VITAE Elena Rigato

//CAREER

/ / P E R S O N A L D ATA

Date of Birth: 26.12.1994 Place of birth: Dolo ( VE), Italy Nationality: Italian Address: Engadiner Str., 81475 City: München Mobile number: +49 015129052392 email: rigatoelenagmail.com

2008-2013 Classical High School “ T i t o L i v i o” , P a d o v a A Levels - 74/100 Music Conservatoire “C. Pollini” Padova, Classic guitar

//INTERESTS Architecture Photography Illustration Literature Philosophy Tr a v e l s Music Electronic music composition

2 0 1 3 - 2 0 1 6 U n i v e r s i t y I U AV o f Ve n i c e , A r c h i t e c t u r e D e s i g n Te c h n i q u e s a n d cultures

//PROGRAMS Office: Autocad: Rhinoceros: Indesign: Photoshop: Illustrator: 3dsMax: Sketchup Pro:

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01.201507.2015

Praktikum, 3ndy Architektur und Design S t u d i o , Ve n e d i g

09.201407.2015

Goethe Institut, A2+B1 Kurs Padova

2015-2016 Erasmus TUMünchen //LANGUAGES

Italian: Motherlanguage English: C2 German: C1 French: A1 Latin: Basic knowledge Ancient greek: Basic knowledge

//WORKSHOPS

July 2014

Workshop WaVe, Venedig - LABICS

July 2015

W o r k s h o p W a Ve Ve n e d i g - J . C o r v à l a n

May 2015

Workshop “Le Corbusier”,

July 2016

W o r k s h o p W a Ve , Ve n e d i g - B e a l s + Lyon


TRANSCRIPT OF RECORDS

History of Art__Attended Mathematical Analysis and Geometry__ 25 Urban Planning__29 Basics of Restoration__ 30 e lode History of Modern Architecture__27 Architectiral Representation Studio__27 F i r s t Ye a r D e s i g n S t u d i o _ _ 3 0 S t r u c t u r a l Ty p o l o g y a n d M e c h a n i c s _ _ 2 7 Environmental Design__ 30 e lode Workshop 2014__29 English__29 Te c h n o l o g i c a l D e s i g n _ _ 2 9 History of Contemporary Architecture__28 Second Year Design Studio__29 Workshop 2015__30

Entwurf Staelle Design Studio__3 Baurecht und Planungrecht__2 Special Topics of Envelope Constructions__2 Sustainable Urbanism Design Studio__1.7 Innernarchitektur__2.3

U n i v e r s i t Ă I U AV d i Ve n e z i a

TUMĂźnchen


Vorleben

Augenblick

Zukunft


Index

1. Vorleben

2. Augenblick

3. Zukunft

Katsura Imperial Villa San Pietro in Montorio Temple, Donato Bramante Mazzorbo Quarter, Giancarlo De Carlo San Pietro in Castello Pistoletto’s Foundation

I II III

18 24 26

IV

36

Elements of figures in the space Pavillion, The guest made of stone Light and Space Technical elements view Le Corbusier Travel

V VI

52 56

VII VIII

84

IX

86

X XI

100 114

UberSendling WAVe 2015, Observatory of Venice The crux chair project WAVe 2016, Archipelago Venezia The Farm of the Future

64

XII

124

XIII

130

XIV

140


Beständigkeit [ beständig + -keit ]

What does « Beständigkeit » mean? It is a concept that can’t be explained through a single word. A persistent and consistent presence. A perpetual entity positioned in the time. With no end but with a precise start. It is something collocated in a space, which defines a time.


ÂŤ See, I want to write a story about two long lines. Two little spaces they're filled with echoes. Did the lines ever intersect one another, at a moment in time? Moment time. Âť Nicolas Jaar, Space Is Only Noise


Architecture is not about space, but time. Two entities which coexist. And from their meeting the design can be created and can define a moment itself, and then that moment becomes a period, without a defined end. We can walk through that time, and see it. We can perceive it, and we can catch a specific moment of that time, and analyze it. This is the magic of this discipline. It defines a new life, unique in itself. Something created from the consciousness of the past time, but referred also to what is coming next, or in a hundred years.


Vor

_


__

Leben


 At the beginning of the nineteenth century we abandoned tradition, it’s at that point that I intend to renew it because the present is built on the past just as the past was built on the times that went before it. 

Adolf Loos, Past, beginning, present


Vorleben {n} [ vor + -leben ]

Already lived.


I Katsura Imperial Villa First year Design studio Professor Eleonora Mantese


Vorleben

19


20

Vorleben


Vorleben

21


22

Vorleben


II San Pietro in Montorio temple History of modern Architecture Giovanna Curcio

Voids Wall Pilasters Door

Columns

24

Vorleben


Time reflected on a space Only through the knowledge of the past we can act in the present. This Temple is a sign of a whole Era: the ‘400 Humanism. This Time can be mostly identified with a typology of space: the central space. The centre of the central space configures the presence of the Absolute, around which everything is following a symmetrical hyarchic order. The Space program is following a precise rythm, which can be identified with the number 4. Four and its own multiplies are crating a rythm. A Unique structure which is following precise geometrical settings: homo ad circulum et ad quadratum. This precise order recreates a microcosmical perfect order.


III Mazzorbo quarter of Venice, 1979-1997 History of Contemporary Architecture Maria Bonaiti


 The indirect partecipation [‌]should travel along two roads: to read the signs of the landscape and to be able of discovering and interpretating their history; by considering history not only the past, but also the present and the future expectations. If it is true that each event lets his own signs into physical space, that everything is written in the landscape, it is possible to be able to decipher this writing and to understand the sense of the site in which the project has to take place. 

Vorleben

27


Macroelements

Project analysis

// Central Spine

// Relation and view of the residences

// Agglomerations and permeations of volumes

// Distinct typologies for orientation and dimension

// Multiple langage

// Reinforced shores

// Raising of the cemetery and of the sport field

28

Vorleben


Phases of the project

1

I Realization phase

2 II Realization phase Unfinished

3 III Realization phase Unfinished

Vorleben

29


Spacial dimensions, Green

Publ ic green o rga n iz ed ( p a rk)

Sp o r t Cen ters ser vic es

A gr i c u l t ura l green

30

Vorleben


1 Buildings with continouous facade Lagoon view

2 ‘Single unity’ buildings Individual dimension

3 A g g l o m e ra t e d b u i l d i n g s Vo l u m e t r i c a l c o m p o s i t i o n s

Vorleben

31


Residencial typologies

Autonomous quarters

Single unities

Continuous facade

32

Vorleben


Different dimensions than Venezia

Preexistent Mazzorbo

Abitazioni di Burano

D e C a r l o’ s q u a r t e r

Vorleben

33


Colors Differentiations

Characteristics // Eccentric colours

// Unnatural palette

// Contrasts

Burano

Characteristics

// Desaturated colours

// Natural palette

// Fusion with the lagoon

Mazzorbo

34

Vorleben


« Only if people know where they stand in temporal and existential terms, are they able to change things otherwise they will remain stranded where they are, while pretending they’re getting somewhere» How can you do without history?, interview with Giancarlo De Carlo

Vorleben

35


New Foundation for Michelangelo Pistoletto in San Pietro di Castello Second year Design studio Mauro Galantino


PRE-EXISTENCE ANALYSIS The island of San Pietro di Castello is an isle situated on the oriental side of the historical centre of Venice, and it’s included into the “sestiere di Castello”. The setiere is in the east-side of the city, and it contains in itself all the final part of Venice, including the huge Arsenale complex. Probably the name comes from an ancient military garrison, that was placed in the east extremity. For sure San Pietro di Castello was one of the first military centre. The urbanization process of the area developed arount the Arsenale in order to offer a place to live for the workers. Nevertheless, In the northern zone there were the friars convents of the dominican order. But even after the Development of the actual Venice, the area was separeted from the rest of the city, because of the huge San Pietro canal. From the ‘800 the links were permitted through two wooden bridges: San Pietro Bridge and Quintavalle bridge. THE PROJECT Aim of the project is to requalify the area through a new Art foundation for Michelangelo Pistoletto, linked with a workshop space, and a student housing system. The Pistoletto’s pieces of art are chosen in order to know deeply the thematic in which the artist believes, his history and philosophy, but at the same time it gives to people the possibility to interect with it.

Vorleben

37


Preexistence Analysis Buildings and Inhabitations

Links and reachability

Meeting points and free time

ormeggi privati

trasporto pubblico

Enclosures

Green areas

Panoramic elements public green private green to rearrange green

Walkable paths

38

Vorleben

Green areas

Riqualification, reorganisation and demolition areas


Interventions Borders | New shape of the island

Fullnesses, new buildings

Borders | natural shore and foundations

Borders| private spaces

Fullnesses | new limits

Fullnesses | heights focus a

b

b’

c

Voids | Squares and meeting places

VERDE | Riqualificazione e filtro

Paths | connections

Vorleben

39


Pistoletto’s works of art chosen and collected

Empties and voids

Time through the rooms

Paths and borders

Corpo a pera a specchio, 1966

Cinque pozzi, 1966

Sfera di giornali, 1966

Mappamondo, 1966-68

Venere degli stracci, 1967

la mela reintegrata, 2007

Fragmentation

Gabbia specchio, 1973-1992

Gabbia specchio, 1973-1992

Gabbia specchio, 1973-1992

Gabbia specchio, 1973-1992

Gabbia specchio, 1973-1992

Le stanze, ottobre 1975

Relations and introspections

The language is home of the being

Le quattro stagioni, 1983-1985

Divisione e moltiplicazione dello specchio, 1975-1978

Terzo Paradiso - c’è dio? si ci sono!, 2012

Chi sei tu?, 1976 (mostra n. 7)

Segno Arte Unlimited, 1976-1997

Immagine-Poetica dura, 1989

Segno Arte - Uomo vitruviano, 1976-2007

Il Terzo Paradiso, 2006

Divisione e moltiplicazione dello specchio, 1975

Il Segno Arte-Lava di Volvic, 1976-1993

Autoritratto attraverso mio padre,1933-1973

Bagno,1965-1966

Autoritratto, 1956

Autoritratto di stelle, 1973

Alter-Ego, 1984


Reflection and crossing

Materiality

Superfici scolpite e dipinte, 1985 204 x 280 x

Filo elettrico appeso al muro, 1964

Figure che guardano nel pozzo,

Paesaggio, 1965 cm 70 x 40 x 20

Volume policromo, 1985 240 x 60 x 106 cm

Portatore di zucche, 1981 cm 200 x 122 x 68

I voyeurs, 1962-1972

Sculpture, time is changing

Lampadina appesa , 1962-1964

Dietrofront, 1981-1984

Figura che si guarda, 1983-1984

Uomo in piedi, 1962-1982

La Caduta, 1983-1991

Caracalla paradiso contemporaneo, 2012

L’acrobata, 1982

T este rosse 1984 cm 220 x 220 x 200

Disegnatrice, 1962-1975

Scala doppia appoggiata al muro, 1964

I temp(li) cambiano, 2009

,

Religion

Household environment

Vanishing points

RELIGIONE Il disegno dello specchio, 1979

La gabbia dello specchio 1978-1982

Metro cubo di infinito

re ragazze alla balconata,

Autoritratto, 1962 , cm 120 x 100

Uomo con pantaloni gialli

Porta Segno Arte Unlimited,1976-1997

Lampada a mercurio

Letto

,

Luogo di raccoglimento e preghiera 2010

The mirror of judgement, 2011

Il tempo del giudizio, 2009

Disegnatrice 1962-1975 cm 250 x 125

Cameraman, 1962-2004 cm 250 x 250

T

,

Donna sdraiata , 1962-1967 cm 120x150

Quadro da pranzo, 1965

Struttura per parlare in piedi

Tenda di lampade a muro


Masterplan


Exploded diagram

Second floor

Cafeteria

Conference Hall

First floor

Library Foundation

Workshop rooms

Ground floor

Library Foundation


Groundfloor Plan Foundation + workshop

View DD’

View and section AA’

Section CC’ View and section BB’

View CC’


First floor plan and covering plan


Views and sections Foundation + workshop

Section BB’

View AA’


Augen

48

Augenblick

_


_

Blick


ÂŤ Dum loquimur fugerit invida aetas: carpe diem, quam minimum credula postero Âť

Adolf Loos, PastOratius, Ode 1, 11, 8


Augenblick {m} [ Augen + Blick ]

Blink.


V Elements of figures in the space First year Design studio Agostino De Rosa

b

z'

x'º l

s¥ s¥

y' y1


 Restituito per tal modo questo lavoro prospettico al primo suo pregio e accoppiatavi quella morbidezza a cui pervenne ai nostri tempi l’ornato, si presenta agli sguardi nobile, elegante e dignitoso. 

Donato Bramante


L∞ V''

To z'

O''

2''

Tr

1''

r'' 6''

4'' x' ≡ x"

l V

y*

(V)

(2)

1'

(1)

y'

7'

(7)

L∞

2'

6'

1

(8)

8'

V'

3'

4' (C) H

(4)

(6)

O' r'

(J) 4*

J' sβ

1*

Sα Sα

2*


y'' C''

z S∞ O

x

F

K

y' y

C*

M

C'

y'

G

x'=l


VI The guest made of stone Second year Design studio Mauro Galantino


ASCENT WAY

FILTERED VIEW

INCREASING LIGHT

FINAL MEETING

Augenblick 57


Development of the floorplan

final result

58

Augenblick


View scheme

Augenblick 59


Increasing light

1,0 m

9,0 m

5,0 m 0,5 m

60

Augenblick

2,0 m


Result

Augenblick 61


Section

62

Augenblick


Model

Augenblick 63


VII Light and space

Second year Design studio Mauro Galantino

64

Augenblick


ÂŤ Now this imaginary case, my dear Glaucon, you must apply in all its parts to our former statements, by comparing the region which the eye reveals, to the prison-house, and the light of the fire therein to the power of the sun: and if, by the upward ascent and the contemplation of the upper world, you understand the mounting of the soul into the intellectual region, you will hit the tendency of my own surmises, since you desire to be told what they are; though, indeed, God only knows whether they are correct. But, be that as it may, the view which I take of the subject is to the following effect. In the world of knowledge, the essential Form of Good is the limit of our inquiries, and can barely be perceived; but, when perceived, we cannot help concluding that it is in every case the source of all that is bright and beautiful,in the visible world giving birth to light and its master, and in the intellectual world dispensing, immediately and with full authority, truth and reason;- and that whosoever would act wisely, either in private or in public, must set the Form of Good before his eyes..Âť

Plato, The Republic

Augenblick 65


Hourglass, central space

66

Augenblick


Result

Augenblick 67


Translation, central space

68

Augenblick


Result

Augenblick 69


Expansion and+ Restriction, central space

70

Augenblick


Result

Augenblick 71


Hourglass, linear space

72

Augenblick


Augenblick 73


Translation, linear space

74

Augenblick


Augenblick 75


Expansion and+ Restriction, linear space

76

Augenblick


Augenblick 77


Hourglass, angular space

78

Augenblick


Augenblick 79


Translation, angular space

80

Augenblick


Augenblick 81


Expansion and Reztriction, angular space

82

Augenblick


Augenblick 83


IX Technical elements view Second year Design studio Maria Antonia Barucco

84

Augenblick


Entrance door Section

Section

Knot details


X Le Corbusier travel

Second year trip, Switzerland and France Maria Bonaiti


ÂŤ Burn what you have loved, love what you have burned. The architect must be a man with a logical mind, the enemy of love of plastic., sculptural effects, a man of science yet with a heart, an artist and a scholar. I know it now.Âť

Le Corbusier

Augenblick 87


88

Augenblick


Augenblick 89


90

Augenblick


Augenblick 91


92

Augenblick


Augenblick 93


94

Augenblick


Augenblick 95


Zu

_


_

Kunft

Augenblick 97


ÂŤ The idea of the future, pregnant with an infinity of possibilities, is thus more fruitful than the future itself, and this is why we find more charm in hope than in possession, in dreams than in reality.Âť

Henri Bergson, Time and free will

98

Zukunft


Zukunft {f} [ zu + kommen ]

Yet to come.

Zukunft

99


X Uber-Sendling, Sustainable Urbanism Third year Design studio Mark Michaeli

100

Zukunft


« The district of Obersendling has been conceived from the beginning as one of Munich’s factory belts. Today, it appears as a highly mixed area where high-tech business borders cement factories and fragments of housing coexists with infrastructural buildings and fallow lands. The former Siemens parking lot consists of two hectares of asphalt emptiness on the intersection of Gmunder Straße and Hofmannstraße, taking up the larger part of an industrial sized city block. Some left-over perimeter block fragments on the street corner, an auto parts trade and the former Siemens development campus across the street, the vicinity poses questions about the district’s future as much as about an appropriate role for the site itself: How can it contribute to the development of the district’s characteristics? How can integrating mixed uses with common urban fabric result in distinct urban qualities? The aim is to come up with a concept that combines business or industrial workspace with a complementary programme such as housing or social facilities and an adequate spacial structure connecting it to the hetereogenous surroundings.»

Zukunft

101


102

Zukunft


Zukunft

103


104

Zukunft


Design steps

Preexistent snake

Snake continuation

Conic entrance view

Alignment

design steps

Result

Zukunft

105


Urban Analysis Connections with bus and subway, green, parkings

H

P H

H

P

III

P

P

P

H H

H

H H

U

U

P

H

H P

P

P

H

H H

P

106

Zukunft

S


Urban plan, top view

0 10 m

50 m

100 m

Zukunft

107


Groundfloor plan

108

Zukunft


ď †irst floor plan

Gym Bar Climbing tower

Gym free use room

Student

Start-up

Kindergarten

Tv free use room

Office

Medical centre

Crafts

Workshop space

Shops

Multi-housing

Zukunft

109


ocus on living Multigenerational housing

N S NW

NE

41 m² 61 m²

53.5 m²

27 m²

98.5 m² SW

90 m²

SE

N S 103 m²

96 m²

39 m²

110

Zukunft

82 m²

45 m²

70 m²


ocus on living and functional section

iiiiiiii

PRODUCED BY AN AUTODESK EDUCATIO

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

102 m²

102 m²

200 m²

200 m²

Zukunft

111


112

Zukunft


Isometric view

Zukunft

113


XI Aqua Alta, Observatory in Venice Workshop WaVE 2015 Javièr Corvalan

114

Zukunft


« Why do we remember the past but not the future? This Steven Hawkins’ thought is going to represent the thinking guideline that will give meaning to WAVe 2015 proposal. Heritage is the matter that reminds us a past, a project is the only way to remember the future. Every once in a while disciplines specialize and they enclose into their own thinking, and every once in a while, time wins them. Architecture, our discipline, is surprised naked, and every once in a while, with difficulties of not being able to respond to a future. The earth is a combination of worlds that are different, yet at the same time equal. A meeting of several worlds, as this meeting, is an opportunity that South America and Europe to transform the particular into universal. The planet is the biophysical support of architecture and architecture is the solution to “problems” that puts the need to inhabit it. To remember the past as a problem is to give an answer to the heritage; to remember the future is to give an answer to changes, to its dynamic nature. At the same time, the CO2 increase puts food, energy and water in crisis. The shape of cities, landscapes and territories are defined by the presence and/or absence of these topics. The increase of CO2 transforms the planet, the fossil substance consumption will end its sources, the climate change will affect water and it will result in desertification or flooded territories and as a result of all, energy sources will change. A small, young city in South America associated with an ancient city in Europe can build a project that will be an equation, which will interpret how to remember the past and how to remember the future. How to anticipate it?»

Zukunft

115


Introduction

116

Zukunft


« The Project provides the realisation of an Observatory in the Arsenale of Venice. The site and the collocatione are chosen in order to reclaim the project of subdivision of the areas around it, into specific sectors and functions. For this reason, the observatory has the entity of a

research centre, nevertheless also of an exposition space.

The building has a relation with the preexisten situation, but more important with the critical future of Venice, that is risking to be covered by the height of the water.

That means that lots of charateristics of the island are going to be lost in the years, for examples: the wooden dolphins, that ere becoming part of the project’s facade; the bridges and the pier.

Other main aspects of the project are the zenithal light, which enlights and subdivides the volumes, the modulor, defining the environmental space and the view over the lagoon.»

Zukunft

117


Guides + principi guida

structure andemodule + moduli struttura

structure and module + modulazione struttura

Plan + plan 1:100

Plan + plan 1:100

Section + section 1:100

Section + section 1:100


Exploded model

Detail + detail 1:20

View + prospect 1:100

+ prospect 1:100

+ explose 1:100

Zukunft

119


Performance Fitzcarraldo Project

122

Zukunft


Zukunft

123


XII Interior design Ludwig Steiger

« The real questions are: Does it solve a problem? Is it serviceable? How is it going to look in ten years?»

124

Zukunft


Exercise for a requalification of a garret

KAMIN

KAMIN

KAMIN

Zukunft

125


k

ak

ra e

our taste

atte or ac uered

aterials

throu h

t

lo

l a

nl

How to create a Crux Chair?

H

a oo da l

y

an others under

a an others under re uest

k

ra e Colours

a l

aa l a l re uest

it place

l

a a t tal y k o

l

t

at l a l

la a

ood t ot

top view

H

C udwi

lena unich

tei er

dinin chair ro ect b atr echnical niversit of rofessor

CH i ato

front view

How to build a Crux Chair?

side view

o

ot

How do I look today?

o

back view

www t

a


The crux chair construction

Vorleben

127


XIII Archipelago Venezia, Skenè Workshop WaVE 2016 Beals + Lyon Architects

128

Zukunft


«We will look for ways to integrate and recover Marghera outside Marghera, extending Venice DNA’s pedestrian fabric and human scale on a succession of public spaces over the lagoon. A series of memorable pieces, like Piranesi’s drawing of fragments of the marble plan of ancient Rome. Following Lefebvre’s statement, we will build an archipelago that provides the background where unforeseen situations and events could unfold; an intervention capable to infuse new life into a decaying city, triggering change and renovation onto the whole area. We will work as a studio on a single architectural proposal, a ‘think (and do) tank’, speculating in smaller groups about near futures and alternative nows that could emerge within the archipelago. Rather than a problem solving approach, we are interested in raising and exploring new questions about the future of Marghera. Some of the questions that we will address are: How can we transform the polarized relationship between Marghera and Venice into an endless gradation that acknowledges no end? What uses could unfold within this new, in between space? What is the structure that supports such situations and events? How is it built? The project for this Island of the new archipelago provides the construction of a theater, which finds his bases into Alvise Cornaro’s hypothesis, italian writer and patron in between XV and XVI centuries. He reflected about a theater with a fixed scene, that should have been built closed to San Marco’s lagoon, on an artificial island. The Purposed design is collocated on the island which corresponds with the venetian Tolentini’s library; the panoramic stage represents the void of the cloister, enphasizing its presence.»

Zukunft

129


Archipelago Venezia - Marghera

Transformation

Planimetric view of the path in Venice

130

Zukunft

Transformation processes

Planimetric view of the path Marghera - Venezia


Plan

Isometric view

Zukunft

131

Side View CREATO CON LA VERSIONE DIDATTICA DI UN PRODOTTO AUTODESK

Construction


Isometry from below

132

Zukunft


Drawings

Zukunft

133


134

Zukunft


ÂŤ There are Venice and Marghera. The life of beyond the island and the life of above the island. They are pieces of the same story. The paths of the sea and the paths of the ground are connected by the same link. Every opposite finds a solution into the Archipelago. And the Archipelago is the imagine of the future of Venice.Âť

Zukunft

135


136

Zukunft


Zukunft

137


XIV The farm of the future, Entwurfstaelle F. Nagler

138

Zukunft


N

c

H

Zukunft

139


140

Zukunft


Zukunft

141


Bibliography

Plato, Tha Republic Adolf Loof, Warum Architektur keine Kunst ist ? Adolf Loos, Past, Beginning, Present Le Corbusier, Letters, Fondation Le Corbusier archive Giancarlo De Carlo, L’architettura della partecipazione Giancarlo De Carlo, How can you do without history? Henri Bergson, Time and free will


ď †onts Stika: Text, Banner, Heading Bold Kozuka Gothic Pr6N: EL, L, R

Distributed by

Elena Rigato Bachelor graduation portfolio Architettura, Tecniche e culture del progetto Graphic projects, print and drawings edited by Elena Rigato


144

Zukunft

Bestaendigkeit // Bachelor Architecture portfolio  

Architecture portfolio

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