Emidio Alfonsi Portfolio by Emidio alfonsi

Emidio Alfonsi

PORTFOLIO 2014 - 2018

EMIDIO ALFONSI Engineering and Architectural Student

Born in Teramo (Italy) and graduate in scientific studies, Iâ€™m student at the fifth course of Construction Engineering and Architecture of the Engineering Faculty of the University of Lâ€™Aquila, Italy. This product brings together a series of projects that I have been able to elaborate during my university career About me, I like technical and architectural design, work in group and reasoning on a concept to find the best solution through a dialectical trial. I love learning as much as possible from my activities so as to enlarge my personal experience with which be able to face the new challenges that are proposed to me.

CURRICULUM VITAE PERSONAL DATA NAME, PROFESSION PLACE AND DATE OF BIRTH RESIDENTIAL ADDRESS CONTACTS

Emidio Alfonsi Teramo (IT), 27/09/1993 Via delle caserme 18, fraz. Cerqueto, Civitella del Tronto email: alfonsi.emidio@hotmail.it tel: 3276903784

EDUCATION 2012 2012/IN PROGRESS 2015/2016

LANGUAGE SKILL Italian

MOTHER TONGUE

English (Certification level B2)

SECOND LENGUAGE

Spanish (Certification level B2) Portuguese (no certification)

OTHER LENGUAGES

PROGRAM SKILL Scientific high school diploma AUTOCAD

Student at Architecture and Building Engineerig at Uiversity of Study of L’Aquila (AQ, IT)

REVIT

Erasmus student at the Faculty of Architecture of the University of Alcalá de Henares (MA, SP) with the ERASMUAS + Project

ARCHICAD

UNIVERSITY CHARGES 2013/2017

Students' delegate in the Teaching council (CAD) of Architecture and Building Engineering of University of Study of L’Aquila

2014/2016

Students' delegate in the Department Council of Civil, Architecture and Building, Envronmental Engineering (DICEAA) of the University of Study of L’Aquila

ARTLANTIS SKETCHUP RHINOCEROS LUMION PHOTOSHOP

PROFESSIONAL EXPERIENCES

ILLUSTRATOR JUNE 2016 SEPTEMBER 2016

Internship at the research and development office of HOLEDECK company (https://holedeck.com) in Madrid.

AUGUST 2018

Winner of scholarship for internship of 64 hours with the National Builders Association (ANCE; http://www.ancelaquila.it) carried out at the construction sites of Mancini srl. company in L’Aquila (I) (http://www.impresamancini.com)

ACCA PRIMUS

Winner of scholarship for internship of 64 hours with the Association of Engineers of L’Aquila (https://www.ordingaq.it) carried out at the engineer office of Eng. Sara Donati. in L’Aquila (I)

WINDOWS OFFICE

NOVEMBER 2018

MARCH 2019

Winner of scholarship for 64 hours internship by MANCINI srl. Company carried out at the MANCINI offices in L’Aquila (I)

CERTIFICATES Safety coordinator in design stage and in execution stage BIM Desiner Level 1 Knowledge of english lenguage level B2; Knowledge of Spanish lenguage level B2

INDESIGN

SAP 2000

ARC GIS

OTHER SKILLS My experience ias a students' representative improved my ability to communicate and interact with other people. The numerous Workshops i was involved in, made me more able in group working increasing a lot my organization capability

COMUNICATION ORGANIZATION

EMIDIO ALFONSI

CURRICULUM VITAE

WORKSHOP ACTIVITIES FEBRUARY MARCH 2017

JUNE 2017

XIV BILATERAL WORKSHOP ULA-SIT

WIRE 2014, Winter School International Research and Education.

Organizers: Department of Engineer (D.I.C.E.A.A.) of Univerity of Study of L’Aquila Teme: “Requalification of the former antiseismic settlement in Gioia dei Marsi” Place: Gioia dei Marsi (AQ,I) - Department of Engineer (D.I.C.E.A.) of University of L’Aquila (AQ, I) Members: Università degli Studi de L’Aquila (L’Aquila, I); Shibaura Institute of Technology of Tokyo (TK, J) Duraton: One month

Organizers: Faculty of Architectur of Gazy University of Ankara (TR) Teme: “Art and Architecture, Archi-Stage/Scene” Place: Faculty of Architecture of Gazy University of Ankara (TR) Members: ULHT - Universidade Lusófona de Humanidades e Tecnologias (Lisbon, P); Università degli Studi di Firenze (Firenze, I); University of Inn sbruck (Vienna, A); West Pomeranian University of Technology (Sz czecin, PL); Gdansk University of Technology (Danzica, PL); Bochum University of Applied Sciences (Bochum, D); Università degli Studi de L’Aquila (L’Aquila, I); Gazy University (Ankara, TR) Duraton: Two weeks

LUSOFONA SUMMER SCHOOL 2017 Organizers: Universidade Lusófona de Humanidades e Tecnologias (Lisbon, P) Teme: “Architecture and Climate Change” Place: Universidade Lusófona de Humanidades e Tecnologias, Lisbon (P) Members: Università degli Studi di Firenze (Firenze, I) Università degli Studi de L’Aquila (L’Aquila, I); Bochum University of Applied Sciences (Bochum, D); Faculty of Architecture of the University of Belgrade (Belgrade, SRB); Ion Mincu University of Architecture and Urbanism (Bucarest, RO); Faculty of architectur of the universiti of lubiana (Lubiana, SLO) Duraton: Two weeks

SEPTEMBER 2017

FEBRUARY MARCH 2018

FEBRUARY MARCH 2019 AS TEACHER ASSISTAN

INTERNATIONAL ARCHITECTURAL WORKSHOP L’AQUILA Organizers: Department of Engineer (D.I.C.E.A.A.) of Univerity of Study of L’Aquila Teme: “From Reuse to Autocostruction” Place: Department of Engineer (D.I.C.E.A.) of University of L’Aquila (AQ, I) Members: Università degli Studi di L’Aquila (L’Aquila, I); Universidad Politecnica di Valencia (Valencia, SP) Duraton: One week

XV BILATERAL WORKSHOP ULA-SIT Organizers: Shibaura Institute of Technology of Tokyo (TK, J) Teme: “Requalification of the old quorter of kyogima in Tokyo ” Place: Kyogima, Tokyo (J) - Shibaura Institute of Technology of Tokyo (TK, J) Members: Università degli Studi di L’Aquila (L’Aquila, I); Shibaura Institute of Technology of Tokyo (TK, J) Duraton: One month

XVI BILATERAL WORKSHOP ULA-SIT Organizers: Department of Engineer (D.I.C.E.A.A.) of Univerity of Study of L’Aquila Teme: “Community center and urban park in the S.Antonio neighborhood of L’Aquila ” Place: S. Antonio, l’Aquila (I) Members: Università degli Studi di L’Aquila (L’Aquila, I); Shibaura Institute of Technology of Tokyo (TK, J) Duraton: One month

LUCID SCIZOPHRENIA

JENUARY 2014

SEPTEMBER 2014

Organizers: ETICity Assosiation Teme: “Management of public assets and real property of Italy, between the rhetoric of the “Bel Paese” and decommission, destruction and abandon ment” Place: Monditalia pavilion of the 14th International Exhibition of Architecture of Venice (I) Members: Università degli Studi de L’Aquila (L’Aquila, I); Università IUAV di Venezia (Venezia, I); Università degli studi di Roma Tre (Roma, I) Duraton: One week

XII BILATERAL WORKSHOP ULA-SIT Organizers: Department of Engineer (D.I.C.E.A.A.) of Univerity of Study of L’Aquila Teme: “Requalification and recovery of the former Colle hill in Collarmele” Place: Collarmele (AQ, I) – Department of Engineer (D.I.C.E.A.) of University of L’Aquila (AQ, I) Members: Università degli Studi de L’Aquila (L’Aquila, I); Shibaura Institute of Technology of Tokyo (TK, J) Duration: One Month

INTERNATIONAL WORKSHOP GRIFINO / SZCZECIN Organizers: Pomeranian University of Technology (Szczecin, PL) Teme: “The City of Edge - Gryfino city Revival ” Place: Gryfino (SZ, PL) – Pomeranian University of Technology Szczecin (PL) Members: Pomeranian University of Technology (Szczecin, PL); Università degli Studi de L’Aquila (L’Aquila, I); Universidade Lusófona de Humanida des eTecnologias (Lisbon, P); Bochum University of Applied Scien ces (Bochum, D); Gazy University (Ankara, TR) Duration: One week

FEBRUARY MARCH 2015

OCTOBER 2016

WORKS PREMISE The projects collected here are shown at the current state of the year in which they were created. In fact, there is no post-production works. This choice was taken as a matter of correctness towards the readers who will base their judgment on the works actually produced and not on the reworked

Furthermore, the projects are reported in 4 macro-topics that I usually faced, in different shapes, douring the university course

LIVING THE GURDIAN HOUSE TERRACED HOUSE COHOUSING IN TOKYO

COMMUNITY RE-THINK THE OLD CITY CENTER OF COLLARMELE VILLAGE THE NEW GRIFINO WATERFRONT A COMMUNITY CENTER FOR GIOIA DEI MARSI VILLAGE THE ALMADA WATERFRONT

CULTURE MOMA L’AQUILA RESTORATION OF SAN PETER SQUARE IN L’AQUILA A PERSONAL THEATER THE NEW SCIENTIFIC HIGH SCHOOL OF L’AQUILA THE ART CENTER OF THE CITY OF ALCALA’ DE HENARES

TECHNOLOGY CASA MECO PHOTOVOLTAIC IMPLEMENTATION IN THE HISTORICAL CENTER OF RAIANO VILLAGE THE “C” POINT

LIVING

THE GURDIAN HOUSE

general planimetry

Ground floor

Analisis

DATA

DESCRIPTION This was my first architectural project and consists of the home for the custodian of the Faculty of Engineering, with an adjacent control

YEAR OF

2014

PRODUCTION YEAR COURSE COURSE

The project takes shape from the context. In particular I followed the compositional scheme of the engineering faculty complex to deri2th Architecture and Design Composition (ICAR/14)

PROFESSOR

point for access to the faculty and services for students.

Prof. Eng. Aldo Benedetti

ve the hierarchical lines on which to model the project. From these analyzes, I have identified a main line that divides the more public internal space from the external one into two. Hence the theme of the boundary returned with a mighty wall that separates the areas of living from that of the public. Nonetheless, the caretaker’s house remains introverted, as the exterior of the faculty is also public because it is crossed by the access road to the faculty. Hence the idea of shielding the glass walls with brisoleils and granting two views, in the living area and in the sleeping area, which do not give directly to the exterior. I used strong lines to underline the strong geometrical inspiration of the whole complex and to define in a decisive way the ambits of the university campus from the external one, thus delineating a boundary that was never completely closed before the project

Underground floor

First floor

Section B-B

Section A-A

Prospective views

TERRACED HOUSE

UNIVERSITA' DEGLI STUDI DELL'AQUILA FACOLTA' DI INGEGNERIA

Functional analisis

Figurative analisis

Analisis: Tipological Solutions

UNIVERSITA' DEGLI STUDI DELL'AQUILA FACOLTA' DI INGEGNERIA

CORSO DI LAUREA IN INGEGNERIA EDILE-ARCHITETTURA

UNIVERSITA' DEGLI STUDI DELL'AQUILA CORSO DI ARCHITETTURA TECNICA 1 FACOLTA' DI INGEGNERIA

A. A. 2014/2015

CORSO DI LAUREA IN INGEGNERIA EDILE-ARCHITETTURA

Ground floor

First floor

Roof plan

CORSO DI LAUREA IN INGEGNERIA EDILE-ARCHITETTURA

DOCENTI:

CORSO DI ARCHITETTURA TECNICA 1

Prof. RENATO MORGANTI Ing. ALESSANDRA BELLICOSO

A. A. 2014/2015

Ar. Te. 1

DOCENTI:

Prof. RENATO MORGANTI Ing. ALESSANDRA BELLICOSO

ESERCITAZIONE PROGETTUALE:

CASE A SCHIERA

Ar. Te. 1

ESERCITAZIONE PROGETTUALE:

CASE A SCHIERA

South elevation

Studente

Matricola

Studente

Matricola

Alfonsi Emidio Luisa Iaboni

219763 219555

Alfonsi Emidio Luisa Iaboni

219763 219555

Elaborati di dettaglio: Matricola Studente Prospetti 219763 Alfonsi Emidio 219555 Luisa Iaboni scala 1:50

Nord elevation

scala 1:50

20/06/2016 CORSO DI ARCHITETTURA TECNICA 1

Elaborati di dettaglio: Prospetti 20/06/2016 UNIVERSITA' DEGLI STUDI DELL'AQUILA tavola scala 1:50 FACOLTA' DI INGEGNERIA CORSO DI LAUREA IN INGEGNERIA EDILE-ARCHITETTURA

Elaborati di dettaglio: Matricola Studente Prospetti 219763 Alfonsi Emidio 219555 Luisa Iaboni

tavola

Elaborati di dettaglio: Prospetti

20/06/2016 UNIVERSITA' DEGLI scala STUDI 1:50 DELL'AQUILA N FACOLTA' DI INGEGNERIA

UNIVERSITA' DEGLI STUDI DELL'AQUILA FACOLTA' DI INGEGNERIA CORSO DI LAUREA IN INGEGNERIA EDILE-ARCHITETTURA

CORSO DI LAUREA IN INGEGNERIA EDILE-ARCHITETTURA

CORSO DI ARCHITETTURA TECNICA 1

20/06/2016

tavola

A. A. 2014/2015 A. A. 2014/2015

A. A. 2014/2015

DOCENTI: DOCENTI:

DOCENTI:

Prof. RENATO MORGANTI Ing. ALESSANDRA BELLICOSO

Sezione A-A

Sezione E-E

Sezione A-A

Ar. Te. 1

ESERCITAZIONE PROGETTUALE:

CASE A SCHIERA

ESERCITAZIONE PROGETTUALE:

CASE A SCHIERA

Section A-A

Sezione B-B

Sezione F-F

Sezione B-B Studente

Matricola

Alfonsi Emidio Luisa Iaboni

219763 219555

Elaborati di dettaglio: Sezioni A-A \ B-B scala 1:50

Architectonic plan

20/06/2016

Section F-F

DATA YEAR OF

2015

PRODUCTION YEAR COURSE COURSE

Studente

Matricola

Studente

Matricola

Alfonsi Emidio Luisa Iaboni

219763 219555

Alfonsi Emidio Luisa Iaboni

219763 219555

Elaborati di dettaglio: Sezioni A-A \ B-B

Elaborati di dettaglio: Sezioni E-E \ F-F

tavola scala 1:50

N 20/06/2016

tavola

scala 1:50

Renders

20/06/2016

tavola

DESCRIPTION

This work focuses on the construction of a series of terraced houses and has had as its goal to define the construction components of the building with care and attention to detail.

3th

The project consists of two housing units (a duplex and a simplex) that interrelate with a more complex system formed by repeating

Technical

the aforementioned modules. these have been reasoned by placing as a constraint a narrow front at the expense of a very broad length

Architecture I

development and a need for confidentiality, and therefore introspection, of the environments. hence the use of internal agreements and

(ICAR/10)

screened courtyards. After the architectural phase, I studied the technological components that make up the building, ie floors, curtain walls, partitions, stairs,

PROFESSOR

Prof. Eng. Renato Teofilo Morganti

windows of which I proposed a technical solution.

UNIVERSITA' DEGLI STUDI DELL'AQUILA FACOLTA' DI INGEGNERIA UNIVERSITA' DEGLI STUDI

22.3

A. A. 2014/2015 TECNICA 1 CORSO DI ARCHITETTURA

0.4 0.1

3.1

4.7

Filo n°4 Pilastro 1,12

4.7

Filo n°5 Pilastro 2,7,13

Foundation carpentry Filo n°4 Pilastro 1,12

Filo n°5 Pilastro 2,7,13

3.1

Filo n°7 Pilastro 4,9,15

5.3

Filo n°6 Pilastro 3,8,14

7Filo n°8

Filo n°7 Pilastro 4,9,15

0.3

2.57

2.87

30X50

2.57

30X50

0.3

0.17

0.3

1.12

0.14

0.3

0.17

30X50

5.35

5.05

0.38 5.05

ESERCITAZIONE PROGETTUALE:

13.82

13.52

H=20+4

30X50

H=20+4

0.3

0.3 0.3

Ar. Te. 1

2.8 0.28

30X50

0.24

0.3

30X50

0.3

30X50

0.3

30X50

0.38

0.28

scala 1:502x45x135 cmtavola 30X50

vetro doppio a taglio termico

Matricola

Alfonsi Emidio Luisa Iaboni

219763 219555

0.3

0.28

30X50

10x2x4 cm

4a 4a

20/06/2016

Filo n°9 Pilatsro 6,11,17

CORSO DI LAUREA IN INGEGNERIA EDILE-ARCHITETTURA

CORSO DI ARCHITETTURA TECNICA 1

1 12

scossalina in marmo grezzo 6 7 Intonaco esterno 5 pannello Isolante termoacustico 8 blocco poroton 1 telaio in allumineo a taglio termico 2 controtelaio in allumineo 3 battente in allumineo 4 vetro doppio a taglio termico 9 maniglia

22 cm

UNIVERSITA' DEGLI STUDI DELL'AQUILA FACOLTA' DI INGEGNERIA

3x10x140 cm

6 4

massetto di irrigidimento

5 cm

caldana

4 cm

10 ghiaia drenante 9 guaina impermeabilizzante 5 massetto delle pendenze 41.9 cm 44.9 cm

38x20x25 cm

pignatta

17 cm

travetto a traliccio

8 cm

a resistenza meccanica

1 cm

Esterno

7 Soluzione D:

10x2x4 cm

6 5

pavimento ceramico

1 cm

massetto di irrigidimento

5 cm

pannelo isolante termoacustico a resistenza meccanica

4 3 1 2 7

39 cm

4 cm 0.4 cm 4 - 7cm

pannelo isolante termoacustico a resistenza meccanica

4 8 3 1 2 7

4 cm 38x20x25 cm

travetto a traliccio

17 cm

Intonaco interno

1 cm

Interno

8 cm 4 cm

caldana

38x20x25 cm

pignatta

travetto a traliccio

17 cm

intonaco interno

1 cm

Interno

1 cm

pavimento ceramico

6 5 3 1 39 cm 2

intonaco interno

4 39 cm

3 1 2 7

Interno

travetto a traliccio

17 cm

Intonaco interno

1 cm

massetto di irrigidimento

5 cm

pannelo isolante termoacustico a resistenza meccanica

8 cm

4 cm

caldana

38x20x25 cm

pignatta

17 cm

travetto a traliccio

1 cm

intonaco interno

6 5 3 31 cm 1 2 7

8 3 1 2 7

4 cm 0.4 cm 4 - 7cm 8 cm 0.5 cm

caldana

4 cm

pignatta

38x20x25 cm

travetto a traliccio

17 cm

Intonaco interno

1 cm

terno

uzione C:

terno

6 5 3 31 cm 1 2 7

pavimento ceramico

1 cm

massetto di irrigidimento

5 cm

caldana pignatta

4 cm 38x20x25 cm

travetto a traliccio

17 cm

intonaco interno

1 cm

Interno

4 intonaco interno 6 blocco in laterizio forato 5 giunti in malta 2 pannello Isolante termoacustico 6 blocco in laterizio forato 4 intonaco interno

1 cm 12x30x25 1 cm

10 cm

6 cm 12x30x25

38x20x25 cm

travetto a traliccio

17 cm

intonaco interno

1 cm

17 cm

4 intonaco interno 7 blocco in laterizio forato 5 giunti in malta 4 intonaco interno

1 cm 10 cm

1 cm 6 cm

3 mattone in laterizio pieno facciavista 5 giunti in malta 2 pannello Isolante termoacustico 48 cm 1 blocco poroton 5 giunti in malta 4 Intonaco interno

4 intonaco interno 7 blocco in laterizio forato 5 giunti in malta 4 intonaco interno

8 cm 27x30x25 1 cm 1 cm

4 intonaco esterno 2 pannello Isolante termoacustico 38 cm 5 giunti in malta 1 blocco poroton 4 intonaco interno

17 cm

2 cm

1 cm 27x30x25 1 cm

Stralcio di pianta Stralcio di pianta scala 1:20 scala 1:20

Studente

Matricola

Alfonsi Emidio Luisa Iaboni

219763 219555

Interno

Soluzione C: 4 intonaco interno 6 blocco in laterizio forato 5 giunti in malta 32 cm 2 pannello Isolante termoacustico 6 blocco in laterizio forato 4 intonaco interno Interno

Interno 1 cm 12x30x25 1 cm

10 cm

6 cm 12x30x25

4 intonaco interno 7 blocco in laterizio forato 5 giunti in malta 4 intonaco interno

1 cm

a 2

Interno

20/06/2016

Legenda 1

trave in cls

gradino in legno

fori per inbullonaggio 4

viti in acciaio

fori per inbullonaggio 11 1.5incm viti acciaio

Details of vertical closing elements

fori per fissaggio gradini a travetto per fissaggio scala gradini a travetto scala 11 fori

balaustra in alluminio

5 4

2 1 3

1 3

5 4

5 6

Legenda

2 cm di acciaio 2 cm 1 tondino 2 armatura calcestruzzo 3 calcestruzzo massetto di irrigidimento 4 massetto di irrigidimento rivestimento pedata5in ceramica rivestimento pedata in ceramica rivestimento alzata in rivestimento alzata in ceramica 6 ceramica blocco poroton 7 blocco poroton giunti in malta 8 giunti in malta intonaco 9 intonaco isolante termoacustico 10 isolante termoacustico travetto a traliccio 11 travetto a traliccio pignatta 12 pignatta tondino di acciaio

armatura

5 6

1 6

3.2 m

6 1

10 9

Studente

Studente Matricola

219763 Alfonsi EmidioAlfonsi Emidio 219555 Luisa Iaboni Luisa Iaboni

1 2

Matricola

219763 219555

Dettaglio scale: Acciaio Dettaglio- scale: Acciaio Calcestruzzo armato Calcestruzzo armato

6 11

10 9

4 4

Details of the steel stairway 20/06/2016

1 2 3 4 5 6 7 8 9 10 11 12

vite per fissaggio cerniera per fissaggio cerniera - trave 7 vite- trave

CASE A SCHIERA CASE A SCHIERA

1 2

3.2 m

Legenda

1.5 cm rivestimento in legno travetto in legno per travetto 12perrivestimento

1.5 viti cmin accioio 1.5 bulloni per viti in accioio da per da in cm alluminio 6 bulloni 13 balaustra 13

tavola

1 cm

20/06/2016

gradino in legno

Interno

1 2 3

8x30x25 1 cm

PROGETTUALE: ESERCITAZIONE PROGETTUALE: Dettagli significativi Dettagli scala significativi 1:10 scalaESERCITAZIONE 1:10

29.5 cm

cerniera con profilo 3 in L cerniera con profilo10 in L foro per fissaggio balaustra 10 foro per fissaggio balaustra

Dettagli elementi significativi: finestra, chiusure verticali, chiusure orizzontali

1 cm

tavola

1 cm

tavola

1 cm

placca separatora in2acciaio placca separatora in9acciaio fori per fissaggio gradini 9 fori per fissaggio gradini

10 9

Soluzione D:

Interno

29.5 cm

1 cm

Dettagli significativi Dettagli significativi scala 1:20(b)scala - 1:10(a) 1:20(b) - 1:10(a)

b a

8 cm

1 cm 8x30x25

1 cm

1 2 3 4 5 6 7

Esterno 1 cm

1 cm 8x30x25 1 cm

4 3

10 9

scala 1:20 0

2 1

11 12 2 1

50 cm0

scalatavola 1:20

tavola

50 cm

6 6

11 12 20/06/2016 20/06/2016

Details of the concrete stairway

tavola

STRALCIO

Dettagli elementi significativi: finestra, chiusure verticali, chiusure orizzontali

1 cm

38x20x25 cm

intonaco interno

20/06/2016

Ar. Te. Ar.1Te. 1

Dettagli elementi significativi: finestra, chiusure verticali, chiusure orizzontali

29.5 cm

Soluzione B: 12 cm

1 cm

Interno

12x30x25

Soluzione A:

Matricola

219763 Alfonsi Emidio 219555 Luisa Iaboni Stralcio di pianta Stralcio scala di pianta 1:20 scala 1:20

27x30x25

Soluzione D:

12x30x25

17 cm

Studente

Interno

1 cm

Legenda

Esterno

Matricola

219763 219555

Excerpt section STRALCIO DI PIANTA

Interno

Soluzione D:

Interno

Studente

Alfonsi Emidio Luisa Iaboni

struttura di travi in calcestruzzo struttura di travi armato in calcestruzzo armato A. A. 2014/2015 A. A. 2014/2015 parallele alla linea diparallele calpestio. alla linea di calpestio. 1) viene eretta la struttura 1) vieneporticata eretta la struttura porticata 2) si eseguono i solai 2) alleggeriti si eseguono in i solai alleggeriti in laterizio, lasciando vuoto laterizio, lo spazio lasciando vuoto lo spazio DOCENTI: DOCENTI: necessario per la realizzazione necessario per delle la realizzazione delle scale come da carpinteria. scale come da carpinteria. Prof. RENATO MORGANTI Prof. RENATO MORGANTI 3) si realizza un cassero 3) si realizza in legnoun percassero in legno per Ing. ALESSANDRA Ing. BELLICOSO ALESSANDRA BELLICOSO dare forma alla scala dare inserendovi forma alla scala inserendovi all'interno l'appositaall'interno armatura l'apposita come da armatura come da dettaglio. dettaglio. 4) si getta in opera il4)calcestruzzo si getta in opera e si il calcestruzzo e si lascia riposare. lascia riposare. 5) viene rivestito il gradino 5) vienecon rivestito il gradino con elementi di vario tipo. elementi Nel nostro di vario caso tipo. Nel nostro caso elementi ceramici. elementi ceramici.

2 cm 8 cm 1 cm

4 cm

caldana

Interno

barriera al vapore

27x30x25

Interno

5 cm

massetto di irrigidimento

pignatta

pannelo isolante termoacustico a resistenza meccanica

4 intonaco interno 6 blocco in laterizio forato 5 giunti in malta 2 pannello Isolante termoacustico 6 blocco in laterizio forato 4 intonaco interno

32 cm

1 cm

pavimento ceramico

4 intonaco esterno 2 pannello Isolante termoacustico 5 giunti in malta 1 blocco poroton 4 intonaco interno

38 cm

Interno

1 cm

29.5 cm

8 cm

Interno

EstrattoSoluzione assonometrico Estratto assonometrico C: scala 1:20 scala 1:20 Interno

pavimento ceramico

17 cm

Esterno 1 cm

Soluzione C:

38x20x25 cm

pignatta

terno

CASE A SCHIERA

Esterno (patio)

6 5

1 2 7

1 cm

7 Soluzione 4 D:

1 cm

CORSO DI ARCHITETTURA CORSO DI TECNICA ARCHITETTURA 1 TECNICA 1

Soluzione B: 12 cm

5 1

2 cm 8 cm 1 cm 27x30x25

La scala è di tipo La scala appogiata è dicon tipo appogiata con

Ar. Te. 1

CALA 1:10)

1 cm

17 cm UNIVERSITA' UNIVERSITA' DEGLI STUDIDEGLI STUDI 1 cmDELL'AQUILA DELL'AQUILA FACOLTA' DIFACOLTA' INGEGNERIA DI INGEGNERIA

travetto a traliccio

Interno

4 Interno

10 ghiaia drenante 9 guaina impermeabilizzante 5 massetto delle pendenze

1 cm

4 intonaco esterno 2 pannello Isolante termoacustico 5 giunti in malta 1 blocco poroton 4 intonaco interno

4 cm

caldana

7 Soluzione 3

La scala è di tipo appogiata La scala ècon di tipo struttura appogiata di travi con in struttura calcestruzzo di travi armato in calcestruzzo parallele armato parallele alla linea di calpestio. alla linea di calpestio. DOCENTI: Il sistema di appoggio Il sistema è consetito di appoggio mediante è consetito due travetti mediante in acciaio duecon travetti profilo in acciaio in I con profilo in I cernierati alle travi in cernierati cls. alle travi in cls. Prof. RENATOLaMORGANTI cerniera consiste La incerniera una doppia consiste L ininacciaio una doppia da imbullonare L in acciaio al travetto da imbullonare e alla al travetto e alla traveBELLICOSO principale. trave principale. Ing. ALESSANDRA Il sistema di pedateIl e sistema alzate,diè pedate costituito e alzate, da un unico è costituito elemento da un in legno unico elemento fissabile in legno fissabile Soluzione direttamente sul traveto direttamente stesso sul in continuità traveto stesso con l'elemento in continuità precedente con l'elemento come da precedenteA: come da Esterno schema. schema. in laterizio pieno facciavista Allo stessoSoluzione sistemaAllo si aggiunge stesso poi labalustra si aggiunge in alluminio poi labalustra fissata in mediante alluminiovitifissata in mediante viti in 3 mattone A: B: sistema acciaio ai gradini. acciaio ai gradini. 5 giunti in malta Esterno Montaggio: Montaggio: 2 pannello Isolante termoacustico pavimento ceramico 1 cm 4 cm 10 ghiaia drenante 48 cmviti, 1) si aggancia la cerniera 1) si aggancia in doppialaLcerniera alla trave in in doppia calcestruzzoarmato L alla trave in calcestruzzoarmato con delle con delle viti, 1 blocco poroton 5 cm 0.4 cm massetto di irrigidimento guaina impermeabilizzante 9 filtrato il tutto filtrato da unail lastra, tutto sempre da in una accioio, lastra, di sempre 3 mm in accioio, di 3 mm 5 giunti in malta 4 cm 4cerniere, - travi. 7cm caldana massetto pendenze 5con 2) si montano i travetti 2) si montano profilo iIdelle travetti alle cerniere, con profilo quindi, I alle alle quindi, alle travi. Intonaco interno e 38x20x25 pannelo isolante termoacustico pignatta 3) sicm inizia il 41.9 montaggio 3) 4si inizia dei ilgradini montaggio mediante dei gradini il metodo sopra descritto il metodo4 e sopra descritto 8 cmmediante cm a resistenza meccanica Interno successivamente rappresentato. 17successivamente cm travetto a traliccio - rappresentato. cm barriera vapore 8 come 44.9 4) si 4) si monta la balaustra monta descritto la al balaustra precedentemente come descritto0.5 precedentemente pannelo isolante termoacustico 8 cm cm 5) si caldana 3con a resistenzaESERCITAZIONE meccanica 5)PROGETTUALE: si rivestono i travetti rivestono dei tasselli i travetti in legno con dei tasselli 4incm legno

Esterno

41.9 cm 44.9 cm

38 cm

27x30x25

CORSO DI LAUREACORSO IN INGEGNERIA DI LAUREA IN INGEGNERIA EDILE-ARCHITETTURA EDILE-ARCHITETTURA

8 cm

Interno

5 cm

massetto di irrigidimento

pignatta

CORSO DI ARCHITETTURA TECNICA 1

sterno

1 cm

Soluzione C:

32 cm

Soluzione C: 6 5 3 31 cm 1 2 7

12 cm

Interno 0.5 cm

caldana

A. A. 2014/2015

uzione B:

8 cm

barriera al vapore

pignatta

Esterno

3 mattone in laterizio pieno facciavista 5 giunti in malta 2 pannello Isolante termoacustico 1 blocco poroton 5 giunti in malta 4 Intonaco interno

Details of the thermal insulation window SCCALA SCCALA CON SOLETTA CON SOLETTA IN IN 4 STRALCIO DI PIANTA DI PIANTA 7 5 CHIUSURE 2 ORIZONTALI (SCALA 1:10) STRALCIO ADETTAGLI 3DELLE CALCESTRUZZO CALCESTRUZZO ARMATO ARMATO Details of orizontal closing elements 5 4 6 5 6 3 A D Stralcioscala 1:207scala 1:20 Stralcio di sezione Stralcioscala di sezione 1:20 scala 1:20 4di sezione Descrizione,Descrizione, esecuzione e esecuzione montaggioe montaggio Esecuzione Esecuzione e e 5 D Stralcio di sezione montaggio montaggio CORSO DI LAUREA IN INGEGNERIA EDILE-ARCHITETTURA

48 cm

50 cm

Soluzione B:

Esterno

Interno

Esterno (patio)

2x45x135 cm

Interno

8 cm

1 cm

CASE A SCHIERA intonaco interno

2 cm

27x30x25 cm

8x10x140 cm

7 Esterno

pavimento ceramico

ESERCITAZIONE PROGETTUALE: 4 pannelo isolante termoacustico

Esterno

48 cm

6 5 3 1 39 cm 2

Soluzione A:

Soluzione B:

Ar. 3 Te. 1

2 5

DETTAGLI DELLE CHIUSURE VERTICALI (SCALA 1:10)

scala 1:20 0

Interno

Matricola

219763 219555

Stralci di pianta e sezione in scala 1:20

7 Soluzione A:

Studente

Alfonsi Emidio Luisa Iaboni

DOCENTI:

Prof. RENATO MORGANTI Ing. ALESSANDRA BELLICOSO

4 7

20/06/2016

A. A. 2014/2015

tavola

scala 1:50

DETTAGLI DELLE CHIUSURE ORIZONTALI (SCALA 1:10) Filo n°9 Pilatsro 6,11,17

Carpinterie: Piano Primo

tavola

scala 1:50

CASE A SCHIERA

Studente

0.3

Soletta

0.3

battente in allumineo

ESERCITAZIONE PROGETTUALE:

4.4

0.32

2.8

3x10x140 cm Carpinterie: 0.3 0.28 cm 3x10x140 Fondazioni

controtelaio in allumineo

5.3

5 5

0.51

5.3

5 30X50

2197634.4 Alfonsi Emidio 2 cm Luisa Iaboni8 cm 219555 pannello Isolante termoacustico 0.24 Carpinterie: 27x30x25 cm blocco poroton Fondazioni 8x10x140 cm telaio in allumineo a taglio termico

Intonaco esterno

maniglia

Prof. RENATO MORGANTI Ing. ALESSANDRA BELLICOSO

30X50

0.3

30X50

0.3

0.33

0.3

15 30X50

H=20+4

DOCENTI:

Matricola

219763 Matricola 219555

Interno

CASE A SCHIERA

A. A. 2014/2015

5.05

0.4 0.1

4.7

Pilastro 5,10,16

30X50

0.1 0.70.4

0.4 0.1

Studente

4.7

Filo n°8 Pilastro 5,10,16

3.1

CASE A SCHIERA

2.87

H=20+4

UNIVERSITA' DEGLI 1 2 STUDI DETTAGLI DELLE CHIUSURE N DELL'AQUILA FACOLTA' DI INGEGNERIA VERTICALI (SCALAFirst 1:10) N floor carpentry 0.7

5.3

Filo n°6 Pilastro 3,8,14

3.1

1.2

0.7

Ar. Te. 1

CORSO DI LAUREA IN INGEGNERIA EDILE-ARCHITETTURA ESERCITAZIONE PROGETTUALE:

4.4

0.3

0.4

0.7

0.24

0.32

2.8

8 0.3

1.02

0.3

30X50

0.3

TRAVE ROVESCIA 120/30 70/40

0.32

H=20+4

CORSO DI ARCHITETTURA TECNICA 1

0.28

0.3

30X50

Alfonsi Emidio

0.3 0.55

DETTAGLI FINESTRA A TAGLIO TERMICO A DUE ANTE ( SCALA1:5)

5.05

0.7

1.2

TRAVE ROVESCIA 120/30 70/40

0.3

1.2 0.4

0.4 0.1

0.55

0.7

0.4 0.4 0.4 0.4

1.2

0.4 0.4 0.4 0.4

1.2

Filo n°1 Pilastro 1,2,3,4,5,6

0.3

Studente Luisa Iaboni 22 cm scossalina in marmo grezzo

6 7 5 48 cm 8 6 1 2 6 3 4 9

1.2

0.4

5.3

0.3

30X50

H=20+4

0.4

0.1 0.4

1.2

0.7 0.1 0.4

17 0.4

0.4 1.2

Esterno

Filo n°1 Pilastro 1,2,3,4,5,6

4.4

0.3

0.28

30X50

0.4

0.3

0.4

1.2

Prof. RENATO MORGANTI Ing. ALESSANDRA BELLICOSO

UNIVERSITA' DEGLI STUDI DETTAGLI DELLE CHIUSURE DELL'AQUILA VERTICALI (SCALA 10 11 1:10) Ar.FACOLTA' Te. 1DI INGEGNERIA

30X50

0.33

0.4

0.4 0.1

1.2

5.35 5.05

0.4 0.1

0.7

14.92

0.1 0.4

0.7

1.2

0.4

DOCENTI:

Prof. RENATO MORGANTI Ing. ALESSANDRA BELLICOSO

0.26

2.8

0.26

0.32

0.4

0.21

0.3

H=20+4

2.8

0.28

0.3

16 0.4

1.2

H=20+4

30X50

0.4

12 17

0.3

0.4

30X50

1.2

0.7 0.4

0.4

1.2

0.1 0.70.4

1.2

15 0.4

0.4

CASE A SCHIERA

0.4

0.3

0.4 1.2

0.4

0.1 0.4

1.2

0.1 0.4

0.4

0.7

0.7 0.1 0.70.4

TRAVE ROVESCIA 120/30 70/40

0.4

1.2

0.7

14 0.4

0.4 1.2

1.2 0.1 0.70.4

0.4 1.2

0.4 0.4 0.4 0.4

0.4

30X50

0.4

1.2

0.7 0.1 0.70.4

1.2

0.7 0.1 0.70.4 0.1 0.4

13 0.4

1.2

0.4

1.2

0.7

0.4

ESERCITAZIONE PROGETTUALE:

0.4

0.4 1.2

0.1 0.70.4

0.4

0.4 1.2

0.1 0.4

0.4

0.4 0.1

30X50

0.4

5.05

0.4

5.35

0.4

30X50

DOCENTI:

0.31

0.3

30X50

14.92

0.4

1.2

0.4 0.1

0.7

1.2

0.4

1.2

1.2 1.2

0.1 0.4

1.2

0.7

1.2

0.4

5.3

0.4

0.1 0.70.4

12 0.4

TRAVE ROVESCIA 120/30 70/40

1.2

0.4 1.2

0.1 0.70.4

0.4 1.2

0.4

0.1 0.70.4

1.2

0.70.4 0.1 0.1 0.4

0.4 0.4

0.4

Pilastro 12,13,14, 15,16,17

0.4

1.2

0.4 0.4 0.4 0.4

1.2

Filo n°3 Pilastro 12,13,14, 15,16,17 Filo n°3

0.4

1.2

0.4 1.2

1.2

0.7

1.2

0.4

CASE A SCHIERA

0.4

0.21

0.3

0.4 0.1

5.3

0.4

30X50

0.17

0.3

0.4

1.2

0.4

0.7

1.2

5.35

0.4 1.2

0.4

Prof. RENATO MORGANTI Ing. ALESSANDRA BELLICOSO

2.57

0.3

0.4 0.1

1.2

0.4

ESERCITAZIONE PROGETTUALE:

1.2

0.4

0.1 0.4

5.35

0.4

1.2

0.4 1.2

0.4

30X50

Ar. Te. 1 DETTAGLI FINESTRA A TAGLIO TERMICO Ar. Te. 1ANTE ( SCALA1:5) A DUE 7 8

1.2

0.4 0.4 0.4 0.4

0.7

0.7 0.4

0.3

30X50 1 Prof. RENATO MORGANTI DOCENTI: Ing. ALESSANDRA BELLICOSO

2.8

1.2

0.4

A. A. 2014/2015

0.3

A. A. 2014/2015

30X50

0.4

2.87

TRAVE ROVESCIA 120/30 70/40

CORSO DI ARCHITETTURA TECNICA

0.3

H=20+4

TRAVE ROVESCIA 120/30 70/40

CORSO DI LAUREA IN INGEGNERIA EDILE-ARCHITETTURA

0.3

4.4 4.7

0.3

H=20+4

0.3

3.1

0.3

H=20+4

5.3

0.3

H=20+4

Filo n°2 Pilastro 7,8,9,10,11

1.2

2.8

CORSO DI ARCHITETTURA TECNICA 1

A. A. 2014/2015 0.3 DOCENTI:

1.2

Filo n°2 Pilastro 7,8,9,10,11

3.1

0.3

1.15

0.4 0.1

30X50

0.7

0.3

2.57

0.4 0.1

2.57

2.87

6 0.7

30X50

0.3

30X50

TRAVE ROVESCIA 120/30 70/40

2.8

0.3

TRAVE ROVESCIA 120/30 70/40

CORSO DI LAUREA IN INGEGNERIA EDILE-ARCHITETTURA 0.3

4.4

30X50

UNIVERSITA' DEGLI STUDI DELL'AQUILA FACOLTA' DI INGEGNERIA

21.2

0.3

1.2

UNIVERSITA' DEGLI STUD DELL'AQUILA FACOLTA' DI INGEGNERIA

STRALCIO DI SEZIONE

CARPINTERIA PIANO PRIMO

EDILE-ARCHITETTURA CORSO DI LAUREA IN INGEGNERIA CORSOEDILE-ARCHITETTURA DI ARCHITETTURA TECNICA 1

0.3

0.4 0.1

0.55

4.71.2

0.3

4.4

0.7

0.3

4.7 0.3

3.1

STRALCIO DI PIANTA

DELL'AQUILA FACOLTA' DI INGEGNERIA CORSO DI LAUREA IN INGEGNERIA

0.4

0.4 0.1

0.55

0.38

1.2

0.7

0.3

3.1

5 5.3

0.4

2.8

4.4

0.4

0.4 0.4 0.4 0.4

Filo n°1 Pilastro 1,2,3,4,5,6

0.3

5.3 22.3

0.3

3.1

0.3

1.2

Filo n°1 Pilastro 1,2,3,4,5,6

2.8

0.3

3.1

4.4 4.7 1.2

0.3

0.55

2.8

0.55 0.3

0.3

4.7

2.8

2.87

0.3

1.2

0.55

4.4

0.4 0.4 0.4 0.4

0.3

1.2

0.55

0.3

CARPINTERIA FONDAZIONE CARPINTERIA FONDAZIONE

Excerpt plan section

COHOUSING IN TOKYO Old people/houses

Different kind of shop

The area is mainly made up of old houses close to each other inhabited by elderly people: this means quiet spaces but also a strong sense of community.

High density

Different kind of house

The density in Kyojima is very high and the streets are narrow: emergency and socialization areas are inadequate.

Young people,families and workers are coming in the area because of the expansion area really close, so it is possible to see a strong contrast between old traditional houses and new houses.

Most frequent answers were:

How is living there?

Walking few minutes from the site of the project there is Kira-kira, a peculiar shopping street of the district with a different kind of shops: small craft shops and workshops. This is an important point for the community.

•

More activities for old peolpe and also meeting spaces for them;

•

Works spaces and shops;

There were different opinions, due to the age:

•

Places for kids and free time spaces;

•

The place is quiet and the atmosphere is pleasant.

•

More safety

•

The streets are dirty – not safe.

•

No space for free-time activities.

What would you like in this place in the future?

Private Green

Analisis of Kyogima neighborhood

Interviews

There aren’t green areas for people but outside the doors or close to the external wall of the houses there are several plants and flowers.

First impressions

Secure Improve the safety condition, due to the materials’ use and the spatial organization.

Parking

Interact • Cafè with library, music space and children’s activities space; • Co-Working spaces and handmade workshops; • Green opened areas.

Remain Temporary dwellings for families who leave their home after demolition to allow them to remain into the community.

Regenerate

Workers

Workshop CoWorking space

Old people Houses

Freelances Exhibit Café Library Children Music

Workers

Workshop

Workers

Workshop Workshop

Families

Workers

Coexist

Regenerating Kyojima area proposing an updated residential typology that focuses on preserving the “unique” community and the traditional aspects.

Creating a system in which people with different needs could coexist improving young people participation into the community: a complex of communicating dwellings and social functions areas.

Space organization ground floor

Space organization first and second floor Shaku Shaku unit unit 10/

Analisis of Kyogyma district DENSITY

Nagaya Nagaya proportions proportions

10/ meter (30.3 (30.3 centimeters centimeters ) ) 33 meter

Strategies

21556

21250

6941 349

4m 4m

Concept

Space organizations scheme

DATA

Typological design features

Kyojima Kyojima Morfology Morfology

ENSŌ

Japan

Tokyo

Sumida

The current population in Japan is 127,279,335. The total land area is 364,555 Km2

The current population in Tokyo is 9,262,046. The total land area is 2188 Km2

The current population in Sumida is 110,800. The total land area is 5,15 Km2

Analisis of Kyogyma urban density

Kyojima The current population in Kyojima is 8,500. The total land area is 0,4 Km2 .

DESCRIPTION In the middle of Tokyo downtown, just a few steps from the Sumida river, there is a small neighborhood called kyogima which, since the YEAR OF

2018

PRODUCTION YEAR COURSE WORKSHOP

second world war, has remained almost unchanged, with its traditional houses, nagaya, and its social traditions. All around the scene has changed, large buildings, shopping centers, work areas. This has resulted in further isolation of the neighborhood, which now has more or less elderly people and some manufacturing activities. The purpose of this project was to create a turnaround through the creation of a co-hou-

5th XV Bilateral Workshop ULA-SIT

sing complex that, with a guggenheim effect, would redevelop the entire neighborhood through a social aggregation that would lead to the coexistence of different generations and activities. Hence the idea of designing a nucleus of houses for three different family types linked tooghether: young families, elderly, freelancers, with spaces dedicated to their activities. The core looks like a self-sufficient island but strongly linked to its context rearranging it. This link is represented through the use of typological devices in the design of spaces such as the use of paths raised from the ground that create porticoes and spaces of aggregation, the use of the matrix of the tatami as a measurement system for the design of spaces or the use of green spaces outside the homes to be treated to treat one’s own self as it is from Japanese tradition.

EST ELEVATION

A-A SECTION

West elevation

WEST ELEVATION

Est elevation

EST ELEVATION

A SOUTH ELEVATION

Section A-A A-A SECTION

Section B-B

B-B SECTION WEST ELEVATION

B Ground floor

B NORD ELEVATION Nord elevation

B-B SECTION

Model view

SOUTH ELEVATION South elevation

B First floor

NORD ELEVATION

Render Sketches

B Second floor Model Views

CULTURE

MOMA L’AQUILA

Genesis of design

Concept genesis

General framework and analysis of it

Suoth general elevation

Est general elevation

Volumetrical framework

Functional analisis

DATA

General Plan

West general elevation

DESCRIPTION YEAR OF

2015

PRODUCTION YEAR COURSE

The first project of cultural scope that I have faced has been this, in which I was commissioned to build a Museum of Modern Arts for the city of L’Aquila to be placed in a plot located in the middle of the historic center, on a slope, with two steps away from the complex of San

3th

Bernardino church and close to the historic medieval walls, from which it is separated by a large urban void where an urban park will be built in the future.The concept was born from the occupation of the site by a volume that was then modeled following the metric refe-

COURSE

Architecture and Design Composition (ICAR/14)

PROFESSOR

rences of the nearby San Bernardino church and by a long septum that separates the areas of the park from that of the terraced outdoor exposure squares of the museum. This septum is broken, from time to time, by a ramp at the points where the visual directions meet the ramparts of the urban walls, thus creating a path of perspective frames that start at the base of the lot with a large portal, a submultiple

Prof. Eng. Fran-

of the facade of San Bernardino, who frames the southern façade of the museum and places it as the ultimate goal of the itinerary. The

cesco Giancola

Museum, therefore, is not only a place of exhibitions but becomes an engine that gives movement to people and pushes them to face paths that, even before entering the museum, allow them to observe historical and cultural elements of the past and of relate them to the

exposures of the present in a continuous time frame

-4.50

26.2

4 7 -4.50

0.12x0.34

+0.00

26.2

0.12x0.34

26.2

23.8

26.2

23.8

0.12x0.34

-4.50

Prospetto Est 1:200

0.12x0.34

-4.50

Prospetto Est 1:200 0.12x0.34

-4.50

Prospetto Est 1:200 Est elevation

-0.42

7 +0.00

23.8

0.15x0.30

-0.42

+0.00

-4.50

4 -4.50

West elevation

-4.50

0.15x0.30

+0.00 Prospetto Ovest 1:200

-4.50

-0.42

UniversitĂ degli studi di L'Aquila Dipartimento di Ingegneria Civile, Edile-Architettura, Ambientale Corso di laurea Specialistica a Ciclo Unico di Ingegneria Edile-Architettura

Renders views

Attacco a Terra 1:200

-3.72

0.12x0.34

-2.25

0.12x0.34

0.00

Ground floor plan

Underground floor and trasversal section

03 03 03

-4.50

0.12x0.34

Prospetto Ovest 1:200

ura e Composizione Architettonica II co Giancola Prospetto Ovest 1:200 a Luigi Signorini Corsi ura e Composizione Architettonica II co Giancola a Luigi Signorini Corsi ura e Composizione Architettonica II co Giancola a Luigi Signorini Corsi

Laboratorio progettuale di Architettura e Composizione Architettonica II A.A.2014/2015 - Prof. Ing. Francesco Giancola "Progetto di una Sala Espositiva in Via Luigi Signorini Corsi

-4.50

+0.00

4.3

+0.00

-4.50

4.3

Prospetto Sud 1:200

Prospetto Est 1:200

South elevation Prospetto Sud 1:200

Prospetto Ovest 1:200

-4.50

+0.00

0.15x0.30

+0.00

-0.42

Prospetto Sud 1:200

0.15x0.30

Studente: Alfonsi Emidio Matricola: 219763 Tutor: Ing. Gianluca Valente

Underground floor and longitudinal section

RESTORATION OF SAN PETER SQUARE IN L’AQUILA TAV. 1

INQUADRAMENTO TERRITORIALE

La città dell’Aquila è storicamente divisa in quattro quartieri, creari per facilitare l’opera di fondazione, chiamati come da tradizione I Quarti : San Pietro, Santa Maria Paganica, San Giorgio ( oggi Santa Giusta) e San Giovanni (oggi San Marciano). [...]Vennero poi localizzate le chiese capoquarto, ciascuna collegata ad un particolare castello: la chiesa di San Pietro per il castello di Coppito, quella di Santa Maria per Paganica, quella di San Giovanni ( oggi San Marciano) per Lucoli e quella di San Giorgio ( oggi Santa Giusta) per Bazzano.

TAV. 5

SEZIONI STORICO-SINCRONICHE 吀䄀嘀⸀ 㜀

Il quarto di san Pietro, situato nell’area nord-occidentale della città, è attraversato per tutta la sua lunghezza da via Roma ( decumano della città quattrocentesca) che culminava nella scomparsa Porta Bareta. All’interno del quarto troviamo la chiesa di San Domenico e la chiesa, capoquarto, San Pietro a Coppito, situata nell’omonima piazza.

ᰠ 䰀愀焀甀椀渀琀愀搀攀氀氀攀瀀椀愀稀稀攀愀焀甀椀氀愀渀攀搀椀猀攀最渀愀甀渀愀猀漀爀琀愀搀椀爀椀挀愀瀀椀琀漀氀愀稀椀漀渀攀搀攀椀瀀爀椀渀挀椀瀀愀氀椀琀椀瀀椀攀搀椀氀椀稀椀爀椀挀漀爀爀攀渀琀椀渀攀氀氀愀挀椀琀琀㨀氀愀挀栀椀攀猀愀Ⰰ 椀氀瀀愀氀愀稀ⴀ 稀漀渀漀戀椀氀攀Ⰰ 氀攀瀀漀瀀漀氀愀爀椀挀愀猀攀愀猀挀栀椀攀爀愀Ⰰ 氀攀挀愀猀攀愀戀氀漀挀挀漀㬀椀渀瀀椀豈挀椀猀漀渀漀攀氀攀洀攀渀琀椀搀椀挀漀洀瀀氀攀ⴀ 洀攀渀琀漀搀椀瀀爀椀洀愀爀椀愀椀洀瀀漀爀琀愀渀稀愀挀漀洀攀氀攀瀀愀瘀椀ⴀ 洀攀渀琀愀稀椀漀渀椀攀氀攀昀漀渀琀愀渀攀⸀ 儀甀攀猀琀愀挀漀洀瀀爀攀猀攀渀稀愀搀椀琀椀瀀椀昀愀猀 挀栀攀氀攀瀀椀愀稀稀攀瀀漀猀猀愀渀漀攀猀猀攀爀攀氀攀琀琀攀挀漀渀甀渀漀猀瀀愀挀挀愀琀漀搀椀琀攀挀渀椀挀栀攀攀搀椀洀愀琀攀爀椀愀氀椀搀攀氀氀ᤠ愀爀猀愀攀搀椀昀椀挀愀琀漀爀椀愀愀焀甀椀氀愀渀愀⸀ 䄀琀琀爀愀瘀攀爀猀漀焀甀攀猀琀漀瀀攀爀挀漀爀猀漀搀椀椀渀搀愀最椀渀攀猀椀瀀甀 搀攀氀椀渀攀愀爀攀挀漀渀猀甀昀昀椀挀椀攀渀琀攀挀漀洀瀀氀攀琀攀稀稀愀氀愀猀琀漀爀椀愀搀攀氀瀀爀漀挀攀猀猀漀攀搀椀氀椀稀椀漀搀攀氀氀ᤠ椀渀琀攀爀愀挀椀琀琀⸀ Sezione storica 倀椀豈挀栀攀氀愀爀椀挀攀爀挀愀搀椀洀漀搀攀氀氀椀瀀攀爀氀ᤠ椀渀搀椀瘀椀搀甀愀稀椀ⴀ (1983) 漀渀攀搀椀琀椀瀀漀氀漀最椀攀搀愀焀甀攀猀琀愀氀攀琀琀甀爀愀搀攀氀氀ᤠ攀搀椀氀椀ⴀ 稀椀愀攀洀攀爀最漀渀漀椀挀愀爀愀琀琀攀爀椀攀椀洀漀搀椀猀琀爀甀琀琀甀爀愀渀琀椀攀爀椀挀漀爀爀攀渀琀椀搀椀漀最渀椀攀瀀漀挀愀猀琀漀爀椀挀愀愀渀挀栀攀猀攀椀氀猀椀渀最漀氀漀攀搀椀昀椀挀椀漀猀椀瀀爀攀猀攀渀琀愀渀攀氀猀甀漀椀渀猀椀攀洀攀挀漀洀攀搀椀瘀攀爀猀漀搀愀漀最渀椀愀氀琀爀漀挀漀渀椀猀甀漀椀瘀愀氀漀爀椀搀椀漀爀椀最椀渀愀氀椀琀 攀猀椀渀最漀氀愀爀椀琀⸀ 一攀氀氀ᤠ愀洀戀椀琀漀搀椀焀甀攀猀琀漀搀椀猀挀漀爀猀漀椀渀瀀愀爀琀椀挀漀氀愀爀攀瘀愀猀漀琀琀漀氀椀渀攀愀琀漀挀漀洀攀愀氀挀漀渀挀攀琀琀漀挀漀洀瀀氀攀猀猀漀搀椀 ᰠ琀椀瀀漀ᴠ 挀漀渀挀漀爀爀漀渀漀氀攀猀漀氀甀稀椀漀渀椀挀漀猀琀爀甀琀琀椀瘀攀挀栀攀愀猀猀甀ⴀ 洀漀渀漀爀甀漀氀漀昀漀渀搀愀洀攀渀琀愀氀攀渀攀氀氀愀搀攀昀椀渀椀稀椀漀渀攀搀攀氀氀愀猀琀爀甀琀琀甀爀愀愀爀挀栀椀琀攀琀琀漀渀椀挀愀挀甀椀  愀昀昀椀搀愀琀漀椀氀挀漀洀瀀椀琀漀搀椀氀攀最愀爀攀琀爀愀氀漀爀漀椀渀洀漀搀漀椀渀搀椀猀猀漀氀甀ⴀ 戀椀氀攀愀猀瀀攀琀琀椀猀瀀愀稀椀愀氀椀Ⰰ 挀漀猀琀爀甀琀琀椀瘀椀Ⰰ 攀挀漀渀渀漀琀愀琀椀瘀椀搀椀甀渀漀爀最愀渀椀猀洀漀攀搀椀氀椀稀椀漀⸀

PORTA BARETA VIA ROMA (DECUMANO) PIAZZA SAN PIETRO

Sezione storica (1753)

VIALE GIOVANNI XXIII VIA ROMA (DECUMANO)

1 5b

PIAZZA SAN PIETRO 5a

EDIFICI DI CULTO PRIMARI

Sezione storica (1958)

LEGENDA

1. CHIESA DI SAN PIETRO

= Chiese

2. PALAZZO CRESI

EDIFICI DI CULTO SECONDARI

Sezione storica (1931)

3. PALAZZO PORCINARI

DELIMITAZIONE DEI QUARTI

4. PALAZZO PERELLA

5a. EDIFICIO AD USO COMMERCIALE 5b. EDIFICI PLURIUSO

= Pertinenze religiose

= Palazzi borghesi

= Edilizia speciale

= Tipologie edilizie residenziali

= Edifici produttivi

= Orti e giardini

= Aree verdi interne alle mura LEGENDA: XIII secolo XVI secolo XIX secolo XX secolo

5b Sezione sincronica sec. XVI

RILIEVO FOTOGRAFICO

= Palazzi nobiliari

SEZIONI SINCRONICHE

PIAZZE PRINCIPALI

Sezione storica (1858)

ZOOM SEZIONI STORICHE

PIAZZA ANGIOINA

VIA XX SETTEMBRE

CORSO VITTORIO EMANUELE (CARDO)

䰀䄀倀䤀䄀娀娀䄀䔀䰀䔀匀唀䔀儀唀䤀一吀䔀

䰀䄀倀䤀䄀娀娀䄀䄀儀唀䤀䰀䄀一䄀

Sezione sincronica sec. XVIII

Sezione sincronica sec. XIX

Sezione sincronica sec. XX

La chiesa di S.Pietro a Coppito (1) è una chiesa capo di quarto risale nel suo impianto originario al XII secolo, ovvero alla fondazione, fortemente danneggiata del terremoto del 1703, è stata rifatta nel 1722. Nel !859 è stata realizzata la facciata e la pianta è stata ridotta ad una navata più cappelle laterali. Nel 1971 è stata demolita e ricostruita in stile.

Palazzo Cresi (2) risale nel suo impianto originario al XVI secolo, diruto in seguito al terremoto del 1703 è stato ricostruito solamente in parte. Notiamo che dalle sezioni storiche e sicroniche avviene una modifica in pianta ad inizio XX secolo, l’edificio passa da una forma a L ad una forma a corte, ipotizziamo che in seguito al terremoto del 1915, che danneggiò il palazzo, i lavori di ristrutturazione abbiano inglobato un’ulteriore parte. Inoltre altre fonti riportano che gli interventi sul palazzo sono stati molteplici e a volte anche incompleti, questo lo si può leggere nella stratigrafia della muratura nella quale possiamo vedere il suo impianto cinquecentesco solo nella parte basamentale.

Palazzo Porcinari (3) è stato realizzato nel 1574, sebbene siano presenti sezioni di apparecchi di epoca longobarda e quindi antecedente alla fondazione della città,si presenta con una forma ad H. Danneggiato dal terremoto del 1703 viene rifatto nel 1720, dalle piante storiche si nota un palazzo monolitico su tre ordini che si affaccia sulla piazza, ad oggi noi perviene un palazzo con due elevazionie con un cortile murato sulla facciata su piazza, ciò ci porta ad ipotizzare che la ricostruzione del 1720 abbia apportato delle mofiche sostanziali all’edificio. Nel ‘900 l’edificio viene diviso in due parti una delle quali appartenente all’università dell’Aquila. Casa Perella (4) risale al 1578, danneggiata dal terremoto del 1703 è stata rifatta nel 1712, le sezioni storiche e la divisione delle cellule catastali ci portano ad ipotizzare che l’edificio sia stato edificato prima nella parte su piazza ed in segiuto nella parte retrostante. Gli edifici 5a e 5b sono stati edificati all’inizio del ‘600 , essi erano costuiti da membri con orto, distrutti dal terremoto del 1703 non vengono ricostruiti, come si può notare dalla sezione sincronica del XIX secolo, che addirittura li mostra come aree verdi. Vengono edificati tra la fine dell’800 e l’inizio del ‘900 assumendo la conformazione attuale.

Plot framework 20.a

Università degli Studi dell’Aquila Corso di Ingegneria E dil-Architettura A.A. 2016/2017

Corso di Restauro Architettonico Prof. Ing. Mario Centofanti Tutor. Ing. Stefano Cocco

Stud. Alfonsi Emidio | 219763 Stud. Brandolini Luca | 219365 Stud. Colia Martina | 219661 Stud. Di Berardino Matteo | 219650

Stud. Di Fabio Marco | 220148 Stud. Di Muzio Gregorio | 219851 Stud. Simoni Martina | 219386

Historic-Synchronic analysis

Stud. Alfonsi Emidio | 219763 Stud. Brandolini Luca | 219365 Stud. Colia Martina | 219661 Stud. Di Berardino Matteo | 219650

Corso di Restauro Architettonico Prof. Ing. Mario Centofanti Tutor. Ing. Stefano Cocco

Università degli Studi dell’Aquila Corso di Ingegneria E dil-Architettura A.A. 2016/2017

GRUPPO

ANALISI DEGLI ELEMENTI COSTRUTTIVI: MURATURA TAV. 23.a

RIFERIMENTO CATASTALE

SEZIONE DIACRONICA

Fonti: -”L’aquila città di piazze”, M.Centofanti, R.Colapietra, C.Conforti, L.Zordan, P.Properzi; - “Città e storia: L’Aquila oltre i terremoti, costruzioni e ricostruzioni della città”, autori vari, a cura di Simonetta Ciranna; - “La città nella storia d’Italia, L’Aquila”, A. Clementi e E. Piroddi; - “Sezioni storico sincroniche”, M.Centofanti, S.Brusaporci; - “Il restauro della città”, M Centofanti; - Foto storiche 唀渀椀瘀攀爀猀椀琀 搀攀最氀椀匀琀甀搀椀搀攀氀氀ᤠ䄀焀甀椀氀愀

Stud. Di Fabio Marco | 220148 Stud. Di Muzio Gregorio | 219851 Stud. Simoni Martina | 219386

䌀漀爀猀漀搀椀䤀渀最攀最渀攀爀椀愀䔀搀椀氀ⴀ䄀爀挀栀椀琀攀琀琀甀爀愀䄀⸀䄀⸀ ㈀㄀㘀⼀㈀㄀㜀

䌀漀爀猀漀搀椀刀攀猀琀愀甀爀漀䄀爀挀栀椀琀攀琀琀漀渀椀挀漀倀爀漀昀⸀ 䤀渀最⸀ 䴀愀爀椀漀䌀攀渀琀漀昀愀渀琀椀吀甀琀漀爀⸀ 䤀渀最⸀ 匀琀攀昀愀渀漀䌀漀挀挀漀

匀琀甀搀⸀ 䄀氀昀漀渀猀椀䔀洀椀搀椀漀簀㈀㄀㤀㜀㘀㌀匀琀甀搀⸀ 䈀爀愀渀搀漀氀椀渀椀䰀甀挀愀簀㈀㄀㤀㌀㘀㔀匀琀甀搀⸀ 䌀漀氀椀愀䴀愀爀琀椀渀愀簀㈀㄀㤀㘀㘀㄀匀琀甀搀⸀ 䐀椀䈀攀爀愀爀搀椀渀漀䴀愀琀琀攀漀簀㈀㄀㤀㘀㔀

匀琀甀搀⸀ 䐀椀䘀愀戀椀漀䴀愀爀挀漀簀㈀㈀㄀㐀㠀匀琀甀搀⸀ 䐀椀䴀甀稀椀漀䜀爀攀最漀爀椀漀簀㈀㄀㤀㠀㔀㄀匀琀甀搀⸀ 匀椀洀漀渀椀䴀愀爀琀椀渀愀簀㈀㄀㤀㌀㠀㘀

Analisis of the square and its facades

䠀

䜀刀唀倀倀伀

GRUPPO

ANALISI DEGLI ELEMENTI COSTRUTTIVI: CHIUSURE VERTICALI (FINESTRA) CONFORMAZIONE COSTRUTTIVA ELEMENTO COSTRUTTIVO FINESTRA RETTANGOLARE: PRINCIPIO COSTRUTTIVO DEL TRILITE CON ARCHITRAVE MONOLITICO RETTILINEO

PARTI

ELEMENTI BASE

STIPITI

PIEDRITTI IN PIETRA CALCAREA

ARCHITRAVE

MONOLITICO IN PIETRA CALCAREA

SOGLIA

ELEMENTO MONOPEZZO IN PIETRA CALCAREA

SPALLE

MURATURA MISTA PIETRAME E LATERIZIO A VISTA

MATERIALI DI BASE ELEMENTI MONOLITICI DI PIETRA CALCAREA, MALTA E CALCE.

ELEMENTO COSTRUTTIVO SERRAMENTO: FINESTRA A TELAIO MOBILE A DUE ANTE

ELEMENTI BASE

PARTI TELAIO FISSO

MONTANTI TRAVERSI

TELAIO MOBILE

MONTANTI TRAVERSI

VETRO

A INFILARE

MATERIALI DI BASE TAVOLE DI LEGNO E SCHERMATURE DI VETRO

DATAZIONE XVIII SEC. “IL SISTEMA COSTRUTTIVO PIù DIFFUSO PER LA REALIZZAZIONE DEL VANO FINESTRA, ABBRACCIA UN AMPIO ARCO TEMPORALE CHE VA DAL XIV SECOLO FINO A TUTTO XIX SECOLO. REALIZZATO CON UN ELEMENTO SQUADRATO, LEVIGATO E SPESSO MODANATO, L’ARCHITRAVE POGGIA DIRETTAMENTE SUGLI STIPITI, ANCHE SE IN ALCUNI CASI SONO INSERITI IN CORRISPONDENZA DEI PIEDRITTI PICCOLI CONCI DI CORRELAZIONE SULL’ANGOLO, SOLUZIONE ADOTTATA PER RIDURRE LE LUCE DELL’ARCHITRAVE. [...] I PIEDRITTI, MONOLITICI O A CONCI, HANNO GENERALMENTE LO STESSO TRATTAMENTO SUPERFICIALE DELL’ARCHITRAVE. ANCHE IL DAVANZALE PUO’ ESSERE CONFORMATO COME GLI ALTRI ELEMENTI.”

CORRELAZIONI COSTRUTTIVE TRA LE PARTI SERRAMENTI • TELAIO FISSO- TELAIO MOBILE: CADINE METALLICO • STRATO INTERNO- STRATO ESTERNO: CHIODATURA

TRA ELEMENTI DI BASE VANO FINESTRA • CONCI: COMENTI IN MALTA SERRAMENTI • TELAIO FISSO: TRAVERSO-MONTANTE: TENONE E MORTASA • TELAIO MOBILE: TRAVERSO-MONTANTE: TENONE E MORTASA

CON ALTRI ELEMENTI COSTRUTTIVI • STIPITI/ARCHITRAVE - SETTO MURARIO: CONTATTO DIRETTO CON STRATO DI MALTA • SPALLE-TELAIO FISSO: ZANCA METALLICA

Analysis of buiding elements: Walls

DATA

H Analysis of building elements: vertical elements, window Università degli Studi dell’Aquila Corso di Ingegneria E dil-Architettura A.A. 2016/2017

Corso di Restauro Architettonico Prof. Ing. Mario Centofanti Tutor. Ing. Stefano Cocco

Stud. Alfonsi Emidio | 219763 Stud. Brandolini Luca | 219365 Stud. Colia Martina | 219661 Stud. Di Berardino Matteo | 219650

Stud. Di Fabio Marco | 220148 Stud. Di Muzio Gregorio | 219851 Stud. Simoni Martina | 219386

GRUPPO

Metrical analysis

DESCRIPTION

In this project the concept of architectural critical-conservative restoration restoration was reasoned, in particular that of a square and YEAR OF

2017

PRODUCTION YEAR COURSE COURSE

began with a historical-synchronic analysis which highlighted the evolution of the square and its buildings. Then we moved on to analyze the buildings and the square in its current state, looking for geometric correspondences, studying the frieze elements, analyzing the

5th

lesions of the 2009 earthquake, where present, the degradation and finally, the color. The set of all this information provided the basis

Erchitectural

for a critical reasoning on the project to be pursued. The project has planned a re-adaptation of the square so as to relate all the sce-

Restoration (ICAR/19) PROFESSOR

its facades formed by the fronts of the buildings facing it. In particular I worked on the square of San Pietro in L’Aquila and the study

Prof. Eng. Mario Centofanti

nes between them, eliminating a ramp built in the post-war period and representing a stoic superfetation, and the paving of the square, which has been redesigned so as to reinforce the reconstitution of the reciprocal relationship between the facades, thus giving back to the square its original meaning of social aggregation. Two restoring hypotheses find place: the one that reorganizes the space with ordered tiers and that recall the slight height difference that was present there before the ramp was built; the other that reinterprets the concept of unevenness according to the nefarious event of 2009 through the use of flights of steps broken up and staggered as if to remember the rubble produced by the earthquake. Furthermore, the restoration project of the facades was provided by going to work on the degraded and damaged areas and reconstituting the new color on the study of the individual and those of the other facades.

TAV. 19 a

STUDIO DELLA PAVIMENTAZIONE Pietra Calcarea

Legenda:

Le pietre calcaree provengono da rocce sedimentarie, sia di origine chimica che di origine organica. La pietra è stato uno dei primi materiali da costruzione, se non il primo, usato dall'uomo. Tutti i monumenti dell'antichità sono in pietra. Oggi viene usata soprattutto per le pavimentazioni ed i rivestimenti. Le lastre di pietra per rivestimenti e pavimenti vengono segate in dimensioni adeguate, con uno spessore che raramente supera i tre centimetri e poste in opera, già lucidate, con appositi collanti.

Pavimentazione Piazza Via Roma Via Minicuccio D’Ugolino Via San Domenico Non rilevabile Area puntellamenti

Sanpietrino 6x6

Piazza San Pietro

Particolare della Pavimentazione di Piazza San Pietro in Pietra Calcarea.

Via Roma

Il sanpietrino o sampietrino, come riportato sul dizionario De Mauro, è il blocchetto di leucitite utilizzato per la realizzazione del lastricato stradale di uso comune per pavimentare strade o piazze. Ne esistono diversi tipi e dimensioni: i più grandi misurano 12 x 12, quelli più comuni misurano 12 x 12, mentre i più piccoli, 6 x 6 cm. Il sampietrino è utilizzato prevalentemente nell'Italia centrale mentre nell'Italia settentrionale esiste la variante in porfido denominata bolognino in quanto utilizzato anticamente per la pavimentazione delle strade di Bologna. Il sampietrino rappresenta una tipologia di pavé.La denominazione dell'attuale sanpietrino nasce nel 1725, quando monsignor Ludovico Sergardi, prefetto ed economo della Fabbrica di San Pietro, dopo aver valutato le pessime condizioni in cui versava la piazza, decise di lastricare la piazza con i caratteristici blocchetti di leucitite, una roccia eruttiva tipica delle zone vulcaniche laziali. In senso stretto il termine sampietrino corrisponde a un preciso taglio delle dimensio- Particolare della Pavimentazione di Via Roma ni inferiori a quelle del quadruccio. in Sanpietrino 6x6 con disposizione ad arco.

Sanpietrino 12x12

Via Minicuccio D’Ugolino

La caratteristica di questo tipo di pavimentazione è di non essere cementata, ma solo posata e poi battuta su un letto di sabbia e/o pozzolana: questo le conferisce elasticità e capacità di coesione e adattamento al fondo stradale. Ha anche il pregio di "lasciar respirare il terreno" grazie agli spazi tra una piastrella e l'altra; inoltre si può adattare molto facilmente all'irregolarità del terreno ed è molto resistente. I suoi lati negativi sono che non garantisce un terreno uniforme e, se bagnato, può diventare piuttosto scivoloso, rendendolo inadatto a velocità sostenute. Altro aspetto negativo è il fatto di presentare una superficie poco regola- Particolare della Pavimentazione di re, quindi poco confortevole e anche rumoro- Via Minicuccio D’Ugolino in Sanpietrino 12x12 con dispozione a spina di pesce. sa durante il transito dei mezzi di trasporto.

Path analysis

Università degli Studi dell’Aquila Corso di Ingegneria E dil-Architettura A.A. 2016/2017

Corso di Restauro Architettonico Prof. Ing. Mario Centofanti Tutor. Ing. Stefano Cocco

TAV. 19 19 b b TAV.

Stud. Alfonsi Emidio | 219763 Stud. Brandolini Luca | 219365 Stud. Colia Martina | 219661 Stud. Di Berardino Matteo | 219650

Stud. Di Fabio Marco | 220148 Stud. Di Muzio Gregorio | 219851 Stud. Simoni Martina | 219386

GRUPPO

STUDIO DEL DEL DEGRADO DEGRADO E E DEL DEL COLORE COLORE DELLA DELLA PAVIMENTAZIONE PAVIMENTAZIONE STUDIO

Study 吀䄀嘀⸀ ㈀㠀戀

of color

䄀一䄀䰀䤀匀䤀䐀䔀䰀䐀䔀䜀刀䄀䐀伀

Material Analysis

STUDIO STUDIO DEL DEL DEGRADO DEGRADO

Legenda: Legenda: Mancanza Mancanza Asfalto Asfalto Vegetazione Vegetazione Non rilevabile Non rilevabile

ALTERAZIONI E ALTERAZIONI E DEGRADAZIONI DEGRADAZIONI

DESCRIZIONE DESCRIZIONE

Mancanza Mancanza

Caduta e perdita di parti. Il termine si Caduta e perdita di parti.diIl degradatermine si usa quando tale forma usa tale formacon di degradazionequando non è descrivibile altre voci zione non è descrivibile con altre voci del lessico. del lessico.

CAUSE CAUSE

RETINO RETINO

- Catastrofi naturali - Catastrofi Passaggio naturali di mezzi pesanti - Passaggio di mezzi pesanti

Strato sottile, morbido ed omogeStrato sottile, morbido ed omogeneo, aderente alla superficie e di evineo, alla superficie e di evidenteaderente natura biologica, di colore vadente di colore variabile,natura per lobiologica, più verde. La patina riabile, per èlo costituita più verde.prevalenteLa patina biologica biologica è costituita prevalentemente da microorganismi cui possomente da microorganismi cuiecc.... possono aderire polvere, terriccio, no aderire polvere, terriccio, ecc....

- Azioni microorganismi autotrofi - Azioni microorganismi autotrofi Presenza di umidità o acqua - Presenza di umidità o acqua del Caratteristiche morfologiche -substrato Caratteristiche morfologiche (scabrosità, asperità, del riensubstrato (scabrosità, asperità, rientranze, ecc...) tranze, ecc...)

Presenza di Presenza di vegetazione vegetazione

Locuzione impiegata quando vi Locuzione impiegata quando sono licheni, muschi e piante.vi sono licheni, muschi e piante.

- Accumoli di umidità; - Accumoli umidità; autotrofi Attacco didiorganismi -(batteri Attacco di organismi autotrofi unicellulari, alghe, licheni, (batteri unicellulari, alghe, licheni, piante superiori) piante superiori)

Erosione Erosione

Asportazione di materiale dalla Asportazione di materiale dalla superficie dovuta a processi di superficie dovuta a processi di natura diversa. natura diversa.

Patina Biologica Patina Biologica

RIPRODUZIONE RIPRODUZIONE FOTOGRAFICA FOTOGRAFICA

- Erosione meccanica da pioggia -battente; Erosione meccanica da pioggia battente; - Formazione di ghiaccio negli -strati Formazione di ghiaccio negli più superficiali; strati più superficiali;

STUDIO DEL DEL COLORE COLORE STUDIO RIPRODUZIONE RIPRODUZIONE FOTOGRAFICA FOTOGRAFICA

CODICE CODICE SIKKENS SIKKENS

Posizione Posizione

Pietra calcarea Pietra calcarea

S0.02.57 S0.02.57

Piazza Piazza San Pietro San Pietro a Coppito a Coppito

Sanpietrino 6 x 6 Sanpietrino 6 x 6

T0.10.60 T0.10.60

Sanpietrino 12 x 12 Sanpietrino 12 x 12

T0.10.60 T0.10.60

MATERIALE MATERIALE

COLORE COLORE

䄀䈀䄀䌀伀䐀䔀䤀䐀䔀䜀刀䄀䐀䤀倀刀䔀匀䔀一吀䤀䤀一䌀䄀匀䄀倀䔀刀䔀䰀䰀䄀 ⠀䔀䐀䤀䘀䤀䌀䤀伀㐀⤀ 䐀䔀匀䌀刀䤀娀䤀伀一䤀

Analysis of degradation and color of path Università degli Studi dell’Aquila Università degli StudiEdell’Aquila Corso di Ingegneria dil-Architettura Corso di Ingegneria E dil-Architettura A.A. 2016/2017 A.A. 2016/2017

Corso di Restauro Architettonico Corso di Restauro Architettonico Prof. Ing. Mario Centofanti Prof. Ing. Centofanti Tutor. Ing.Mario Stefano Cocco Tutor. Ing. Stefano Cocco

Stud. Alfonsi Emidio | 219763 Stud. Emidio || 219763 Stud. Alfonsi Brandolini Luca 219365 Stud. Brandolini Luca 219365 Stud. Colia Martina || 219661 Stud. Di Colia MartinaMatteo | 219661 Stud. Berardino | 219650 Stud. Di Berardino Matteo | 219650

刀䔀吀䤀一伀

䐀䔀匀䌀刀䤀娀䤀伀一䤀䐀攀最爀愀搀愀稀椀漀渀攀挀栀攀猀椀洀愀渀椀昀攀猀琀愀挀漀渀搀椀猀琀愀挀挀漀Ⰰ 猀瀀攀猀猀漀猀攀最甀椀琀漀搀愀挀愀搀甀琀愀Ⰰ 搀椀甀渀漀漀瀀椀豈猀琀爀愀琀椀猀甀瀀攀爀ⴀ 昀椀挀椀愀氀椀猀甀戀瀀愀爀愀氀氀攀氀椀昀爀愀氀漀爀漀 ⠀猀昀漀最氀椀攀⤀⸀

ⴀ䘀攀渀漀洀攀渀椀搀椀甀洀椀搀椀琀 愀猀挀攀渀搀攀渀琀攀㬀昀漀爀洀愀稀椀漀渀攀搀椀最栀椀甀愀挀挀椀漀渀攀最氀椀猀琀爀愀琀椀瀀椀豈猀甀瀀攀爀昀椀挀椀愀氀椀㬀 ⴀ 倀攀爀搀椀琀攀氀漀挀愀氀椀稀ⴀ 稀愀琀攀搀攀最氀椀椀洀瀀椀愀渀琀椀搀椀猀洀愀氀琀椀洀攀渀琀漀攀⼀漀搀椀挀漀渀瘀漀最氀椀愀ⴀ 洀攀渀琀漀搀攀氀氀攀愀挀焀甀攀㬀 ⴀ 䌀漀渀猀椀猀琀攀渀琀攀瀀爀攀猀攀渀稀愀搀椀昀漀爀洀愀ⴀ 稀椀漀渀椀猀愀氀椀渀攀㬀攀昀昀氀漀爀攀猀挀攀渀稀攀㬀 ⴀ 匀漀氀甀稀椀漀渀椀搀椀挀漀渀琀椀渀甀椀琀 挀漀渀猀攀最甀攀渀琀椀愀氀氀愀瀀爀攀猀攀渀稀愀搀椀昀攀猀猀甀爀愀稀椀漀渀椀攀⼀漀搀椀氀攀猀椀漀渀椀猀琀爀甀琀琀甀爀愀氀椀㬀 ⴀ 䐀椀氀愀琀愀稀椀漀渀椀搀椀昀昀攀爀攀渀稀椀愀氀椀琀爀愀洀愀琀攀爀椀愀氀椀搀椀猀甀瀀瀀漀爀琀漀攀昀椀渀椀琀甀爀愀㬀 ⴀ 匀漀氀甀稀椀漀渀椀搀椀挀漀渀琀椀渀甀椀琀 挀漀渀猀攀最甀攀渀琀椀愀最氀椀猀琀爀攀猀猀琀攀爀洀椀挀椀椀渀瀀爀漀猀猀椀洀椀琀 搀攀氀氀ᤠ椀渀渀攀猀琀漀搀椀攀氀攀洀攀渀琀椀洀攀琀愀氀氀椀挀椀㬀

䴀䄀一䌀䄀一娀䄀

䌀愀搀甀琀愀攀瀀攀爀搀椀琀愀搀椀瀀愀爀琀椀⸀ 䤀氀琀攀爀洀椀渀攀猀椀甀猀愀焀甀愀渀搀漀琀愀氀攀昀漀爀洀愀搀椀搀攀最爀愀搀愀稀椀漀渀攀渀漀渀  搀攀猀挀爀椀瘀椀戀椀氀攀挀漀渀愀氀琀爀攀瘀漀挀椀搀攀氀氀攀猀猀椀挀漀⸀

ⴀ 䘀攀渀漀洀攀渀椀搀椀甀洀椀搀椀琀 愀猀挀攀渀搀攀渀琀攀㬀 ⴀ 倀攀爀搀椀琀攀氀漀挀愀氀椀稀稀愀琀攀搀攀最氀椀椀洀瀀椀愀渀琀椀搀椀猀洀愀氀琀椀洀攀渀琀漀攀⼀漀搀椀挀漀渀瘀漀氀最椀洀攀渀琀漀搀攀氀氀攀愀挀焀甀攀㬀 ⴀ 䌀漀渀猀椀猀琀攀渀琀攀瀀爀攀猀攀渀稀愀搀椀昀漀爀洀愀稀椀漀渀椀猀愀氀椀渀攀㬀 ⴀ 匀漀氀甀稀椀漀渀椀搀椀挀漀渀琀椀渀甀椀琀 挀漀渀猀攀最甀攀渀琀椀愀氀氀愀瀀爀攀猀攀渀稀愀搀椀昀攀猀猀甀爀愀稀椀漀渀椀攀⼀漀搀椀氀攀猀椀漀渀椀猀琀爀甀琀琀甀爀愀氀椀㬀 ⴀ 匀漀氀甀稀椀漀渀椀搀椀挀漀渀琀椀渀甀椀琀 挀漀渀猀攀最甀攀渀琀椀愀最氀椀猀琀爀攀猀猀琀攀爀洀椀ⴀ ⴀ 匀漀氀甀稀椀漀渀椀搀椀挀漀渀琀椀渀甀椀琀 挀漀渀猀攀最甀攀渀琀椀愀最氀椀猀琀爀攀猀猀琀攀爀洀椀挀椀椀渀瀀爀漀猀猀椀洀椀琀 搀攀氀氀ᤠ椀渀渀攀猀琀漀搀椀攀氀攀洀攀渀琀椀洀攀琀愀氀氀椀挀椀㬀 ⴀ 䔀爀爀漀爀椀搀椀瀀漀猀愀椀渀漀瀀攀爀愀攀氀ᤠ甀琀椀氀椀稀稀漀搀椀猀愀戀戀椀攀漀洀愀氀琀攀瀀漀挀漀椀搀漀渀攀攀⸀

䘀漀爀洀愀稀椀漀渀攀搀椀猀漀猀琀愀渀稀攀Ⰰ 最攀渀攀爀愀氀洀攀渀琀攀搀椀挀漀氀漀爀攀戀椀愀渀挀愀猀琀爀漀攀搀椀愀猀瀀攀琀琀漀挀爀椀猀琀愀氀氀椀渀漀Ⰰ 瀀甀氀瘀攀爀甀氀攀渀琀漀漀昀椀氀愀洀攀渀琀漀猀漀Ⰰ 猀甀氀氀愀猀甀瀀攀爀昀椀挀椀攀搀攀氀洀愀渀甀昀愀琀琀漀⸀ 一攀氀挀愀猀漀搀椀攀昀昀氀漀爀攀猀挀攀渀稀攀猀愀氀椀渀攀Ⰰ 氀愀挀爀椀猀琀愀氀氀椀稀稀愀稀椀漀渀攀瀀甀 愀瘀瘀攀渀椀爀攀愀渀挀栀攀愀氀氀ᤠ椀渀琀攀爀渀漀搀攀氀洀愀琀攀爀椀愀氀攀瀀爀漀瘀漀挀愀ⴀ 搀漀猀瀀攀猀漀椀氀搀椀猀琀愀挀挀漀搀攀氀氀攀瀀愀爀琀椀瀀椀豈猀甀瀀攀爀昀椀挀椀愀氀椀㨀椀氀昀攀ⴀ 渀漀洀攀渀漀瀀爀攀渀搀攀愀氀氀漀爀愀椀氀渀漀洀攀搀椀挀爀椀瀀琀漀攀昀昀氀漀爀攀猀挀攀渀稀愀漀猀甀戀ⴀ攀昀氀漀爀攀猀挀攀渀稀愀

䔀ᤠ 挀漀渀猀攀最甀攀渀琀攀愀氀氀愀瀀爀攀猀猀椀漀渀攀搀椀挀爀椀猀琀愀氀氀椀稀稀愀稀椀漀渀攀搀攀椀猀愀氀椀⸀ 吀愀氀攀昀攀渀漀洀攀渀漀  愀挀挀攀渀琀甀愀琀漀搀愀㨀 ⴀ 唀洀椀搀椀琀 搀愀爀椀猀愀氀椀琀愀挀愀瀀椀氀氀愀爀攀Ⰰ 搀愀挀漀渀搀攀渀猀愀稀椀漀渀攀Ⰰ 搀愀瀀攀爀搀椀琀攀氀漀挀愀ⴀ 氀椀稀稀愀琀攀搀椀椀洀瀀椀愀渀琀椀㬀 ⴀ刀甀猀挀攀氀氀愀洀攀渀琀漀搀攀氀氀攀愀挀焀甀攀洀攀琀攀ⴀ 漀爀椀挀栀攀㬀 ⴀ倀爀攀猀攀渀稀愀搀椀猀漀氀昀愀琀椀㬀 ⴀ䄀稀椀漀渀攀搀攀氀瘀攀渀琀漀挀栀攀愀挀ⴀ 挀攀氀攀爀愀氀ᤠ攀瘀愀瀀漀爀愀稀椀漀渀攀猀甀瀀攀爀昀椀挀椀愀氀攀搀攀氀氀ᤠ愀挀焀甀愀㬀 ⴀ匀漀ⴀ 猀琀愀渀稀攀愀最最椀甀渀琀攀椀渀琀爀愀琀琀愀洀攀渀琀椀爀攀猀琀愀甀爀愀琀椀瘀椀 ⠀猀愀氀椀昀椀挀愀稀椀漀渀椀搀椀猀漀搀椀漀挀氀漀爀甀爀漀Ⰰ 搀椀瀀漀琀愀猀猀椀漀Ⰰ 攀搀椀渀椀琀爀愀琀漀搀椀挀愀氀挀椀漀㬀 ⴀ䐀攀最爀愀搀漀搀椀椀渀琀攀爀昀愀挀挀椀愀琀爀愀氀愀琀攀爀椀稀椀攀洀愀氀琀攀 ⠀昀漀爀洀愀稀椀漀ⴀ 渀攀搀椀猀漀氀昀愀氀氀甀洀椀渀愀琀椀搀椀挀愀氀挀椀漀攀最爀愀渀搀椀挀爀椀猀琀愀氀氀椀⤀㬀

倀䄀吀䤀一䄀䈀䤀伀䰀伀䜀䤀䌀䄀

匀琀爀愀琀漀猀漀琀琀椀氀攀Ⰰ 洀漀爀戀椀搀漀攀搀漀洀漀最攀渀攀漀Ⰰ 愀搀攀爀攀渀琀攀愀氀氀愀猀甀瀀攀爀昀椀挀椀攀攀搀椀攀瘀椀搀攀渀琀攀渀愀琀甀爀愀戀椀漀氀漀最椀挀愀Ⰰ 搀椀挀漀氀漀爀攀瘀愀爀椀愀戀椀氀攀Ⰰ 瀀攀爀氀漀瀀椀豈瘀攀爀搀攀⸀ 䰀愀瀀愀琀椀渀愀戀椀漀氀漀最椀ⴀ 挀愀  挀漀猀琀椀琀甀椀琀愀瀀爀攀愀氀攀渀琀攀洀攀渀琀攀搀愀洀椀挀爀漀漀爀最愀渀椀猀洀椀挀甀椀瀀漀猀猀漀渀漀愀搀攀爀椀爀攀瀀漀氀瘀攀爀攀Ⰰ 琀攀爀爀椀挀挀椀漀Ⰰ 攀挀挀⸀

ⴀ 䄀稀椀漀渀攀搀椀洀椀挀爀漀漀爀最愀渀椀猀洀椀愀甀琀漀琀爀漀昀椀㬀 ⴀ 倀爀攀猀攀渀稀愀搀椀甀洀椀搀椀琀 漀愀挀焀甀愀㬀 ⴀ 䌀愀爀愀琀琀攀爀椀猀琀椀挀栀攀洀漀爀昀漀氀漀最椀挀栀攀搀攀氀猀甀戀猀琀爀愀琀漀 ⠀ 猀挀愀ⴀ 戀爀漀猀椀琀Ⰰ 愀猀瀀攀爀椀琀Ⰰ 爀椀攀渀琀爀愀渀稀攀Ⰰ 攀挀挀⸀⤀

䐀攀最爀愀搀愀稀椀漀渀攀挀栀攀猀椀洀愀渀椀昀攀猀琀愀挀漀渀搀椀猀琀愀挀挀漀Ⰰ 猀瀀攀猀猀漀猀攀最甀椀琀漀搀愀挀愀搀甀琀愀Ⰰ 搀椀甀渀漀漀瀀椀豈猀琀爀愀琀椀猀甀瀀攀爀ⴀ 昀椀挀椀愀氀椀猀甀戀瀀愀爀愀氀氀攀氀椀昀爀愀氀漀爀漀 ⠀猀昀漀最氀椀攀⤀

ⴀ 䴀漀瘀椀洀攀渀琀漀搀攀氀氀ᤠ愀挀焀甀愀愀氀氀ᤠ椀渀琀攀爀渀漀搀攀氀猀甀戀猀琀爀愀琀漀㬀 ⴀ 䄀稀椀漀渀攀搀椀洀椀挀爀漀漀爀最愀渀椀猀洀椀㬀 ⴀ 䄀瀀瀀氀椀挀愀稀椀漀渀攀搀椀瀀爀漀搀漀琀琀椀瘀攀爀渀椀挀椀愀渀琀椀瀀攀氀氀椀挀漀氀愀渀琀椀猀甀猀甀瀀瀀漀爀琀椀琀爀愀搀椀稀椀漀渀愀氀椀㬀 ⴀ 一攀椀氀愀琀攀爀椀稀椀Ⰰ 瀀爀攀猀攀渀稀愀搀椀挀愀爀戀漀渀愀琀漀搀椀挀愀氀挀椀漀⸀

倀刀䔀匀䔀一娀䄀嘀䔀䜀䔀吀䄀䰀䔀

䰀漀挀甀稀椀漀渀攀椀洀瀀椀攀最愀琀愀焀甀愀渀搀漀瘀椀猀漀渀漀氀椀挀栀攀渀椀Ⰰ 洀甀猀挀栀椀攀瀀椀愀渀琀攀⸀

ⴀ 䄀挀挀甀洀甀氀椀搀椀甀洀椀搀椀琀 ⴀ 䄀琀琀愀挀挀漀搀椀漀爀最愀渀椀猀洀椀愀甀琀爀漀昀椀 ⠀戀愀琀琀攀爀椀甀渀椀挀攀氀氀甀氀愀爀椀Ⰰ 愀氀最栀攀Ⰰ 氀椀挀栀攀渀椀Ⰰ 瀀椀愀渀琀攀猀甀瀀攀爀椀漀爀椀⤀⸀

Via Via Minicuccio Minicuccio D’Ugolino D’Ugolino

䐀䤀匀吀䄀䌀䌀伀

匀漀氀甀稀椀漀渀攀搀椀挀漀渀琀椀渀甀椀琀 琀爀愀猀琀爀愀琀椀猀甀瀀攀爀昀椀挀椀愀氀椀猀攀氀洀愀琀攀ⴀ 爀椀愀氀攀Ⰰ 猀椀愀琀爀愀氀漀爀漀挀栀攀爀椀猀瀀攀琀琀漀愀氀猀甀戀猀琀爀愀琀漀㨀瀀爀攀氀甀搀攀椀渀最攀渀攀爀攀愀氀氀愀挀愀搀甀琀愀搀攀最氀椀猀琀攀猀猀椀⸀ 䤀氀琀攀爀洀椀渀攀猀椀甀猀愀椀渀瀀愀爀琀椀挀漀氀愀爀攀瀀攀爀最氀椀椀渀琀漀渀愀挀椀攀椀洀漀猀愀椀挀椀⸀ 一攀氀挀愀猀漀搀椀洀愀琀攀爀椀愀氀椀氀愀瀀椀搀攀椀渀愀琀甀爀愀氀椀氀攀瀀愀爀琀椀搀椀猀琀愀挀挀愀琀攀愀猀猀甀ⴀ 洀漀渀漀猀瀀攀猀猀漀昀漀爀洀攀猀瀀攀挀椀昀椀挀栀攀椀渀昀甀渀稀椀漀渀攀搀攀氀氀攀挀愀ⴀ 爀愀琀琀攀爀椀猀琀椀挀栀攀猀琀爀甀琀琀甀爀愀氀椀攀琀攀猀猀椀琀琀甀爀愀氀椀Ⰰ 攀猀椀瀀爀攀昀攀爀椀猀挀漀渀漀愀氀氀漀爀愀瘀漀挀椀焀愀甀氀椀挀爀漀猀琀愀Ⰰ 猀挀愀最氀椀愀琀甀爀愀Ⰰ 攀猀昀漀氀椀愀稀椀漀渀攀⸀

䔀䘀䘀䰀伀刀䔀匀䌀䔀一娀䄀

䔀匀䘀伀䰀䤀䄀娀䤀伀一䔀

Analysis of degradation of a facades 唀渀椀瘀攀爀猀椀琀 搀攀最氀椀匀琀甀搀椀搀攀氀氀ᤠ䄀焀甀椀氀愀䌀漀爀猀漀搀椀䤀渀最攀最渀攀爀椀愀䔀搀椀氀ⴀ䄀爀挀栀椀琀攀琀琀甀爀愀䄀⸀䄀⸀ ㈀㄀㘀⼀㈀㄀㜀

Second proposal restoration design

刀䤀倀刀伀䐀唀娀䤀伀一䔀䘀伀吀伀䜀刀䄀䘀䤀䌀䄀

䌀䄀唀匀䔀

Second proposal restoration design: study of path

刀䔀吀䤀一伀

ⴀ 䌀椀挀栀氀椀搀椀最攀氀漀攀搀椀猀最攀氀漀㬀 ⴀ 䐀椀猀猀攀猀琀漀搀攀氀氀ᤠ愀瀀瀀愀爀愀琀漀洀甀爀愀爀椀漀搀椀猀甀瀀瀀漀爀琀漀㬀 ⴀ 䤀渀挀漀洀瀀愀琀椀戀椀氀椀琀 搀椀琀椀瀀漀昀椀猀椀挀漀ⴀ洀攀挀挀愀渀椀挀漀琀爀愀猀甀瀀ⴀ 瀀漀爀琀漀攀昀椀渀椀琀甀爀愀㬀 ⴀ 䐀椀氀愀琀愀稀椀漀渀椀搀椀昀昀攀爀攀渀稀椀愀氀椀琀爀愀洀愀琀攀爀椀愀氀椀搀椀猀甀瀀瀀漀爀琀漀攀昀椀渀椀琀甀爀愀㬀 ⴀ 䐀攀最爀愀搀漀搀椀椀渀琀攀爀昀愀挀挀椀愀琀爀愀氀愀琀攀爀椀稀椀攀洀愀氀琀攀 ⠀ 䘀漀爀洀愀ⴀ 稀椀漀渀攀搀椀猀漀氀昀漀愀氀氀甀洀椀渀愀琀椀搀椀挀愀氀挀椀漀攀最爀愀渀搀椀挀爀椀猀琀愀氀氀椀⤀ ⴀ 一攀椀氀愀琀攀爀椀稀椀Ⰰ 瀀爀攀猀攀渀稀愀搀椀挀愀爀戀漀渀愀琀漀搀椀挀愀氀挀椀漀⸀

䘀刀䄀吀吀唀刀䄀娀䤀伀一䔀伀䘀䔀匀匀唀刀䄀娀䤀伀一䔀

䄀䰀吀䔀刀䄀娀䤀伀一䔀䌀刀伀䴀䄀吀䤀䌀䄀

GRUPPO GRUPPO

刀䤀倀刀伀䐀唀娀䤀伀一䔀䘀伀吀伀䜀刀䄀䘀䤀䌀䄀

䌀䄀唀匀䔀

䄀氀琀攀爀愀稀椀漀渀攀挀栀攀猀椀洀愀渀椀昀攀猀琀愀愀琀琀爀愀瘀攀爀猀漀氀愀瘀愀爀椀愀稀椀漀ⴀ 渀攀搀椀甀渀漀漀瀀椀豈瀀愀爀愀洀攀琀爀椀挀栀攀搀攀昀椀渀椀猀挀漀渀漀椀氀挀漀氀漀爀攀㨀 ⴀ 䤀渀昀椀氀琀爀愀稀椀漀渀攀搀攀氀氀ᤠ愀挀焀甀愀㬀 ⴀ 倀爀攀猀攀渀稀愀搀椀挀爀漀猀琀攀渀攀爀攀㬀琀椀渀琀愀 ⠀栀甀攀⤀Ⰰ 挀栀椀愀爀攀稀稀愀 ⠀瘀愀氀甀攀⤀Ⰰ 猀愀琀甀爀愀稀椀漀渀攀 ⠀挀栀爀漀ⴀ 洀愀⤀⸀ 倀甀 洀愀渀椀昀攀猀琀愀爀猀椀挀漀渀洀漀爀昀漀氀漀最椀攀搀椀瘀攀爀猀攀愀猀攀ⴀ ⴀ 倀爀攀猀攀渀稀愀搀椀甀洀椀搀椀琀 瀀爀漀琀爀愀琀琀愀渀攀氀琀攀洀瀀漀⸀ 挀漀渀搀愀搀攀氀氀攀挀漀渀搀椀稀椀漀渀椀攀瀀甀 爀椀昀攀爀椀爀猀椀愀稀漀渀攀愀洀瀀椀攀漀氀漀挀愀氀椀稀稀愀琀攀⸀

Via Roma Via Roma

Restoration facade design and technique to pursuit

䠀

䜀刀唀倀倀伀

Study and restauration of the fountain

First

design

render

proposal

A PERSONAL THEATER

This essay depends on the theoretical discussions between the students PETAR IVANOV, ILARIA CICCOCIOPPO, EMIDIO ALFONSI, ERTUGRUL ATALAY, DILSAD UZAR, ZELIHA BURCU DEMIRCI, LAURA KOCH, AYSE ASENA ARAS and the first week instructors KIVILCIM DURUK and GULSAH GULEC in STUDIO 3 while developing the sub-theme under the main theme ARCHI-STAGE/SCENE of WIRE 2014. Special thanks to EMIDIO ALFONSI, for his precious writing about “PERSONAL THEATRE”.

Stanley Kubrick’s movie, The Shining, http://mostlyfilm.files.wordpress.com/2012/10/sh3.jpg, (02-11-2014).

all of these into a game set-up, in which the main actor is space, and the form and definition is fixed but the character i.e. the role is changed. Lets try to generate the space as a performing subject. (Gülsah) Scene3: “The labyrinth is not simply formalistic shape, but an archetypical compositional and organising principle that deconstructs yet also the structures life and space in a generic comprehensive way.” Oreopoulos, 2001.

SPACE IS A DYNAMIC ACTOR;

. Here the labyrinthine space is a fantasy like an anti-architecture, you loose your orientation, it works with the tools of architecture in a counter way; it is identical, mis-leading, nonoriented, non-materialized, strengthens the fear. It does not shares an atmosphere, not public. (Peter) IT SWITCHES THE ROLE OF THE SPACE, KIND OF AN ANTI-SPACE. . Similar to Escher’s drawings, mis-leading, mis-orienting, creating an illusion. Lets apply

Escher’s Relativity, http://www.criticaltwenties.in/, (02-11-2014). The labyrinth scene from Kubrick’s movie The Shining, http://mostlyfilm.files.wordpress.com/2012/10/sh3.jpg, (02-11-2014).

IT BECOMES A LIVING ORGANISM. IT IS LIKE A CARMACAMELEON CHANGES ITS CHARACTER SUDDENLY AND UNEXPECTEDLY

Release of workshop

The Strategies of Space as a Performance 1. Personal Theatre/Personal Space Divine, personal, private space in which I am looking for myself. Actor. I, myself Spectator. I, myself Splitted into two positions both the actor and spectator, kind of a schizophrenia. I am seeing my own performance in my life, struggling to find myself. It is a personal act for a single viewer, I myself. IF EVERYDAY LIFE IS A The labyrinth is a metaphor, by PERFORMANCE; struggling to find my way, I am searching for my essence my soul. WHO IS WATCHING The place for isolation, cut, interWHOM? ruption. I am struggling to create a space for myself. Why am I searching a space for myself? I cannot find a moment for myself. The space is virtual, metaphoric, and full of struggle. The space is not a simply formalist shape. The problem of today’s society is that we have lost our privacy and our ideas due to the increasingly intrusive and stimulating system that tries to make all of us as equal as possible and manageable. The system of life is no longer on thinking and feeling, it is all about producing and consuming at the same time, so that it works. Therefore there is the need for something that isolate you from the world around us in order to find the most intimate part of ourselves. In this way the people can reborn purified. So the choice of the labyrinth seems to be perfect to represent this function because it’s the better metaphor of our soul, full of The popular tv show Big Brother and the movie still of Truman Show, http://honestreviewscorner.com/2013/07/01/big-brother-what-the-fans-are-saying/, https://wondersinthedark.wordpress.com/2009/12/02/the-truman-show-no-4/, (02-11-2014).

The cover of Orwell’s nouvel 1984, http://www.blogicalcomment.com/the-spy-in-your-home-blogiquotes/1803/georgeorwell-1984/, (02-11-2014).

. The space is not static, it is dynamic, something static becomes something dynamic, the wall becomes a living organism. (Zeliha) . You all are so optimistic. If our daily routine is an act, or a play, I am the actor, then who is watching me? Without the audience the performance does not come into real. It reminds me The Big Brother Show, there everything is being watched. Then I am in a big brother show. It reminds me one of Kubrick’s movies, The Shining, especially the scene of the labyrinth. Or Orwell’s 1984, or the Truman Show, the idea that everything is being watched and watched and watched by someone else. And the game is set by another person. Like a huge computer we all are acting in the same theatre, seeing and acting at the same time. (Ilaria)

even a performance hall is a stage by it- DAILY LIFE TRANSFER THE self which connects people, directs people, REALITY INTO THE REALM bring them together to share a moment. OF THOUGHTS AND (Laura) FEELINGS. . Even we are the actors of our own daily life, we act in our own daily life performance. It covers lots of thing, thing we have to do, the must part, things we do for rest, the lust part, things we feel, love, hate, happiness. These are all parts of our own performance. (Laura) . I think mostly emotions of a person is the real act, because this is how a real theatre works, so the transferring process of feeling into reality is the real performance, this is how an art work functions, it combines the real and the presented object into the feelings and thoughts of the person, this is the real performance. (Dilsad) . I agree with you for instance I think music can be visible, I mean music brings you back to your memories and feelings, you remember things, you feel things, it is visible for a moment just for you. It is like a personal performance and it is unique for the person, the act is in your feelings and memories and it is for one single person. For instance the music of Dream Theatre, scenes from a memory, always reminds me, the preparation before the performance. At the very beginning of the song, there is a hypnotisation process of the audience, like the

twisted ways to travel for reach the essence. In spite of the shape of the labyrinth could refer to the city and so to its system, it is the perfect opposite. Indeed when a person come in the labyrinth he doesn’t know where he go, he extricates himself along the way as it does in real city life, but he doesn’t expect to be able to find himself and to alienate from his surroundings. So the building is not architectural, it become a metaphysical space, a metaphor, a place that nowhere we can found on this planet because it is on us. The labyrinth, in this way, become a refuge for us in antithesis with its shape. The rebirth of the person occurs through some steps so that he can slowly detach itself from reality and find himself in the same way. For this reason, the labyrinth will consist of translucent walls as if he was looking at the world from the depths of his soul. In addition, with the use of colour, light and music the process will be more concrete, because they act as a vehicle to evoke the memories, to get excited and to get closer to your essence. The centre of the labyrinth will therefore be the aim to be achieved, the place in which to relax and reborn purified. This inner journey will therefore be the best representation that you can attend, spectators and players at the same time, it must be the tool to be able to look at reality in a different way and not so detached from ourselves and our priorities. So we begin to see the reality under another point of view, that of our soul. 2. Impersonal Theatre/The Space of Power The space of power and authority. Actor. I, myself Spectator. the designer of the game or the designer of the system or the designer of space. It is the space of Panopticon, everything is designed so that everything is to be viewed. The performance can be finding the path in an identical space. It reminds that we are like test subjects of everyday life, we all produced to produce and produce and produce, so that we all consume and consume and consume forever. It is the game of the system, the system the big brother who is watching us, so do not stop continue the game. The space of power, the space of being lost and controlled. Labyrinth; kind of a metaphor of life; kind of a prison like the very first model of it, the panopticon, we all are grasped in a game, and the rules are not set us. All of the people are puppets like Pinocchio of master Geppetto. If we do not obey therules of the game our noses elongate forever. Kind of a being stucked, grasping space, kind of a MATRIX revolution.

foyer parts of the theatres, then it invites me to my memories like scenes from my own memory. (Emidio) . So, it is kind of a seen music, and a personal act and performance then. And it is very similar to the idea of the movie Inception, or there is a disease called synaesthesia. You see what you hear, or you hear what you see, the senses are mixed to each other. So, for some people which is seen in the music is a personal theatre. (Ertugrul) . I personally like the street art and performances. You do not know when performance begins, you suddenly surrounded by the performer and immediately you become the audience, and the space is very different. In an urban context on the street you found yourself in the performance hall. The movie Step Up Revolution is a sample for this. The dancers are a part of space, sometimes a wall sometimes a sculpture and suddenly the THE MUSIC AS A GUIDE OF YOUR space become a performance space, the PATHS IN YOUR FEELINGS AND audience are shocked, the space parts, dancers begin suddenly perform. (Peter) MEMORIES. STREET ART BREAKS THE RULES OF VISUALIZING THE MUSIC, CLASSICAL PERFORMANCES, IT IS VISIBLE MUSIC. LIKE A THEATER WITHOUT WALLS. The album cover of Dream Theater, http://covecitysoundstudios.com/galleries/2238/front/, (02-11-2014).

BY KIVILCIM DURUK Bilkent University Department of Architecture, ANKARA kivilcim.duruk@kalemci.com

Scene1. Part1: . What is performance? (the performance----the visual object) . Who is performing? (the actor----the objects to be seen, viewed) . What is performed? . Who is audience? (the viewer) . How is space acting? (background, container, one of the leading directing actors) . What is its role in performance? . What is stage then? . Is it something personal? . Is it something public? . Is it a space? . Does it have any spatial definitions, canons? Scene1. Part2: . Does these questions above remind you something, related with your own personal interest? . Do you find anything interesting related to these questions? . Do you find a connection between any artistic performance to architecture? Scene2: . I think everyday life can be a performance, EVERYDAY IS A PERFORMANCE.

The movie stills of Step Up Revolution, http://www.fanpop.com/clubs/step-up-revolution/ images/31794974/title/movie-stills-photo, (02-11-2014).

THE STRATEGIES OF SPACE AS A PERFORMANCE

. Yes the space is an actor here, because it creates some illusions, we do not know the performer, space parts are the actors. We see the performance we see the space a part of the performance the space is not a container an actor. (Ayse)

The Panopticon, http://newsjunkiepost.com/2011/05/02/privacy-freedom-and-the-all-seeing-eye-the-panopticon/, (02-11-2014). The movie still of Matrix Revolutions, https://wondersinthedark.wordpress.com/2009/12/02/the-truman-show-no-4/, (02-11-2014).

3. Public Theatre, The Space of Architecture, The Space of Seduction By switching the material, the materialistic character of space from opaque to translucent. The performer is a viewer at the same time, the shadow of the movements creates illusion, there is the playing with the degree of the transparency. The play of the movement, body, light. Actor and spectator are the same. Performance is a public act, we share a publicity when we watch this game, we are also taking part in the game. Then it becomes a public space. Distortion; the distortion of an image in terms of a perspective like fish eye; distorting the space in terms of body movements and light effects. The space acts according to rules of architecture, easy to access, easy to find the path, there is a pleasure of space quality through light and shadow, creates depth, creates delusional space through translucency, the space is something inviting, you do not feel stucked, instead you enjoy the space. The space seduces the eye through the effects of architecture, seduces the body with its comfort and pleasure. Visual performance of space is something desirable... NOTES Philippos Oreopoulos, The Spatial Model of the Labyrinth, Interdisciplinary Architecture, AD, Edited by Nicoletta Trasi, July 2001. Richard Sennett, The Sense of Touch, Interdisciplinary Architecture, AD, Edited by Nicoletta Trasi, July 2001. The images, http://covecitysoundstudios.com/galleries/2238/front/ http://www.fanpop.com/clubs/step-up-revolution/images/31794974/title/movie-stills-photo http://honestreviewscorner.com/2013/07/01/big-brother-what-the-fans-are-saying/ http://mostlyfilm.files.wordpress.com/2012/10/sh3.jpg http://www.blogicalcomment.com/the-spy-in-your-home-blogiquotes/1803/george-orwell-1984/ https://wondersinthedark.wordpress.com/2009/12/02/the-truman-show-no-4/ http://www.criticaltwenties.in/philosophyreligionculture/inception-and-its-inspirations-escher-dali-and-yoga-vasistha http://newsjunkiepost.com/2011/05/02/privacy-freedom-and-the-all-seeing-eye-the-panopticon/ http://thematrix101.com/reloaded/meaning.php.

Work poster

DATA

DESCRIPTION The objective of this project was to design and subsequently create a theatrical space. in order to fully understand the theme, the concept of theatrical space was discussed and we realized that it is possible to define it without necessarily delimiting it in a space or in an appropriate context.In fact, representations such as street arts or listening to scenic music do not need a specific place to be represented. In particular, it was noticed that above all by hearing the music, the auditor is led to imagine the actions described by the singer or those that transmit a parti-

YEAR OF

2014

PRODUCTION YEAR COURSE WORKSHOP

cular symphony, coming almost to see the music.And therefore, in situations of this type, man is a leading actor, screenwriter and theater of a performance.Starting from this we started to think about how to represent it. The man of the lost is able to imagine only when he is immersed

2th WIRE 2014

in his profound ego and abandons himself leaving all that surrounds him outside of himself. But to reach his ego, man must extricate himself from a path that, almost like a twisted labyrinth, takes him away from the outside world and leads him to his center. This center is the most distant from the outside, the most unreachable, the most private. And contrary to a classic labyrinth. in this place the exit is not outside but is right in its center, where, reaching one’s ego, one is free to imagine.Therefore, it was decided to create a labyrinth as a representation of a path necessary to be able to reach the place of the representations within it, that is, one’s own ego.Subsequently to the realization it has passed then to the representation: of the simple common noises like of the iron that is dragged, marbles that fall, voices, steps, have furnished the means for each of the present people, wrapped by a deep darkness, to be able to imagine their own representation in which they themselves were actors, scriptwriters and the place of a representation that took place entirely in their mind. Hence the name Personal Theater

Performance program and creation of the “stage”

THE NEW SCIENTIFIC HIGH SCHOOL OF L’AQUILA 䄀甀搀椀琀漀爀椀甀洀䴀攀渀猀愀

Distributive-functional scheme

䄀甀搀椀琀漀爀椀甀洀䴀攀渀猀愀

Plot framework

General framework 0,7 1,5

0,9

0,7

Laboratorio di lingue (versione 2)

1,2

0,5

1,5

1,3

7,5

1,4 7,5

Sup: 98 m2

Utenti: 30 pp

12,3

Sup: 98 m2

Utenti: 30 pp

Sup: 122 m2

Capienza: 30 pp

0,9

Utenti: 30 pp

Laboratorio di disegno (versione 2) 1

General plan ground floor

1,1

0,8

12,3

1,5

1,2

0,9

1,25

9,9

1,2

1,5

9,9

1,3

0,88

0,87

Sup: 240 m2

Sup: 270 m

Utenti: 30 pp

9,9

26,7

21,9

19,5

Utenti: 30 pp

0,85

0,9

Utenti: 30 pp

1,2

0,8

1,2

1,35

3 1,1

1,9

1,3

24,3

Sup: 240 m2

Sup: 210 m

Sup: 264 m

Utenti: 30 pp

Sup: 122 m

Utenti: 30 pp

㔀

㄀

㈀

㔀洀

Utenti: 30 pp

Palestra (versione 3)

Auditorium (versione 2)

Sedute: 0.8 m

1,2

sala regia

camerini

camerini Infermieria

Infermieria

Sedute: 1.1 m

1,2

sala regia

1,2

Mensa con cucina (versione 1) 1,2

1,65

Auditorium (versione 1)

Spogliatoio professori

guardaroba

Spogliatoio donne Spogliatoio professori

guardaroba

Spogliatoio donne

Deposito

Spogliatoio professoresse

Spogliatoio professoresse Spogliatoio uomini

Spogliatoio uomini accoglienza

Foyer

Bagno

Preparazione pesce

21,9

0.00

2,7

1,1

-1.35

26,7

-1.20

2,7

26,7

Spogliatoio

Foyer

Lavaggio stoviglie

1,2

Accoglienza

0,8

-1.80

-1.70

Cottura 1

Pass

Bagni

45,9

Bagni

Preparazione carne

Lavaggio alimenti

1,8

1,2

0.00

Area rifiuti

1,2

Celle frigo 1,89

Cucina intolleranze 1,65

Dispensa deposito

29,1

Sup: 603 m2 1,2

1,2

31,5

Sup: 840 m2

Utenti: 30 classi / Capienza: 544 pp

Utenti: 15 classi / Capienza: 380 pp

1,2 31,5

Sup: 840 m2

Utenti: 30 classi / Capienza: 408 pp

62,7

Mensa con cucina (versione 3) Spogliatoio

Sedute: 0.8 m

Auditorium (versione 4) Sedute: 1.1 m

Spogliatoio

Area rifiuti Celle frigo

sala regia

Lavaggio alimenti

Bagno

Lavaggio stoviglie 1,2

camerini

sala regia

camerini

guardaroba

1,2

Dispensa

Bar

1,2

guardaroba

Auditorium (versione 3)

Cucina intolleranze

1,3

Accoglienza

1,2

0,8

Preparazione carne

Accoglienza

Cottura

Preparazione pesce

0,93

-1.20

-1.35

Foyer

24,3

1,2

1,82

1,94

29,1

0.00

2,7

Foyer

1,94

21,9

0.00

2,7

-1.80

-1.70

21,9

1,9

1,2

Pass

Sup: 1115 m

Utenti: 20 classi 1

Palestra (versione 2) Bagni

Spogliatoio donne

Bagni

Spogliatoio professori

Deposito

Infermieria deposito

Spogliatoio professoresse

deposito

Spogliatoio uomini

1,2

1,2 26,7

Sup: 584 m2

Utenti: 20 classi / Capienza: 312 pp

Utenti: 20 classi / Capienza: 252 pp

Sedute: 1.1 m

Sup: 503 m2

1,2

Auditorium (Versione 6)

Sedute: 0.8 m

24,3

1,2

26,7

Auditorium (Versione 5)

1,2

Sup: 584 m2

camerini

Deposito

Utenti: 15 classi 31,5

Sup: 1975 m2

29,1

camerini

Utenti: 15 classi

Capienza: 267 pp

Sup: 812 m2

Utenti: 30 classi / Capienza: 500 pp

Capienza: 196 pp

Utenti: 30 classi

Mensa con cucina (versione 2) 1,2

1,65

Bagni tipo Biblioteca (versione 1)

Sup: 74 m2

palco

1,6

0,35

1,5

0,65

7,5

Utenti: 5 classi

26,7 0,5

Spogliatoio

1,4

21,9

Cottura

1.6

1,1

1,7

0,4

0,5

Lavaggio alimenti

1,4

1,9

Area rifiuti

1,8

foyer

0,6

1,2

0.6

1,9

1,4 1

12,3

1,4

foyer

Bagno

3,1

accoglienza guardaroba

0,4 0,8

Preparazione carne

Pass 1,5

1,8

Utenti: 15 classi

Sup: 290 m2

1,2

Cucina intolleranze 1,65

Dispensa

1,2

12,3

Sup: 240 m2

24,3

17,1

Sup: 210 m2

1,1

spazio di ricerca

1,1

1,65

Celle frigo

spazio di ricerca

0,6

accoglienza guardaroba

Spogliatoio

0,6

regia

0,6

0.6

Ufficio - sportello 0,6

1,5

Preparazione pesce

0,6

0,4

19,5 1

regia

0,58

12,3

Bagno

1,2

1,1

3,1

bagni

Ufficio - sportello

1,82

1,1

1,4

0,8

spazio di ricerca

1,2

bagni

0,8

bagni

0,6

Lavaggio stoviglie

0,45

0,5

0,8

Biblioteca (versione 3) 0,8

1,8

9,9

Utenti: 15 classi

1,9 0,45

24,3

Sup: 590 m2 Biblioteca (versione 2)

0,3

1,9

26,7

1,8

Ufficio - sportello

1,2

1,4

Prof.: Alessandra Bellicoso - Studenti: Emidio Alfonsi 219763 - Matteo Di Berardino 219650

Università degli Studi dell’Aquila - Corso di laurea in Ingegneria Edile Architettura UE - Corso di Architettura Tecnica III - Progetto di un edificio adibito a Scuola

1,2

17,1

Deposito

1,5

1,2

1 1

0,9

Palestra (versione 1)

1,3

0,6

0.9

1,25

0,9 1,3

1,2

1,3

0,9

3 1,5

9,9

1,1

12,3

0,9

12,3

0,9

1,23

Sup: 180 m2

1,3 1

1,1

Utenti: 30 pp

Laboratorio di lingue (versione 1) 14,7

0,8

19,5

9,9

1,35

1,6 7,5

Sup: 98 m2 Laboratorio di disegno (versione 1)

0,6

Sup: 193 m2

1,2

12,3 1,3

0,8

1,35

Utenti: 30 pp

7,5

1,2

1,6

1.2

0,5

9,9

0,5

9,9

Sup: 98 m2

Utenti: 30 pp

Laboratorio di fisica (versione 2)

1,32

1,6

1,96

1,5

0,8

1,5 0,6

1,3

0 0,5 9,9

Sup: 98 m2

Utenti: 30 pp

0,9 0,8

Aula di Musica

0,7

1,35

Laboratorio di fisica (versione 1)

0,9

1,1

Aula lato corto gruppi studio

0,7

9,9

Sup: 98 m2

Capienza: 30 pp

Laboratorio di chimia e scienze naturali (versione 2) Laboratorio di chimia e scienze naturali (versione 1)

1,1

Aula disabile lato corto

0,7 1,5

0,5

7,5

0,88

9,9

Sup: 98 m2

9,9

Sup: 98 m2

Utenti: 30 pp

1,3

1,2

1,25 0,95

1,4

0,85

9,9

Sup: 98 m2

Aula lato corto

0,65

0,7

0,65

0,7

1,86

Parete illuminata Grigliato scozzese (2.4 x 2.4 m)

1,5

9,9

1,4

9,9

1,15

1,29

1,25

1,55

0,7

0,95

1,85

1,25

7,5

1,5 1,5 1,85

0,9

1,2 1,2

0,5

1,2

1,25

Aula lato lungo gruppi studio

Aula disabile lato lungo

Aula lato lungo

0 0,7

Ingresso pubblico Uscite di emergenza

0,9

Aula quadrata gruppi studio 0,8

Aula disabile quadrata

0,7

Aula quadrata

Ingresso

0,9

Legenda

Utenti: 20 classi

26,7

Utenti: 30 classi

26,7

33,9

Sup: 707 m2

Abacus of spatial units

Utenti: 20 classi / Capienza: 406 pp

Abaco delle unità funzionali

1,2

General plan first floor

DATA

㔀

㄀

㈀

㔀洀

DESCRIPTION YEAR OF

2018

This project concerns the study for the construction of a new upper school complex near the city center of L’Aquila. For the design of the spaces, I had to study in detail, by using a scottish grid, the activities that were carried as scientific and chimmic laboratory activities, those for

PRODUCTION

drawing and music and that dedicated to the consumption of meals, sports and congress activities. Obviously, the organization of classrooms YEAR COURSE COURSE

5th Technical Architecture III (ICAR/10)

PROFESSOR

Prof. Eng. Alessandra Bellicoso

for 600 students was also studied. due to the vastness of the plot I design an annexed park system which could be used by the community and which would allow to re-establish the city center with the neighboring district of the “Torrione”. The characteristic of this project was that of using and describing in details the different construction systems used. In this case, the classrooms on the first floor are supported by a steel easel based directly on foundation plinths and stands out from the structure of the laboratories on the ground floor which are supported by a HOLEDECK bidirectional reinforced concrete floor slab based on a classic plate foundation. This structural contrast is also represented by the different volumetric arrangement. The classrooms are arranged along the horizontal direction, while the laboratories in a vertical direction, thus leaving ample glass spaces in which there are openings that allow the passage from the area facing the school to the park behind. Furthermore, the auditorium, gym and canteen have their own composition made by a reticular roof supported by steel pillars.

㄀㈀

㔀㄀㔀㄀

㔀

㈀

㄀洀

㔀洀

㈀

㔀洀

㔀㄀

㄀㈀㄀㈀

㔀

㈀

㔀洀

㄀洀

㔀

㄀洀

㔀

㄀

㈀

㔀洀

Longitudinal elevation and sections Carpentry of easly foundation 倀刀伀匀倀䔀吀吀伀伀嘀䔀匀吀

㔀㄀

㈀

㔀洀㄀㈀

㄀㈀㔀㄀

㈀

㔀㄀

㄀㈀

㈀

㔀

㔀洀

㔀㄀

㔀

㈀

㔀洀

㄀㈀

㔀

㄀

㈀

㔀洀

㄀洀

Carpentry of spatial grid

First floor carpentry

㔀洀

㄀㈀

㄀洀

㈀

㔀

㄀

㔀

㈀

㄀洀

㔀洀

Trasversal elevation and sections Traversal elevation and sections 㔀㄀

㔀

㄀洀

㄀㈀

㔀

㄀洀

㔀洀

㄀洀

㔀㄀

㔀㄀㈀

㈀㔀洀

㔀洀

Detail of steal laboratory structure ㄀㈀

Renders views

Section extracts details

㄀㈀㔀

㔀㄀洀

㄀洀

㔀㄀

㈀

㔀洀

Easel carpentry details ㄀㈀

㔀

㄀洀

Detail of HOLEDECK floor

COMMUNITY

RE-THINK THE OLD CITY CENTER OF COLLARMELE BLACKPLAN WITH FOCAL POINTS AND BYCICLE TOUR

TRANSPORT and POINTS OF INTERVENTION

usin

CREATING CONNECTION AND MAIN ENTRANCE

usin

CREATING CONNE

DICEAA Shibaura Institute Università degli of Technology Studi dell’Aquila Tokyo

CREATING CONNECTION AND MAIN ENTRANCE

Comune di Collarmele Comune di Collarmele

Comune di Collarmele

DICEAA Shibaura Institute Università degli of Technology Studi dell’Aquila Tokyo

A) Santa Maria delle Grazie

Comune di Collarmele

Train station

Parking

Bus station

Walking path

Road

Railway

Streets

Unchanged

C) Monument

D) Monument

Via Triburtine

CONCEPT OF GENERAL MASTER PLAN

Bike tour

B) Wind turbines

Small city way Byke way

COLLA

connect

ARMELE

TAV - 2

View to tower

Restoring atient pathlevels via Triburtine Using many connecting Rome and Adriatic see

GRUPPO N° 2 - KAZE

CREATING CONNE

Devided places by railway

Make a connection

Established connection

CREATING CONNECTION AND MAIN ENTRANCE

SITUATION AFTE

SITUATION AFTER INTERVENRTIO

Strategies SITUATION AFTER INTERVENRTIO View to landscape View to tower

Using many levels Making connection Rotated GRUPPO building N° 2 - KAZE

PARK SQUARE PLAYGROUNG Separated walls

Rotated building

Alfonsi Emidio - Celli Anastasia - Nishimoto Maya Uchida Yuka - Rošer Simona

PARK SQUARE Create Separated cycling tour city centre to landscape walls Rotated building with city overview leading to nature

Alfonsi Emidio - Celli Anastasia - Nishimoto Maya Uchida Yuka - Rošer Simona

Making connection

PLAYGROUNG

Concept

DESCRIPTION

This project concerns the redevelopment of the historic center of a small village in the province of L’Aquila, Collarmele. This country, struck

00 10 1: AN PL CK LA /B RT PO NS RA /T EA ID OF T EP NC CO

Alfonsi Emidio - Celli Anastasia - Nishimoto Maya DATA Uchida Yuka - Rošer Simona

Reorganising residential quartier

Established connection

CREATING CONNECTION AND MAIN ENTRANCE

to a n o D i D o il n a D ,i tt le o C a n o im ,Sa ti b A o e tt a ,M .) d r o o (c o rd a n o ll ai G a n ai D :r o t u T

TAV - 2

Make a connection

EA ID N AI /M 0 75 1: N LA RP TE AS M

Context analysis GRUPPO N° 2 - KAZE

Enlarging bridge and make visual commection to main focal points

Separated walls

Devided places by railway Devided places by railway

by the earthquake of 1915 and almost completely destroyed, has rebuilt entire neighborhoods outside the historical perimeter, abandoning it. Only a few houses have been rebuilt there and the only historical evidence that remains is the medieval watch tower.So we worked to YEAR OF

2015

PRODUCTION YEAR COURSE WORKSHOP

mend this gap between the old and the new, accentuated by the passage of a railway that marks almost an insurmountable border. To be able to bring that place back to life by the local people, mostly elderly people, it was necessary to insert an attractive center and make it

3th XII BILATERAL WORKSHOP ULA-SIT

more accesible. Taking this into account and listening to the needs of citizens following a round table, it was decided to include a space for the city market and a center for the sale of typical products prepared by the inhabitants themselves, with related services and a restoration area. Once the functions were decided, we began to understand how to relate them to each other and to the context. The project area looks like a small abandoned hill from which stands the ancient tower and is it surrounded by small houses. another characteristic is a strong wind. Once the context was analyzed, the solution chosen was to create “telescopes” arranged to frame the focal points of the valley below. Furthermore, by making a spread floor, it was possible to create terraces, in order to make the space more accessible and to

Making con

to a n o D i D o il n a ,D it t e l o C a n o im ,Sa ti b A o e tt a M ,.) d r o o c( o rd a n lo la i G a n ai :D r to u T

o at n o iD D lo i n a D i,t t le o C a n o im ,Sa it b o ta A o n e o ttaD i D ,M .)ilo d rn a o o D (cti, t o e l rd ao C n a lo ln iao G m aSi , an iit D b r:A o to e u Ttt a M ,.) d r o o c( o d ar n llo ia G a n ia Alfonsi Emidio - Celli Anastasia - Nishimoto Maya D r: Uchida Yuka - Rošer Simona to Tu

el e rm lal o PO Cni HS lilh E) Promenade KR ell O oC WL re AN mr F) Piazza OI S. ofeFelicita TA ht NR fo ET yre IN voc G) Fontain LA re RU dn TC an ET iot IH ac H) Tower CR iila AI uq IX eR

EA ID N AI /M 0 75 1: N LA RP TE AS M

PO HS KR O WL AN OI TA NR ET NI LA RU TC ET IH CR AI IX

lee m ra ll oC ni lil h ell oC re m ro f eh tf o yr ev oc er dn a no it ac iil au qe R

lee C m ra D ll o PO FCin HS llih KR elle O oCle WL rem AN mrallo H OIP ofeCni TAO htll NRHSK foih G ETR yreello NIOW voCr LA cerm RUN dnrof TCOIT aneh ETAN oittf Rebuild Focal points City tour Small intervention IHR acoy CRET iilarev AINIL uqoc View to landscape IXA eRr RU dn View to tower TC an Using many levels ET oit GRUPPO N° 2 - KAZE IH -ac 2 TAV CR ilia AI uq View to landscape IX eR

D IN W F O S E IN L

shelter even from the strong wind. these terraces, thanks also to the use of terraces, can also be used for events or outdoor events.

infop oint

VILLAGE

GROUND FLOOR GROUND -1

CREATING CONNECTION AND MAIN ENTRANCE

oint

Bar

center m

info

PLAYGROUND

Separated walls

Wind barier

AGE

Render S T view

Caﬀè

Multifu ctional hall SQUARE

Wo r

lay k/p

roo

Wo r

Design peculiarity

Bar

Multifu ctional hall SQUARE

OUN

AT I

GROUND - 2

O TER F CEN

YER

S TO

R AG

SectioS

R S TO

AGE

Interventions Interventions ER

TE CEN

R F O YPARK

Section E Section PARK PARKE AT I V SQUARE M u l t i fMuu l t i f u CR c t i o n ac t i o n a ND Interventions PLAYGROUNG ROU SQUARE SQUARE l h a l l l h a l l B B G Y ar ar PLA

PLAYGROUND

SQU

Section

ARE

oom oom ay rplay r l p k/ k/ W o r AWRoEr PLAYGROUND PLAYGROUND Wind barier U

Wind barier

Interventions

GROUND - 2

A CRE

TIV

E EC

E R F OY NTE

D Y OTUENR F O R G N Y P LI VAE C E T A CRE D OUN R G Y PLA

Section

PLAYGROUND Sections

AGE

Section SectionL AYGROUN

Section Section

Section

GROUND -1

GR L AY CRE

Sections

ARE

R S TO

Caﬀè

Section

2 nd ENTRANCE

SQU

E UA R

ER RA RFKO Y E P T Making connection Rotated building EN PARK nd M u nd EC Interventions V 2 ENTRANCE 2ltifuctENTRANCE I io n al h al T l A SQUARE E B ar CR DR K U2PNAENTRANCE O R m roo YG lay PARK PLA k/p

Alfonsi Emidio - Celli Anastasia - Nishimoto Maya Uchida Yuka - Rošer Simona

Interventions

t poin

K PA R

IV E AT

Y ER FO T N E

C aﬀ è

GRUPPO N° 2 - KAZE

PARK

Section

Caﬀè

Using many levels

K PA R p o i n t info

GROUND -1

Section

ce n te r

GROUND FLOOR

GROUND - 2

EA ID N AI /M 0 75 Ca ﬀè center c e n:t e r E x ib it io n E x ib it io n 1 N LA RP TE Caﬀè AS M

RE Q UA

roo

GROUND -1

Ex ib it io n

Section Plans

GROUND - 2

GE c e nOt eR rA E x ib it io n S T R OYE TER F

CEN

N -G R2O U L AYE

center

OUN

Wo r

lay k/p

GROUND FLOOR

E x ib it io n

AT I

YG R

M u lt if u c ti o n a l h a ll SQUARE

Caﬀè

oint

CRE

PLA View to tower

Interventions

2 ENTRANCE

View to landscape

AT I

GROUNDP R A SQU SITUATION o in tAFTER INTERVENRTIO in f o p GROUND FLOOR

Section

CRE

-1

center

GROUND -1

Caﬀè

PA R

YER ER FO ENT

E R AG S T OGROUND

ARE ARE SQU SQU GROUND - 2

Caﬀè Caﬀè

A SQU

E x ib it io n

GROUND FLOOR RE

GROUND -1

ce n te r

K PA R

infop

K K PA R PA R

E x ib it io n

ARE

infop

Established connection

Sections

oint

Make a connection

center E x ib it io n center E x ib it io n

infop

GROUND - 2

GROUND - 2 Devided places by railway

o ta n o D i D lo i n a D i,t t e l o C a n o m iS ,a it b A o e tt a M ,.) d r o o c( o d ra n lo la i G a n ai D :r o t Tu

TAV - 2

GROUND -1n t n t oi oi i n f o pi n f o p

Sections

GROUND FLOOR

SQU

Section

el e m ra ll oC PO ni HS lilh KR ell O oC WL re AN mr of OI GROUND TA eht FLOOR NR fo ET yre NI vo LA cer RU dn TC an ET oit IH ac Masterplan CR iila K AI uq PAR IX eR

GROUND FLOOR

GROUND GROUND -1 -1

Sections

Section

Comune di Collarmele

Sections

PA R

DICEAA Shibaura Institute versità degli of Technology di dell’Aquila Tokyo

usin

CREATING CONNECTION AND MAIN ENTRANCE GROUND GROUND FLOORFLOOR

RA S TO

Wind Wind barierbarier

Section

PARK Section

Section

THE NEW GRIFINO WATERFRONT

Functional masterplan scheme

SWAT analysis Waterfront intervention

public spaces

Waterfront masterplan Urban Masterplan Functional bank scheme

Strategies

DATA

DESCRIPTION Sometimes reconstituting a sense of community and belonging also passes through the requalification of a whater front. What happened with this project, in fact, was to regenerate the river front of the city of Gryfino, in the Szczecin prefecture, an ancient Polish medieval town that, after the Second World War, Waterfront was almost completely razed to the ground and which, during its reconstruction phase, entire buildings YEAR OF

2017

PRODUCTION YEAR COURSE WORKSHOP

public spaces

intervention

with a strong soviet architectural character rose up inside the city center and close to the river banks. This has led to a loss of sense of belonging to the town with a precise past and to the dispersion of the attractive poles now located outside the city. To takle this dormitory

5th INTERNATIONAL WORKSHOP GRIFINO / SZCZECIN

area and to create and give movement to the city, it has been decided to redevelop the river area by inserting an attractive pole formed by various activities such as a tourist port, which together with that of Szczecin form an attractive chain for the entire river, a large covered market with attached restaurants, a hotel, necessary by the proximity to the German border, a fundamental cultural center for the mainteWaterfront

masterplan nance of historical memory and a naturalistic path that starts from the green areas inside the city, redeveloping them, to the parkâ€™s areas

protected on the opposite bank connected with a new pedestrian bridge. These functions have been inserted in two main structures, with a curved shape, which contrast with the rigid system of the surrounding buildings and create squares with which it is possible to interact in

such a way as to become the new city aggregation center.

public spaces

Waterfront intervention

Urban section

Waterfront masterplan

Bank Masterplan

Harald Gatermann, Katarzyna Krasowska, Katarzyna Florysiak

Justyna Nowicka, Michal Jaroszewicz, Wiktor Kuchniak, Martyna Dolecka, Emidio Alfonsi, JoĂŁo Pedro Seraam

Render views

A COMMUNITY CENTER FOR GIOIA DEI MARSI

First impressions

Urban analysis

Urban concept

Urban solution

Strategies

Concept design

DATA

Render view

DESCRIPTION This project required the design of a community center for the cultural and social associations of the village of Gioia dei Marsi in the province of Lâ€™Aquila. The plot consist of an urban void, a residue of demolition in the past of one of the many anti-seismic dwellings built after YEAR OF

2017

PRODUCTION YEAR COURSE WORKSHOP

the devastating earthquake of 1915 that constitute the new historical city center. It was, therefore, impossible to not relate with the context and to the existing building typology of which we took into consideration the metric rhythm and the high. Subsequently, we set the goal of

5th XIV BILATERAL WORKSHOP ULA-SIT

creating, with this building for associations, a connection between the various city blocks coming out of the boundaries of the project and proposing a solution of path such as to reconnect each single block to each other and, doing so, put it back contact the community that currently lives without a real social gathering point. So we have chosen to deepen the theme of the city path making a large gallery roof into the project, so as to cover the entire lot that, in fact, acts as a square and meeting point. This allows the center to be visible even from the town hall and to be recognizable by the community as a distinct element. This roof, which wraps around the entire building going over it, takes up the fabric of the pavement leaving more open points and offering views of the mighty surrounding mountains.

Section A-A

North elevation

Ground floor plan

Masterplan

Section B-B

First floor and -1 floor

Section C-C

Render views

West elevation

Est elevation

THE ALMADA WATERFRONT 1957 map

1957 map

Masterplan

Waterfront analysis

Scheme strategies

Masterplan functional scheme

DATA

DESCRIPTION

In this project the issue of climate change and the preservation of cities with its communities was addressed. we are on the southern coast of Lisbon, the westernmost point of the southern coast, at “Cova do Vapor”. Here there are small rural settlements mainly inhabited by fishermen and now, thanks to the rise in sea level, they are becoming depopulated and losing their historical identity.The objective of this YEAR OF

2017

PRODUCTION YEAR COURSE WORKSHOP

project is to redevelop the coastal area in order to make it habitable again and to plan, for a not too distant future, a new coastal and urban reorganization following the change of the whater front due to the rise of the waters. Initially we analyzed the change that the coastline

5th LUSOFONA SUMMER SCHOOL 2017

has undergone over the years and the new activities that have arisen, in particular industrial activities that have created seaside barriers that do not allow the correct communication between one village and the next. The coast therefore appears jagged and irregular. The first idea of intervention was to reorganize the entire coastal area with new pedestrian routes that could connect the different villages to each other and to insert, in each of them, points of interest such as a water sports center, an oceanographic museum and a wine activity. this short-term solution cannot cope with climate change. Then it proceeded with the planning imagining a future scenario in which the villages are almost all submerged, replaced by a tower islands, in which the community persists, arranged in such a way as to recall the old coastal edge to witness their past and place from which the inhabitants originally came from.

Masterplan sketches

Future scenario The path design

Future scenario sketches

Masterplan picture-sketches

THE NEW ART CENTER OF THE CITY OF ALCALA’ DE

The silo and its framework

Analysis of city needs and functions

Urban sections

Analysis of the plot

After design functional scheme

After design general functional scheme

After design functional scheme

DATA YEAR OF

DESCRIPTION The theme of this project concerns the redevelopment of an abandoned area through an intervention of architectural design and functionali2016

now abandoned for several decades. The silo overlooks a large space in front and is, even if in the center of the city, isolated from the context.

PRODUCTION YEAR COURSE COURSE

PROFESSOR

4th Architectural

it consists of two large buildings that performed the function of harvesting the grain and a smaller one for administration. After an analysis about the city needs, I decided to transform the ancient silo complex into a social and arts center. To do this, I hypothesized to reorganize the first silo according to the inclusion of a museum of modern art and its administrative offices. The administrative building, the smaller one, and

design III

more easily manipulated, has been transformed into a center for the arts in which it is possible to carry out educational activities for learning

(ICAR/10)

arts and for the social rehabilitation of disabled and psychologically unstable people. Furthermore, with the creation of a first floor that, from a

Prof. Arc. Ángel Verdasco Novalvos

zation of the spaces.I have chosen as an object of study an old abandoned silo in Alcalà de Henares, Madrid, dating back to the Franco era and

composition point of view, is detached from the underlying, in terms of meaning and function, it was possible to insert flats that could accommodate teachers or students and their families. Then, the last silo has been reorganized to be a space more dedicated to social activities by inserting two ballrooms and a bar/restaurant on the top floor with an observation point over the entire city. The entrance to these spaces is managed by a glazed foyer that emerges, almost enslaved, from the two systems and indicates the entrance to the places described above. In the end it was decided to equip the huge space in front of an urban park so as to fill that gap with neighboring neighborhoods.

HENARES

Genesis of flats design

Functional scheme

Render view

The silo before design

Scheme of operation

Flats general plan

The silo after design

Render external view

Render internal museum view

Flats detail

TECHNOLOGY

CASA MECO

PLANTA DE DISTRIBUCIÓN DE MODIFICACIONES

TABLA DE DISTRIBUCIÓN DE MODIFICACIONES

PLANTA DE DISTRIBUCIÓN DE MODIFICACIONES

Calor TABLA DE DISTRIBUCIÓN DE MODIFICACIONES 1 Chimenea Solar

PLANTA DE DISTRIBUCIÓN DE MODIFICACIONES

TABLA DE DISTRIBUCIÓN DE MODIFICACIONES

Cambio Inercia

Colocac el siste antigua

2 Aislante Térmico

Colocac el siste antigua Colocac

Calor

1 Chimenea Solar 1 Chimenea Solar

2 2 Vivienda Unifamiliar Vivienda Vivienda Unifamiliar Unifamiliar Meco (Madrid) Meco Meco (Madrid) (Madrid)

House framework GENERALIDADES GENERALIDADES GENERALIDADES PROGRMA PROGRMA PROGRMA

PLANTA DE DISTRIBUCIÓN DE MODIFICACIONES PLANTA DE DISTRIBUCIÓN DE MODIFICACIONES

1 salón 1 garaje

Fachada principal Fachada Fachada principal principal al sureste. al sureste. al sureste.

House information

ESTRATEGIAS ESTRATEGIAS BIOCLIMATICAS ESTRATEGIAS BIOCLIMATICAS BIOCLIMATICAS

4 44

5 55

3 33

2016

4 4 4

4th

2 2 2

Aislante Térmico Chimenea solar RetroKit Aislante Térmico Aislante Térmico RetroKit RetroKit

3 3 3

Sustitución cubierta de dos Sustitución Sustitución aguas pordecubierta cubierta dos cubierta desobre dos plana aguas aljibe por cubierta aguas forjado. por cubierta nuevo plana aljibe sobre plana aljibe sobre nuevo forjado. nuevo forjado.

5 5 5

Colocación de las nuevasAislamiento ventanas con térmico Retrokit el sistema Retrokit, sin sustitución de las Colocación de las nuevas ventanas con Colocación de las nuevas ventanas con antiguas el sistema Retrokit, sin sustitución de las el sistema Retrokit, sin sustitución de las antiguas antiguas

Olgyay clime map

Cubierta Aljibe Forjado Nuevo Cubierta Aljibe Cubierta Aljibe Forjado Antiguo Nuevo Forjado Nuevo Forjado Antiguo Forjado Antiguo

6 6 6

Creación y demolición de puertas para el acceso yaldemolición nuevo estudio. Creación de puertas para Creación y demolición de puertas para el acceso al nuevo estudio. el acceso al nuevo estudio.

Innovation and su, PASSIVE tainability design and architectonic intervention (ICAR/10)

PROFESSOR

Prof. Arc. Antonio Baño Nieva

Creació el acces

Análisis e intervención ca Análisis e intervención ca Análisis e intervención ca DESCRIPTION Strategies solutions

APLICACIÓN DE ESTRATEGIAS APLICACIÓN DE ESTRATEGIAS Chimenea solar

Chimenea solar Chimenea solar

Emidio AlfonsiEmidio Emidio Alfonsi Alfonsi Beatriz GocherBeatriz Beatriz Gocher Gocher Sergio Manzanares Sergio Sergio Manzanares Manzanares

Antonio Baño Prof.Prof. Antonio Antonio BañoBaño Aislamiento térmicoProf. Retrokit

Cubierta aljibe

Aislamiento térmico Retrokit Aislamiento térmico Retrokit

Cubierta aljibe Cubierta aljibe

the overall framework of the boundary conditions was defined, the strategies to be used were identified. For the winter months a correct thermal insulation, a solar collection system to increase temperatures, the insertion of a thermal mass and the provision of natural

COURSE

Aislamiento térmico Retrokit

res, Madrid.The first phase was the analysis of the solar exposure of the house during the 4 seasons and its exposure to the winds. Once

PRODUCTION YEAR COURSE

Calor Calor

cubierta de dos aguas por cubierta Cubierta Aljibe plana aljibe sobre Forjado Nuevo Sustitución 3 nuevo forjado. Forjado Antiguo Cubierta Aljibe cubierta de dos Forjado Nuevo aguas por cubierta Sustitución 3 Cambio de pavimento por uno con plana aljibe sobre Forjado Antiguo cubierta de dos Inercia Cambiotérmica de pavimento por uno con nuevo forjado. aguas por cubierta Cambio de pavimento por uno con Inercia térmicaplana aljibe sobre Inercia térmica nuevo forjado. Aislamiento térmico Retrokit

Análisis Análisis Análisis e intervención eeintervención intervención casa casa casa Meco. Meco. Meco. This project aimed to study passive systems in a 3-storey single-family dwelling located on the outskirts of the city of Alcalà de HenaAPLICACIÓN DE ESTRATEGIAS

YEAR OF

Calor

Cubierta Aljibe Forjado Nuevo Forjado Antiguo

6 66

Axonometría Axonometría explotada Axonometría de explotada la explotada vivienda de la devivienda la vivienda actual. actual. actual.

Isometric esploded of actual house

DATA

Chimenea solar APLICACIÓN DE ESTRATEGIAS

1 11

2 22

Protección solar Protección para Protección evitar solarsolar parapara evitar evitar Aislante térmico Aislante para Aislante térmico térmico parapara subir las temperaturas. subirsubir las temperaturas. las temperaturas. evitar la perdida evitar de evitar la calor. perdida la perdida de calor. de calor.

Strategies

3 Sustitución

Chimenea solar Frío (sótano)

Meses de verano Meses Meses de verano de verano Meses de invierno Meses Meses de invierno de invierno

Ventilación (natural, Ventilación Ventilación en la(natural, (natural, en laen la Captación solar Captación para Captación subir solarsolar parapara subir subir medida medida de para lode posible) lo posible) parapara las temperaturas. las temperaturas. las temperaturas. medida de lo posible) disminuir las temperaturas disminuir disminuir las temperaturas las temperaturas enlaverano. en verano. en verano. Ventilación (natural, Ventilación Ventilación en la(natural, (natural, en en la medida de lo posible) medida medida de para lode posible) lo posible) parapara Masa termica Masa paraMasa termica termica parapara disminuir la humedad disminuir disminuir la humedad la humedad aprovechar el aprovechar calor aprovechar del díael calor el calor del día del día relativa en invierno. relativa relativa en invierno. en invierno. durante la noche. durante durante la noche. la noche. Masa termica Masa paraMasa termica termica parapara aprovechar el aprovechar calor aprovechar del díael calor el calor del día del día durante la noche. durante durante la noche. la noche.

el siste antigua

Frío (sótano) APLICACIÓN DE ESTRATEGIAS Frío (sótano)

ORIENTACIÓN ORIENTACIÓN ORIENTACIÓN

1 salón 1 salón 1 garaje 1 garaje

RetroKit

APLICACIÓN DE ESTRATEGIAS

aseo con ducha 1 aseo 1 aseo con ducha con ducha DIMENSIONES: DIMENSIONES: salón-comedor 1 salón-comedor 1 salón-comedorDIMENSIONES: 10,00 X 30,00 10,00 m 10,00 X 30,00 X 30,00 m m cocina 1 cocina 1 cocina

SÓTANO SÓTANO

RetroKit

Solar 1 Chimenea 1 Chimenea Solar

PLANTA BAJA PLANTA PLANTA BAJA BAJA

SÓTANO

Climograma Climograma deClimograma Olgyay de Olgyay de Olgyay 1 Chimenea Solar

4 dormitorios 4 dormitorios 4 dormitorios 1 cuarto de baño 1 cuarto 1 cuarto de baño de baño SUPERFICIE TOTAL: SUPERFICIE SUPERFICIE TOTAL: TOTAL: 300,00 m2 300,00 300,00 m2 m2

1 oficina 1 oficina 1 vestíbulo 1 vestíbulo

TABLA DE DISTRIBUCIÓN DE MODIFICACIONES TABLA DE DISTRIBUCIÓN DE MODIFICACIONES

PLANTA ALTA PLANTA PLANTA ALTA ALTA Forma rectangular. Forma Forma rectangular. rectangular.

oficina vestíbulo

Frío (sótano)

3 Carta solar solar SolarCarta Map solar Carta

2 plantas sobre 2 plantas rasante 2 plantas sobre + semisótano sobre rasante rasante + semisótano + semisótano SOLAR SOLAR SOLAR

1 1 1 1 1

RetroKit

TABLA DE DISTRIBUCIÓN DE MODIFICACIONES 3

PLANTA DE DISTRIBUCIÓN DE MODIFICACIONES

MORFOLOGÍA MORFOLOGÍA Y MORFOLOGÍA Y Y DIMENCIONES DIMENCIONES DIMENCIONES DEL DELDEL

2 Aislante Térmico

Calor

Frío (sótano)

ventilation systems to avoid humidity problems. For the summer months, use of a solar shield to avoid direct contact with the sun’s rays and promote natural ventilation to better cool the spaces. To encourage proper natural ventilation, a “solar chimney” was chosen, which consists of a pipe that connects the exterior with the basement area, and the basement with a chimney at the top of which is a highly overheated element. This causes a movement of the air which in contact with this element heats up and comes out, thus creating a

Análisis Análisis e e intervención intervención casa casa Meco. Meco. serves as a heating chamber for the entire house, in this way, wound laterally by the retrokit system, it allows to heat the area to inside

Emidio Alfonsi gradient with which it puts in place all the area present in the duct and in doing so attracts the area from the collection pipe external. To Beatriz Gocher Emidio Alfonsi

Sergio EmidioManzanares Alfonsi Beatriz Gocher

BeatrizManzanares Gocher Sergio increase the temperatures in the winter months it was decided to insert a veranda, annexed to the house which, appropriately Prof. shielded, Antonio Baño Sergio Manzanares Prof. Antonio Baño Prof. Antonio Baño

and transfer it to the rest of the house. Furthermore, a new thermal storage floor and the demolition of the pitched roof were created to create a flat green roof capable of mitigating the thermal excursion.

2 Colocación de las nuevas ventanas con

Calor

2 Aislante Térmico 1 Chimenea Solar RetroKit

el sistema Retrokit, sin sustitución de las antiguas 5

aguas por cubierta plana aljibe sobre nuevo forjado.

APLICACIÓN DE ESTRATEGIAS

Chimenea solar

Colocación de las nuevas ventanas con con 4 Cambio de pavimento por uno constructiva rehabilitación. el sistema Retrokit, sin sustituciónSección de las Inercia térmica antiguas Aislamiento térmico Retrokit

Frío (sótano)

Cubie

6 3 6

2 Aislante Térmico 3 Sustitución RetroKit

Creación y demolición de puertas para el acceso al nuevo estudio.

Planta alta.

cubierta de dos aguas por cubierta plana aljibe sobre nuevo forjado.

Cubierta Aljibe Forjado Nuevo Forjado Antiguo

5 Colocación de las nuevas ventanas con Creación y demolición de puertas para el sistema Retrokit, sin sustitución de las el acceso al nuevo estudio. antiguas

6 DE ESTRATEGIAS

Sección constructiva nueva obra. Sección constructiva rehabilitación. Cubierta Aljibe Strategies applications: solar chimney Forjado Nuevo Aislamiento Cubierta aljibe 6 Creación 3 Sustitución térmico Retrokit y demolición de puertas Isometric of the implementation Axonometría depara la vivienda modificada. Planta baja Forjado Antiguo cubierta de dos el acceso al nuevo estudio. aguas por cubierta plana aljibe sobre nuevo forjado.

Strategies dispositions Chimenea solar Cubierta aljibe

Análisis e intervención casa M Análisis e intervención casa Meco

PLICACIÓN DE ESTRATEGIAS Chimenea solar

Aislamiento térmico Retrokit

Strategies applications: roof garden

Cubierta aljibe

Strategies applications: thermal insulation Retrokit

n casa Meco.Análisis e intervención casa Meco. Análisis e intervención casa Meco. Emidio Alfonsi Beatriz Gocher Sergio Manzanares

Isometric esploded of the implementation

Axonometría de la vivienda modificada.

Planta baja

Prof. Antonio Baño

Emidio Alfonsi Beatriz Gocher Sergio Manzanares

Planta alta.

Axonometría explotada de la vivienda Prof. Antonio Baño modificada. Emidio Alfonsi Beatriz Gocher Sergio Manzanares Prof. Antonio Baño

Análisis e intervención casa Meco.

Emidio Alfonsi Beatriz Gocher Sergio Manzanares Prof. Antonio Baño

Planta alta. Planta baja

Seccion detail of insu-

lated wal n constructiva rehabilitación.

Seccion detail veranda

Sección constructiva rehabilitación.

Sección constructiva nueva obra.

Ground floor after implementations

Sección constructiva nueva obra.

First floor after implementations

38 inter Análisis e

Sección constructiva rehabilitación.

Sección construc

PHOTOVOLTAIC IMPLEMENTATION IN THE Tipologie di copertura

Legenda

- Tetto a due falde

21 marzo ore: 9-18

21 giugno ore: 9-18

21 settembre ore: 9-18

21 dicembre ore: 9-17

Strade esterne (5 - 7 m) Strade interne carrabili (4 - 10 m)

Legenda Tetto a due falde Tetto a falda singola Tetto a padiglione Tetto piano Tetto a tipologia misto Tetto crollato

Analysis of roofing

Analisi delle tipologie di copertura

Analysis of open spaces

Analisi degli spazi aperti

Numero di piani

- A 4 piani e più

Legenda a 1 piano a 2 piani

Analysis of shading

Analisi dell’ombreggiamento

Analysis of intevention compatibility

Legenda

21 marzo ore: 9-18

Visibilità copertura alta

Esposizione solare alta

Visibilità copertura media

Esposizione solare media

Visibilità copertura bassa

Esposizione solare bassa

Strade

Prof.: Pierluigi De Berardinis - Tutor:Ing. Phd. Student Luisa Capannolo - Studenti: Emidio Alfonsi 219763 - Matteo Di Berardino 219650

- A 3 piani

Università degli Studi dell’Aquila - Corso di laurea in Ingegneria Edile Architettura UE - Corso di Sistemi Edilizi Sostenibili

Prof.: Pierluigi De Berardinis - Tutor:Ing. Phd. Student Luisa Capannolo - Studenti: Emidio Alfonsi 219763 - Matteo Di Berardino 219650

- A 2 piani

Legenda

- A1 piano

Prof.: Pierluigi De Berardinis - Tutor:Ing. Phd. Student Luisa Capannolo - Studenti: Emidio Alfonsi 219763 - Matteo Di Berardino 219650

50 m

Università degli Studi dell’Aquila - Corso di laurea in Ingegneria Edile Architettura UE - Corso di Sistemi Edilizi Sostenibili

Restringimento

Prof.: Pierluigi De Berardinis - Tutor:Ing. Phd. Student Luisa Capannolo - Studenti: Emidio Alfonsi 219763 - Matteo Di Berardino 219650

Emergenza architettonica

Università degli Studiu dell’Aquila - Corso di laurea in Ingegneria Edile Architettura UE - Corso di Sistemi Edilizi Sostenibili

Incrocio

Prof.: Pierluigi De Berardinis - Tutor:Ing. Phd. Student Luisa Capannolo - Studenti: Emidio Alfonsi 219763 - Matteo Di Berardino 219650

- Tipologia mista

Largo

Università degli Studi dell’Aquila - Corso di laurea in Ingegneria Edile Architettura UE - Corso di Sistemi Edilizi Sostenibili

- Tetto piano

Piazza

Prof.: Pierluigi De Berardinis - Tutor:Ing. Phd. Student Luisa Capannolo - Studenti: Emidio Alfonsi 219763 - Matteo Di Berardino 219650

- Tetto a padiglione

Università degli Studiu dell’Aquila - Corso di laurea in Ingegneria Edile Architettura UE - Corso di Sistemi Edilizi Sostenibili

- Tetto a falda singola

Prof.: Pierluigi De Berardinis - Tutor:Ing. Phd. Student Luisa Capannolo - Studenti: Emidio Alfonsi 219763 - Matteo Di Berardino 219650

Università degli Studi dell’Aquila - Corso di laurea in Ingegneria Edile Architettura UE - Corso di Sistemi Edilizi Sostenibili

Strade interne pedonali (3 - 6 m)

a 3 piani 20

50 m

Analysis of height

Analysis of roofs visibility

Analisi della visibilità delle coperture

Analysis of summer bioclimatic conditions

Analisi delle condizioni bioclimatiche estive

Esposizione solare alta

Coppo moderno

Esposizione solare media

Tegole

Esposizione solare bassa

Altro

Strade

Prof.: Pierluigi De Berardinis - Tutor:Ing. Phd. Student Luisa Capannolo - Studenti: Emidio Alfonsi 219763 - Matteo Di Berardino 219650

Università degli Studi dell’Aquila - Corso di laurea in Ingegneria Edile Architettura UE - Corso di Sistemi Edilizi Sostenibili

Università degli Studiu dell’Aquila - Corso di laurea in Ingegneria Edile Architettura UE - Corso di Sistemi Edilizi Sostenibili

Condizioni di manutenzione mediocri

Coppo storicizzato

Prof.: Pierluigi De Berardinis - Tutor:Ing. Phd. Student Luisa Capannolo - Studenti: Emidio Alfonsi 219763 - Matteo Di Berardino 219650

Università degli Studiu dell’Aquila - Corso di laurea in Ingegneria Edile Architettura UE - Corso di Sistemi Edilizi Sostenibili

Legenda Condizioni di manutenzione buone

Analysis of shading of the block selected

Analisi dell’ombreggiamento dell’isolato

Identificazione aggregato di studio

Legenda

21 dicembre ore: 9-17

21 settembre ore: 9-18

In rosso è riportato isolato scelto, e sul quale si andrà ad operare. La scelta è avvenuta in seguito alle analisi che mostravano uno scarso soleggiamento ed una scarsa visibilità, quindi la possibilità di intervento in copertura.

a 4 piani o più

Analisi del numero di piani degli edifici

Prof.: Pierluigi De Berardinis - Tutor:Ing. Phd. Student Luisa Capannolo - Studenti: Emidio Alfonsi 219763 - Matteo Di Berardino 219650

Università degli Studi dell’Aquila - Corso di laurea in Ingegneria Edile Architettura UE - Corso di Sistemi Edilizi Sostenibili

21 giugno ore: 9-18

vista sud-ovest

Costruzione del modello semplificato su Design Builder

vista nord-ovest

Calcolo del consumo di energia elettrica dell’edificio

(valore non considerato ai fini del progetto)

50 m

Condizioni di manutenzione cattive

Analysis of maintenance

Analisi delle condizioni di manutenzione degli edifici

DATA

Analysis of roof covering typology

Analisi dell tipologie di manto di copertura

Analysis of winter bioclimatic conditions

Analisi delle condizioni bioclimatiche invernali

Consumo stimato: 37,24 kWh/mq annui Metri quadri di abitazione: 277 mq Fabbisogno energetico abitazione: 10316 kWh/anno

Analysis of block energy consumption

Aggregato di studio e analisi del fabbisogno energetico

DESCRIPTION YEAR OF

2018

PRODUCTION YEAR COURSE COURSE

iano. o identify the case study, we started with formal analyzes aimed at understanding the historical context. in particular, the condition of the roofs, the height of the buildings, the type of buildings, the type of coating, their solar exposure over the months, their visibility at

5th

street level and the type of purchase. Once the boundary conditions were defined, the case study was identified and then further speci-

Suistainable

fic analyzes were carried out for the photovoltaic implementation. I studied the relative energy consumption and the calculation of the

building system

PROFESSOR

In this project I focused on a possible photovoltaic implementation in the historic center of a small village in the province of L’Aquila, Ra-

annual requirement. Subsequently, the data relating to the solar potential and the producibility relative to the coverage under exami-

(ICAR/11)

nation was calculated with three different programs for three different types of photovoltaic cells: thin, monocrystalline and polycry-

Prof. Eng.

stalline film. once the type of technology was chosen and cheked the possibility of application in the historic center, was studied a

Pierluigi De Berardinis

distribution on the roof and finally the actual energy producibility. Having defined the latter, I was able to identify, with simple operations, the annual revenues and compare them with the costs to then finally define the actual annual revenues net of the amortization of the installation and maintenance costs.

COMPARAZIONE DELLE TECNOLOGIE: -MONOCRISTALLINO -POLICRISTALLINO -FILM SOTTILE

HISTORICAL CENTER OF RAIANO VILLAGE Calcolo della producibilità con PVsyst Dati di input del programma

Calcolo del potenziale solare e della producibilità con Revit

Comparison of solar cell technologies

CALCOLO DELLA PRODUCIBILITA’ ENERGETICA CON PVSYST

Produttivita dei pannelli monocristallini Prof.: Pierluigi De Berardinis - Tutor:Ing. Phd. Student Luisa Capannolo - Studenti: Emidio Alfonsi 219763 - Matteo Di Berardino 219650

Università degli Studi dell’Aquila - Corso di laurea in Ingegneria Edile Architettura UE - Corso di Sistemi Edilizi Sostenibili

Calcolo del potenziale solare e della producibilità con PVsites e fattori riduttivi

Produttivita dei pannelli policristallini

Dati: Sl= 133 mq superficie lorda H= 1996 kWh/mq radiazione solare stimata PR= 0,8 performance ratio n= 0.155 efficienza pannello monocristallino 0.15 efficienza pannello policristallino 0.09 efficienza pannello film sottile

Fattori riduttivi: INsup1= 0,9 superficie opaca utile/superficie lorda INsup2=0.95 impianti tecnologici copertura INsup3=0.88 elementi aggettanti copertura INrad=0,98 elementi aggettanti copertura IRpo=0,96 fattore riduttivo pendenza e orientamento falda

Radiazione solare incidente Produttivita dei pannelli thin film

Calcolo: Sreale=Sl*INsup1*INsup2*INsup3=133*0,9*0,95*0,88=100 mq superficie netta Hr= H*INrad*IRpo=1996*0,98*0,96=1877 kWh/mq annui E= PR*n*Sreale*Hr Em= 0,8*0,155*100*1887= 23285 kWh/anno producibilità monocristallino Ep= 0,8*0,15*100*1887= 22644 kWh/anno producibilità policristallino Ef= 0,8*0,09*100*1887= 13586 kWh/anno producibilità film sottile *La producibilità risultante soddisfa il fabbisogno richiesto 10300 kWh/anni

Producibilità impianto (efficienza n=16%)

Calculation of energy producibility of the solar panel choose

ANALISI COSTI-BENEFICI:

Producibilità impianto (efficienza n=18.2%) Producibilità impianto (efficienza n=20.4%)

*La producibilità risultante soddisfa il fabbisogno richiesto 10300 kWh/anni

Calculation of energy producibility

*I valori di produzione di energia da pannelli fotovoltaici, sopra riportati, non tengono conto della tecnologia del pannello, ma solo dell’efficienza dello stesso.

RICAVI

Analisi della producibilità e del potenziale solare

Solar panel detail

ANALISI COSTI-BENEFICI: COSTI STIMATI

Analysis cost-benefits: cost

Analysis cost-benefits: benefits

Isometric view of solar implementation

Details of solar implementation

Details of installation

Plan view of solar implementation

䐀䔀一吀䤀㨀䔀洀椀搀椀漀䄀氀昀漀渀椀猀椀㬀倀愀甀氀愀䄀稀渀愀爀䜀漀洀攀稀㬀䴀愀琀琀攀漀䐀椀䈀攀爀愀爀搀椀渀漀㬀䜀爀攀最漀爀椀漀䐀椀䴀甀稀椀漀㬀䨀甀愀渀䌀愀爀氀漀猀一愀栀愀爀爀漀䴀攀最椀愀猀㬀一愀琀愀氀椀愀伀洀戀甀攀渀愀䌀愀戀愀渀攀猀䔀洀椀搀椀漀䄀氀昀漀渀椀猀椀㬀倀愀甀氀愀䄀稀渀愀爀䜀漀洀攀稀㬀䴀愀琀琀攀漀䐀椀䈀攀爀愀爀搀椀渀漀㬀䜀爀攀最漀爀椀漀䐀椀䴀甀稀椀漀㬀䨀甀愀渀䌀愀爀氀漀猀一愀栀愀爀爀漀䴀攀最椀愀猀㬀一愀琀愀氀椀愀伀洀戀甀攀渀愀䌀愀戀愀渀攀猀匀吀唀䐀䔀一吀䤀㨀䔀洀椀搀椀漀䄀氀昀漀渀椀猀椀㬀倀愀甀氀愀䄀稀渀愀爀䜀漀洀攀稀㬀䴀愀琀琀攀漀䐀椀䈀攀爀愀爀搀椀渀漀㬀䜀爀攀最漀爀椀漀䐀椀䴀甀稀椀漀㬀䨀甀愀渀䌀愀爀氀漀猀一愀栀愀爀爀漀䴀攀最椀愀猀㬀一愀琀愀氀椀愀伀洀戀甀攀渀愀䌀愀戀愀渀攀猀唀䐀䔀一吀䤀㨀吀伀刀㨀䤀渀最⸀ 倀栀⸀䐀⸀ 匀琀甀搀攀渀琀䰀甀椀猀愀䌀愀瀀愀渀渀漀氀漀吀唀吀伀刀㨀䤀渀最⸀ 倀栀⸀䐀⸀ 匀琀甀搀攀渀琀䰀甀椀猀愀䌀愀瀀愀渀渀漀氀漀䔀洀椀搀椀漀䄀氀昀漀渀椀猀椀㬀倀愀甀氀愀䄀稀渀愀爀䜀漀洀攀稀㬀䴀愀琀琀攀漀匀吀唀䐀䔀一吀䤀㨀䔀洀椀搀椀漀䄀氀昀漀渀椀猀椀㬀倀愀甀氀愀䄀稀渀愀爀䜀漀洀攀稀㬀䴀愀琀琀攀漀䐀椀䈀攀爀愀爀搀椀渀漀㬀匀吀唀䐀䔀一吀䤀㨀䔀洀椀搀椀漀䄀氀昀漀渀椀猀椀㬀倀愀甀氀愀䄀稀渀愀爀䜀漀洀攀稀㬀䴀愀琀琀攀漀䐀椀䈀攀爀愀匀吀唀䐀䔀一吀䤀㨀吀伀刀㨀䤀渀最⸀ 倀栀⸀䐀⸀ 匀琀甀搀攀渀琀䰀甀椀猀愀䌀愀瀀愀渀渀漀氀漀倀爀漀昀⸀ 倀椀攀爀氀甀椀最椀䐀攀䈀攀爀愀爀搀椀渀椀猀㬀倀爀漀昀⸀ 䰀甀椀猀倀愀氀洀攀爀漀䤀最氀攀猀椀愀猀䌀䔀一吀䤀㨀倀爀漀昀⸀ 倀椀攀爀氀甀椀最椀䐀攀䈀攀爀愀爀搀椀渀椀猀㬀倀爀漀昀⸀ 䰀甀椀猀倀愀氀洀攀爀漀䤀最氀攀猀椀愀猀䐀伀䌀䔀一吀䤀㨀吀唀吀伀刀㨀䤀渀最⸀ 倀栀⸀䐀⸀ 匀琀甀搀攀渀琀䰀甀椀猀愀䌀愀瀀愀渀渀漀氀漀吀唀吀伀刀㨀䤀渀最⸀ 倀栀⸀䐀⸀ 匀琀甀搀攀渀琀䰀甀椀猀愀䌀愀瀀愀渀渀漀氀漀吀唀吀伀刀㨀䤀渀最⸀ 倀栀⸀䐀⸀ 匀琀甀搀攀渀琀䰀甀椀猀愀䌀愀瀀愀渀渀漀氀漀䌀䔀一吀䤀㨀倀爀漀昀⸀ 倀椀攀爀氀甀椀最椀䐀攀䈀攀爀愀爀搀椀渀椀猀㬀倀爀漀昀⸀ 䰀甀椀猀倀愀氀洀攀爀漀䤀最氀攀猀椀愀猀倀爀漀昀⸀ 倀椀攀爀氀甀椀最椀䐀攀䈀攀爀愀爀搀椀渀椀猀㬀倀爀漀昀⸀ 䰀甀椀猀倀愀氀洀䐀伀䌀䔀一吀䤀㨀倀爀漀昀⸀ 倀椀攀爀氀甀椀最椀䐀攀䈀攀爀愀爀搀椀渀椀猀㬀倀爀漀昀⸀ 䰀甀椀猀倀愀氀洀攀爀漀䤀最氀攀猀椀愀猀䐀伀䌀䔀一吀䤀㨀倀爀漀昀⸀ 倀椀攀爀氀甀椀最椀䐀攀䈀攀爀愀爀搀椀渀椀猀㬀倀爀漀昀⸀ 䰀甀椀猀倀愀氀洀攀爀漀䤀最氀攀猀椀䐀伀䌀䔀一吀䤀㨀

䰀䔀䠀䔀

䄀倀䔀刀吀䤀䌀䠀䔀刀䄀䌀䌀䤀唀䐀伀一伀匀䤀䄀䰀伀匀倀䄀娀䤀伀䤀一吀䔀刀一伀䐀䤀䄀䌀䌀伀䜀䰀䤀䔀一娀䄀䌀䠀䔀䌀䤀吀吀쀀 䐀䔀䰀ᤠ䄀儀唀䤀䰀䄀䌀䤀吀吀쀀 䐀䔀䰀ᤠ䄀儀唀䤀䰀䄀䄀刀刀䔀䐀䤀Ⰰ 䄀一䌀䠀ᤠ䔀匀匀䤀䴀伀䐀唀䰀䄀刀䤀䔀䌀伀䴀倀伀匀吀䤀䐀䄀倀䄀䰀䰀䔀吀匀Ⰰ 吀唀䈀䤀䔀䜀䤀唀一吀䤀Ⰰ 匀伀一伀吀唀䈀䤀䔀䜀䤀唀一吀䤀吀唀䈀䤀䔀䜀䤀唀一吀䤀儀唀䔀䰀䰀伀䔀匀吀䔀刀一伀䐀䤀刀䔀䰀䄀娀䤀伀一䔀⸀ 䰀ᠠ䤀一吀䔀一吀伀䔀ᤠ 儀唀䔀䰀䰀伀䐀䤀䌀刀䔀䄀䔀唀一伀匀倀䄀娀䤀伀匀吀䄀吀䤀䌀伀一䌀䔀倀䤀吀䤀䌀伀䴀䔀倀䄀刀吀䔀䤀一吀䔀䜀刀䄀一吀䔀䐀䔀䰀䴀伀䐀唀䰀伀䈀䄀匀䔀⸀ 䘀䰀䔀匀匀䤀䈀䤀䰀䔀䌀䄀刀䄀吀吀䔀刀䤀娀娀䄀吀伀䐀䄀唀一䄀䌀伀一吀䤀一唀䤀吀䄀ᤠ 匀倀䄀娀䤀䄀䰀刀䔀䌀伀䴀䔀䴀䔀吀䄀䘀伀ⴀ ⴀ 䌀伀一䌀䔀倀吀刀䄀䐀䔀䰀䰀䄀䌀伀一吀䤀一唀䤀吀䄀ᤠ 䐀䔀䰀䘀䰀唀匀匀伀䐀䤀䤀一䘀伀刀䴀䄀娀䤀伀一䤀䌀䠀䔀䰀ᤠ䤀一䘀伀倀伀䤀一吀䄀ⴀ䄀 ⴀ 䴀䄀吀䔀刀䤀䄀䰀䤀䄀䐀䤀匀倀伀匀䤀娀䤀伀一䔀嘀唀伀䰀䔀䘀伀刀一䤀刀䔀⸀ 倀䔀刀刀䔀一䐀䔀刀䔀䤀䰀匀䤀匀吀䔀刀䴀䄀䌀伀䴀倀䰀䔀吀伀䔀䘀唀一娀䤀伀一䄀䰀䔀Ⰰ 䜀䰀䤀 ⴀ 倀䤀䄀一吀䄀䔀匀䌀䠀䔀䴀䤀䐀䤀匀吀刀䤀䈀唀吀䤀嘀䤀匀伀一伀吀唀吀吀䤀䴀䄀吀䔀刀䤀䄀䰀䤀䄀䴀倀䤀䄀䴀䔀一吀䔀䄀刀刀䔀䐀䤀Ⰰ 䄀一䌀䠀ᤠ䔀匀匀䤀䴀伀䐀唀䰀䄀刀䤀䔀䌀伀䴀倀伀匀吀䤀䐀䄀倀䄀䰀䰀䔀吀匀Ⰰ 吀唀䈀䤀䔀䜀䤀唀一吀䤀Ⰰ 匀伀一伀 ⴀ 䘀䤀䰀伀匀伀䘀䤀䄀䐀䤀倀刀伀䜀䔀吀吀伀 ⴀ 䌀伀一䌀䔀倀吀䄀ⴀ䄀 ⴀ 䘀䤀䰀伀匀伀䘀䤀䄀䐀䤀倀刀伀䜀䔀吀吀伀 ⴀ 倀䤀䄀一吀䄀䔀匀䌀䠀䔀䴀䤀䐀䤀匀吀刀䤀䈀唀吀䤀嘀䤀䐀䤀匀倀伀一䤀䈀䤀䰀䤀Ⰰ 䄀䌀䄀唀匀䄀䐀䔀䰀䰀䄀嘀伀刀伀䐀䤀䤀䰀倀刀伀䜀䔀吀吀伀䐀䤀唀一䤀一䘀伀倀伀䤀一吀一䄀匀䌀䔀䐀䄀䰀䰀ᤠ䤀䐀䔀䄀䐀䤀唀一䔀䰀䔀䴀䔀一吀伀匀䌀䄀吀伀䰀䄀ⴀ 匀吀䄀吀䤀䌀伀一䌀䔀倀䤀吀䤀䌀伀䴀䔀倀䄀刀吀䔀䤀一吀䔀䜀刀䄀一吀䔀䐀䔀䰀䴀伀䐀唀䰀伀䈀䄀匀䔀⸀ ⴀ 䘀䤀䰀伀匀伀䘀䤀䄀䐀䤀倀刀伀䜀䔀吀吀伀 ⴀ 倀䤀䄀一吀䄀䔀匀䌀䠀䔀䴀䤀䐀䤀匀吀刀䤀䈀唀吀䤀嘀䤀刀䤀䌀伀匀吀刀唀娀䤀伀一䔀䔀䐀䔀䰀䰀䄀䜀刀䄀一䐀䔀匀䔀䜀唀䔀一䐀伀䤀䐀䔀吀吀䄀䴀䤀䐀䔀䰀䰀ᤠ䤀䐀䔀䄀䌀伀䴀倀伀匀䤀吀䤀嘀䄀Ⰰ 匀䤀匀伀一伀䐀䤀匀吀刀䤀䈀唀䤀吀䤀䜀䰀䤀匀倀䄀娀䤀刀䔀䌀䠀䔀匀䤀䄀倀刀䔀Ⰰ 䤀一䌀唀䤀䤀䰀䌀伀一䌀䔀倀吀䐀䤀匀䌀䄀吀伀䰀䄀䌀䠀䤀唀匀䄀䌀伀䴀䔀䌀伀一吀䔀一䤀吀伀刀䔀䤀䰀倀刀伀䜀䔀吀吀伀䐀䤀唀一䤀一䘀伀倀伀䤀一吀一䄀匀䌀䔀䐀䄀䰀䰀ᤠ䤀䐀䔀䄀䐀䤀唀一䔀䰀䔀䴀䔀一吀伀匀䌀䄀吀伀䰀䄀ⴀ 吀䄀嘀伀䰀䄀䴀䔀吀䄀嘀伀䰀䄀䴀䔀 ⴀ 䌀伀一䌀䔀倀吀倀䄀䰀䰀䔀吀倀䄀䰀䰀䔀吀䤀䰀倀刀伀䜀䔀吀吀伀䐀䤀唀一䤀一䘀伀倀伀䤀一吀一䄀匀䌀䔀䐀䄀䰀䰀ᤠ䤀䐀䔀䄀䐀䤀唀一䔀䰀䔀䴀䔀一吀伀匀䌀䄀吀伀䰀䄀ⴀ ⴀ 䴀䄀吀䔀刀䤀䄀䰀䤀䄀䐀䤀匀倀伀匀䤀娀䤀伀一䔀儀唀䄀一吀䤀吀쀀 䐀䤀䌀䄀一吀䤀䔀刀䤀Ⰰ 倀刀䔀匀䔀一吀䤀一䔀䰀䰀䄀一䔀䰀䰀䄀匀䔀䜀唀䔀一吀䔀䴀䄀一䤀䔀刀䄀䐀䤀䤀一䘀伀刀䴀䄀娀䤀伀一䤀䔀䄀吀吀䤀嘀䤀吀䄀ᤠⰀ 匀䤀䔀嘀伀䰀嘀䔀䤀一唀一匀䤀匀吀䔀䴀䄀䐀䤀䤀一嘀伀䰀唀䌀刀䤀匀䔀䜀唀䔀一䐀伀䤀䐀䔀吀吀䄀䴀䤀䐀䔀䰀䰀ᤠ䤀䐀䔀䄀䌀伀䴀倀伀匀䤀吀䤀嘀䄀Ⰰ 匀䤀匀伀一伀䐀䤀匀吀刀䤀䈀唀䤀吀䤀䜀䰀䤀匀倀䄀娀䤀刀䔀䌀䠀䔀匀䤀䄀倀刀䔀Ⰰ 䤀一䌀唀䤀䤀䰀䌀伀一䌀䔀倀吀䐀䤀匀䌀䄀吀伀䰀䄀䌀䠀䤀唀匀䄀䌀伀䴀䔀䌀伀一吀䔀一䤀吀伀刀䔀匀䔀䜀唀䔀一䐀伀䤀䐀䔀吀吀䄀䴀䤀䐀䔀䰀䰀ᤠ䤀䐀䔀䄀䌀伀䴀倀伀匀䤀吀䤀嘀䄀Ⰰ 匀䤀匀伀一伀䐀䤀匀吀刀䤀䈀唀䤀吀䤀䜀䰀䤀匀倀䄀娀䤀刀䔀䌀䠀䔀匀䤀䄀倀刀䔀Ⰰ 䤀一䌀唀䤀䤀䰀䌀伀一䌀䔀倀吀䐀䤀匀䌀䄀吀伀䰀䄀䌀䠀䤀唀匀䄀䌀伀䴀䔀䌀伀一吀䔀一䤀吀伀刀䔀䌀䤀吀吀쀀 䐀䔀䰀ᤠ䄀儀唀䤀䰀䄀䄀倀䔀刀吀䤀䌀䠀䔀刀䄀䌀䌀䤀唀䐀伀一伀匀䤀䄀䰀伀匀倀䄀娀䤀伀䤀一吀䔀刀一伀䐀䤀䄀䌀䌀伀䜀䰀䤀䔀一娀䄀䌀䠀䔀匀伀一伀吀唀吀吀䤀䴀䄀吀䔀刀䤀䄀䰀䤀䄀䴀倀䤀䄀䴀䔀一吀䔀 ⴀ 匀䌀䔀䰀吀䔀倀刀伀䜀䔀吀吀唀䄀䰀䤀䔀䐀䤀䄀䜀刀䄀䴀䴀䄀一䔀䰀䰀䄀匀䔀䜀唀䔀一吀䔀䴀䄀一䤀䔀刀䄀䐀䤀䤀一䘀伀刀䴀䄀娀䤀伀一䤀䔀䄀吀吀䤀嘀䤀吀䄀ᤠⰀ 匀䤀䔀嘀伀䰀嘀䔀䤀一唀一匀䤀匀吀䔀䴀䄀䐀䤀䤀一嘀伀䰀唀䌀刀䤀 ⴀ 匀䌀䔀䰀吀䔀倀刀伀䜀䔀吀吀唀䄀䰀䤀䔀䐀䤀䄀䜀刀䄀䴀䴀䄀一䔀䰀䰀䄀匀䔀䜀唀䔀一吀䔀䴀䄀一䤀䔀刀䄀䐀䤀䤀一䘀伀刀䴀䄀娀䤀伀一䤀䔀䄀吀吀䤀嘀䤀吀䄀ᤠⰀ 匀䤀䔀嘀伀䰀嘀䔀䤀一唀一匀䤀匀吀䔀䴀䄀䐀䤀䤀一嘀伀䰀唀䌀刀䤀刀䔀䰀䄀娀䤀伀一䔀䤀一吀䔀刀一伀ⴀ䔀匀吀䔀刀一伀䐀䤀嘀䤀匀䤀伀一䔀䐀䔀䜀䰀䤀匀倀䄀娀䤀䘀唀一娀䤀伀一䄀䰀䤀吀唀䈀䤀䔀䜀䤀唀一吀䤀儀唀䔀䰀䰀伀䔀匀吀䔀刀一伀䐀䤀刀䔀䰀䄀娀䤀伀一䔀⸀ 䰀ᠠ䤀一吀䔀一吀伀䔀ᤠ 儀唀䔀䰀䰀伀䐀䤀䌀刀䔀䄀䔀唀一伀匀倀䄀娀䤀伀䐀䤀匀倀伀一䤀䈀䤀䰀䤀Ⰰ 䄀䌀䄀唀匀䄀䐀䔀䰀䰀䄀嘀伀刀伀䐀䤀䄀倀䔀刀吀䤀䌀䠀䔀刀䄀䌀䌀䤀唀䐀伀一伀匀䤀䄀䰀伀匀倀䄀娀䤀伀䤀一吀䔀刀一伀䐀䤀䄀䌀䌀伀䜀䰀䤀䔀一娀䄀䌀䠀䔀䄀倀䔀刀吀䤀䌀䠀䔀刀䄀䌀䌀䤀唀䐀伀一伀匀䤀䄀䰀伀匀倀䄀娀䤀伀䤀一吀䔀刀一伀䐀䤀䄀䌀䌀伀䜀䰀䤀䔀一娀䄀䌀䠀䔀䐀䔀䰀䘀刀伀一吀伀䘀䘀䤀䌀䔀䐀䤀匀吀刀䤀䈀唀吀䤀嘀伀ⴀ䘀唀一娀䤀伀一䄀䰀䔀䐀䤀匀吀刀䤀䈀唀吀䤀嘀伀ⴀ䘀唀一娀䤀伀一䄀䰀䔀䘀䰀䔀匀匀䤀䈀䤀䰀䔀䌀䄀刀䄀吀吀䔀刀䤀娀娀䄀吀伀䐀䄀唀一䄀䌀伀一吀䤀一唀䤀吀䄀ᤠ 匀倀䄀娀䤀䄀䰀刀䔀䌀伀䴀䔀䴀䔀吀䄀䘀伀ⴀ 刀䤀䌀伀匀吀刀唀娀䤀伀一䔀䔀䐀䔀䰀䰀䄀䜀刀䄀一䐀䔀儀唀䔀䰀䰀伀䔀匀吀䔀刀一伀䐀䤀刀䔀䰀䄀娀䤀伀一䔀⸀ 䰀ᠠ䤀一吀䔀一吀伀䔀ᤠ 儀唀䔀䰀䰀伀䐀䤀䌀刀䔀䄀䔀唀一伀匀倀䄀娀䤀伀儀唀䔀䰀䰀伀䔀匀吀䔀刀一伀䐀䤀刀䔀䰀䄀娀䤀伀一䔀⸀ 䰀ᠠ䤀一吀䔀一吀伀䔀ᤠ 儀唀䔀䰀䰀伀䐀䤀䌀刀䔀䄀䔀唀一伀匀倀䄀娀䤀伀刀䄀䐀䔀䰀䰀䄀䌀伀一吀䤀一唀䤀吀䄀ᤠ 䐀䔀䰀䘀䰀唀匀匀伀䐀䤀䤀一䘀伀刀䴀䄀娀䤀伀一䤀䌀䠀䔀䰀ᤠ䤀一䘀伀倀伀䤀一吀儀唀䄀一吀䤀吀쀀 䐀䤀䌀䄀一吀䤀䔀刀䤀Ⰰ 倀刀䔀匀䔀一吀䤀一䔀䰀䰀䄀䘀䰀䔀匀匀䤀䈀䤀䰀䔀䌀䄀刀䄀吀吀䔀刀䤀娀娀䄀吀伀䐀䄀唀一䄀䌀伀一吀䤀一唀䤀吀䄀ᤠ 匀倀䄀娀䤀䄀䰀刀䔀䌀伀䴀䔀䴀䔀吀䄀䘀伀ⴀ 刀䔀儀唀䤀匀䤀吀䤀㨀刀䔀儀唀䤀匀䤀吀䤀㨀䘀䰀䔀匀匀䤀䈀䤀䰀䔀䌀䄀刀䄀吀吀䔀刀䤀娀娀䄀吀伀䐀䄀唀一䄀䌀伀一吀䤀一唀䤀吀䄀ᤠ 匀倀䄀娀䤀䄀䰀刀䔀䌀伀䴀䔀䴀䔀吀䄀䘀伀ⴀ 刀䔀䰀䄀娀䤀伀一䔀䤀一吀䔀刀一伀ⴀ䔀匀吀䔀刀一伀䐀䤀嘀䤀匀䤀伀一䔀䐀䔀䜀䰀䤀匀倀䄀娀䤀䘀唀一娀䤀伀一䄀䰀䤀嘀唀伀䰀䔀䘀伀刀一䤀刀䔀⸀ 倀䔀刀刀䔀一䐀䔀刀䔀䤀䰀匀䤀匀吀䔀刀䴀䄀䌀伀䴀倀䰀䔀吀伀䔀䘀唀一娀䤀伀一䄀䰀䔀Ⰰ 䜀䰀䤀䌀䤀吀吀쀀 䐀䔀䰀ᤠ䄀儀唀䤀䰀䄀刀䄀䐀䔀䰀䰀䄀䌀伀一吀䤀一唀䤀吀䄀ᤠ 䐀䔀䰀䘀䰀唀匀匀伀䐀䤀䤀一䘀伀刀䴀䄀娀䤀伀一䤀䌀䠀䔀䰀ᤠ䤀一䘀伀倀伀䤀一吀 ⴀ 倀刀伀匀倀䔀吀吀䤀䔀䌀䄀刀倀䔀一吀䔀刀䤀䔀 ⴀ 倀刀伀匀倀䔀吀吀䤀䔀䌀䄀刀倀䔀一吀䔀刀䤀䔀 ⴀ 䴀伀䐀唀䰀䄀刀䤀吀䄀ᤠ 㬀 ⴀ 䘀䰀䔀匀匀䤀䈀䤀䰀䤀吀䄀ᤠ㬀 ⴀ 刀䔀嘀䔀刀匀䤀䈀䤀䰀䤀吀䄀ᤠ 䐀䔀䰀䘀䰀唀匀匀伀䐀䤀䤀一䘀伀刀䴀䄀娀䤀伀一䤀䌀䠀䔀䰀ᤠ䤀一䘀伀倀伀䤀一吀 ⴀ 䴀伀䐀唀䰀䄀刀䤀吀䄀ᤠ 㬀 ⴀ 䘀䰀䔀匀匀䤀䈀䤀䰀䤀吀䄀ᤠ㬀 ⴀ 刀䔀嘀䔀刀匀䤀䈀䤀䰀䤀吀䄀ᤠ 刀䄀䐀䔀䰀䰀䄀䌀伀一吀䤀一唀䤀吀䄀ᤠ 吀唀䈀䤀䔀䜀䤀唀一吀䤀䄀刀刀䔀䐀䤀Ⰰ 䐀䔀䰀䘀刀伀一吀伀䘀䘀䤀䌀䔀䄀一䌀䠀ᤠ䔀匀匀䤀䴀伀䐀唀䰀䄀刀䤀䔀䌀伀䴀倀伀匀吀䤀䐀䄀倀䄀䰀䰀䔀吀匀Ⰰ 吀唀䈀䤀䔀䜀䤀唀一吀䤀Ⰰ 匀伀一伀嘀唀伀䰀䔀䘀伀刀一䤀刀䔀⸀ 倀䔀刀刀䔀一䐀䔀刀䔀䤀䰀匀䤀匀吀䔀刀䴀䄀䌀伀䴀倀䰀䔀吀伀䔀䘀唀一娀䤀伀一䄀䰀䔀Ⰰ 䜀䰀䤀䌀ⴀ䌀䌀ⴀ䌀嘀唀伀䰀䔀䘀伀刀一䤀刀䔀⸀ 倀䔀刀刀䔀一䐀䔀刀䔀䤀䰀匀䤀匀吀䔀刀䴀䄀䌀伀䴀倀䰀䔀吀伀䔀䘀唀一娀䤀伀一䄀䰀䔀Ⰰ 䜀䰀䤀匀吀䄀吀䤀䌀伀一䌀䔀倀䤀吀䤀䌀伀䴀䔀倀䄀刀吀䔀䤀一吀䔀䜀刀䄀一吀䔀䐀䔀䰀䴀伀䐀唀䰀伀䈀䄀匀䔀⸀ 䄀刀刀䔀䐀䤀Ⰰ 䄀一䌀䠀ᤠ䔀匀匀䤀䴀伀䐀唀䰀䄀刀䤀䔀䌀伀䴀倀伀匀吀䤀䐀䄀倀䄀䰀䰀䔀吀匀Ⰰ 吀唀䈀䤀䔀䜀䤀唀一吀䤀Ⰰ 匀伀一伀刀䔀䰀䄀娀䤀伀一䔀䤀一吀䔀刀一伀ⴀ䔀匀吀䔀刀一伀䐀䤀嘀䤀匀䤀伀一䔀䐀䔀䜀䰀䤀匀倀䄀娀䤀䘀唀一娀䤀伀一䄀䰀䤀䄀刀刀䔀䐀䤀Ⰰ 䄀一䌀䠀ᤠ䔀匀匀䤀䴀伀䐀唀䰀䄀刀䤀䔀䌀伀䴀倀伀匀吀䤀䐀䄀倀䄀䰀䰀䔀吀匀Ⰰ 吀唀䈀䤀䔀䜀䤀唀一吀䤀Ⰰ 匀伀一伀吀䄀嘀伀䰀䄀䴀䔀䐀䔀䰀䘀刀伀一吀伀䘀䘀䤀䌀䔀倀䄀䰀䰀䔀吀匀吀䄀吀䤀䌀伀一䌀䔀倀䤀吀䤀䌀伀䴀䔀倀䄀刀吀䔀䤀一吀䔀䜀刀䄀一吀䔀䐀䔀䰀䴀伀䐀唀䰀伀䈀䄀匀䔀⸀ 匀吀䄀吀䤀䌀伀一䌀䔀倀䤀吀䤀䌀伀䴀䔀倀䄀刀吀䔀䤀一吀䔀䜀刀䄀一吀䔀䐀䔀䰀䴀伀䐀唀䰀伀䈀䄀匀䔀⸀ ⴀ 䴀䄀吀䔀刀䤀䄀䰀䤀䄀䐀䤀匀倀伀匀䤀娀䤀伀一䔀

匀吀唀䐀䔀一吀䤀㨀䔀洀椀搀椀漀䄀氀昀漀渀椀猀椀㬀倀愀甀氀愀䄀稀渀愀爀䜀漀洀攀稀㬀䴀愀琀琀攀漀䐀椀䈀攀爀愀爀搀椀渀漀㬀䜀爀攀最漀爀椀漀䐀椀䴀甀稀椀漀㬀䨀甀愀渀䌀愀爀氀漀猀一愀栀愀爀爀漀䴀攀最椀愀猀㬀吀唀吀伀刀㨀䤀渀最⸀ 倀栀⸀䐀⸀ 匀琀甀搀攀渀琀䰀甀椀猀愀䌀愀瀀愀渀渀漀氀漀䐀伀䌀䔀一吀䤀㨀倀爀漀昀⸀ 倀椀攀爀氀甀椀最椀䐀攀䈀攀爀愀爀搀椀渀椀猀㬀倀爀漀昀⸀ 䰀甀椀猀倀愀氀洀攀爀漀䤀最氀攀猀椀愀猀

䐀伀䌀䔀一吀䤀㨀倀爀漀昀⸀ 倀椀攀爀氀甀椀最椀䐀攀䈀攀爀愀爀搀椀渀椀猀㬀倀爀漀昀⸀ 䰀甀椀猀倀愀氀洀攀爀漀䤀最氀攀猀椀愀猀吀唀吀伀刀㨀䤀渀最⸀ 倀栀⸀䐀⸀ 匀琀甀搀攀渀琀䰀甀椀猀愀䌀愀瀀愀渀渀漀氀漀吀唀吀伀刀㨀䤀渀最⸀ 倀栀⸀䐀⸀ 匀琀甀搀攀渀琀䰀甀椀猀愀䌀愀瀀愀渀渀漀氀漀倀爀漀昀⸀ 倀椀攀爀氀甀椀最椀䐀攀䈀攀爀愀爀搀椀渀椀猀㬀倀爀漀昀⸀ 䰀甀椀猀倀愀氀洀攀爀漀䤀最氀攀猀椀愀猀倀爀漀昀⸀ 倀椀攀爀氀甀椀最椀䐀攀䈀攀爀愀爀搀椀渀椀猀㬀倀爀漀昀⸀ 䰀甀椀猀倀愀氀洀攀爀漀䤀最氀攀猀椀愀猀䐀伀䌀䔀一吀䤀㨀䐀伀䌀䔀一吀䤀㨀

䔀吀䄀䘀伀ⴀ 吀䜀䰀䤀䤀Ⰰ 匀伀一伀

ⴀ 嘀䤀匀吀䔀 ⴀ 嘀䤀匀吀 ⴀ 嘀䤀匀吀䔀

THE “C” POINT

ⴀ 匀䌀䔀䰀吀䔀倀刀伀䜀䔀吀吀唀䄀䰀䤀䔀䐀䤀䄀䜀刀䄀䴀䴀䄀䐀䤀匀吀刀䤀䈀唀吀䤀嘀伀ⴀ䘀唀一娀䤀伀一䄀䰀䔀吀䄀嘀伀䰀䄀䴀䔀

刀䔀儀唀䤀匀䤀吀䤀㨀used Material

倀䄀䰀䰀䔀吀

ⴀ 䴀伀䐀唀䰀䄀刀䤀吀䄀ᤠ 㬀 ⴀ 䘀䰀䔀匀匀䤀䈀䤀䰀䤀吀䄀ᤠ㬀 ⴀ 刀䔀嘀䔀刀匀䤀䈀䤀䰀䤀吀䄀ᤠ ⴀ 匀䌀䔀䰀吀䔀倀刀伀䜀䔀吀吀唀䄀䰀䤀䔀䐀䤀䄀䜀刀䄀䴀䴀䄀䐀䤀匀吀刀䤀䈀唀吀䤀嘀伀ⴀ䘀唀一娀䤀伀一䄀䰀䔀 ⴀ 倀刀伀匀倀䔀吀吀䤀䔀䌀䄀刀倀䔀一吀䔀刀䤀䔀䌀ⴀ䌀刀䔀儀唀䤀匀䤀吀䤀㨀 ⴀ 䌀伀一䌀䔀倀吀 ⴀ 䌀伀一䌀䔀倀吀 ⴀ 䴀伀䐀唀䰀䄀刀䤀吀䄀ᤠ 㬀 ⴀ 䘀䰀䔀匀匀䤀䈀䤀䰀䤀吀䄀ᤠ㬀 ⴀ 刀䔀嘀䔀刀匀䤀䈀䤀䰀䤀吀䄀ᤠ

刀䔀䰀䄀娀䤀伀一䔀䤀一吀䔀刀一伀ⴀ䔀匀吀䔀刀一伀刀䔀䰀䄀娀䤀伀一䔀䤀一吀䔀刀一伀ⴀ䔀匀吀䔀刀一伀䐀䤀嘀䤀匀䤀伀一䔀䐀䔀䜀䰀䤀匀倀䄀娀䤀䘀唀一娀䤀伀一䄀䰀䤀 Peculiarity design: Modularity; Flexibility; Reversibility 䐀䔀䰀䘀刀伀一吀伀䘀䘀䤀䌀䔀䐀䔀䰀䘀刀伀一吀伀䘀䘀䤀䌀䔀 ⴀ 䌀伀一䌀䔀倀吀

䄀ⴀ䄀

ⴀ 䌀伀一䌀䔀倀吀

刀䔀䰀䄀娀䤀伀一䔀䤀一吀䔀刀一伀ⴀ䔀匀吀䔀刀一伀䐀䔀䰀䘀刀伀一吀伀䘀䘀䤀䌀䔀

䐀䤀嘀䤀匀䤀伀一䔀䐀䔀䜀䰀䤀匀倀䄀娀䤀䘀唀一娀䤀伀一䄀䰀䤀

刀䔀䰀䄀娀䤀伀一䔀䤀一吀䔀刀一伀ⴀ䔀匀吀䔀刀一伀 Elevation A-A

䐀䤀嘀䤀匀䤀伀一䔀䐀䔀䜀䰀䤀匀倀䄀娀䤀䘀唀一娀䤀伀一䄀䰀䤀

ⴀ 䴀䄀吀䔀刀䤀䄀䰀䤀䄀䐀䤀匀倀伀匀䤀娀䤀伀一䔀匀伀一伀吀唀吀吀䤀䴀䄀吀䔀刀䤀䄀䰀䤀䄀䴀倀䤀䄀䴀䔀一吀䔀 ⴀ 䴀䄀吀䔀刀䤀䄀䰀䤀䄀䐀䤀匀倀伀匀䤀娀䤀伀一䔀

Distributive and functional schemes

䐀䤀匀倀伀一䤀䈀䤀䰀䤀Ⰰ 䄀䌀䄀唀匀䄀䐀䔀䰀䰀䄀嘀伀刀伀䐀䤀匀伀一伀吀唀吀吀䤀䴀䄀吀䔀刀䤀䄀䰀䤀䄀䴀倀䤀䄀䴀䔀一吀䔀匀伀一伀吀唀吀吀䤀䴀䄀吀䔀刀䤀䄀䰀䤀䄀䴀倀䤀䄀䴀䔀一吀䔀刀䤀䌀伀匀吀刀唀娀䤀伀一䔀䔀䐀䔀䰀䰀䄀䜀刀䄀一䐀䔀䐀䤀匀倀伀一䤀䈀䤀䰀䤀Ⰰ 䄀䌀䄀唀匀䄀䐀䔀䰀䰀䄀嘀伀刀伀䐀䤀䐀䤀匀倀伀一䤀䈀䤀䰀䤀Ⰰ 䄀䌀䄀唀匀䄀䐀䔀䰀䰀䄀嘀伀刀伀䐀䤀儀唀䄀一吀䤀吀쀀 䐀䤀䌀䄀一吀䤀䔀刀䤀Ⰰ 倀刀䔀匀䔀一吀䤀一䔀䰀䰀䄀刀䤀䌀伀匀吀刀唀娀䤀伀一䔀䔀䐀䔀䰀䰀䄀䜀刀䄀一䐀䔀刀䤀䌀伀匀吀刀唀娀䤀伀一䔀䔀䐀䔀䰀䰀䄀䜀刀䄀一䐀䔀 ⴀ 倀刀伀匀倀䔀吀吀䤀䔀䌀䄀刀倀䔀一吀䔀刀䤀䔀䌀䤀吀吀쀀 䐀䔀䰀ᤠ䄀儀唀䤀䰀䄀儀唀䄀一吀䤀吀쀀 䐀䤀䌀䄀一吀䤀䔀刀䤀Ⰰ 倀刀䔀匀䔀一吀䤀一䔀䰀䰀䄀儀唀䄀一吀䤀吀쀀 䐀䤀䌀䄀一吀䤀䔀刀䤀Ⰰ 倀刀䔀匀䔀一吀䤀一䔀䰀䰀䄀吀唀䈀䤀䔀䜀䤀唀一吀䤀䌀ⴀ䌀䌀䤀吀吀쀀 䐀䔀䰀ᤠ䄀儀唀䤀䰀䄀䌀䤀吀吀쀀 䐀䔀䰀ᤠ䄀儀唀䤀䰀䄀吀唀䈀䤀䔀䜀䤀唀一吀䤀䄀ⴀ䄀䄀ⴀ䄀吀唀䈀䤀䔀䜀䤀唀一吀䤀

ⴀ 䔀䰀䔀䴀䔀一吀䤀䐀䤀䄀刀刀䔀䐀伀䰀ᤠ䄀刀刀䔀䐀伀 저 刀䔀䄀䰀䤀娀娀䄀吀伀䌀伀䴀倀伀一䔀一䐀伀倀䄀䰀䰀䔀吀䔀吀䄀嘀伀䰀䔀䤀一䴀伀䐀伀吀䄀䰀䔀 ⴀ 倀刀伀匀倀䔀吀吀䤀䔀䌀䄀刀倀䔀一吀䔀刀䤀䔀

䐀䄀刀䤀倀刀伀倀伀刀刀䔀䄀一䌀䠀䔀䄀䰀䰀ᤠ䤀一吀䔀刀一伀唀一伀匀嘀䤀䰀唀倀倀伀䐀䤀匀唀倀䔀刀䘀䤀䌀䤀䌀䠀䔀 Concept 䌀ⴀ䌀匀䤀䤀一吀䔀刀匀䔀䌀䄀一伀⸀ ⴀ 䔀䰀䔀䴀䔀一吀䤀䐀䤀䄀刀刀䔀䐀伀

䰀ᤠ䄀刀刀䔀䐀伀 저 刀䔀䄀䰀䤀娀娀䄀吀伀䌀伀䴀倀伀一䔀一䐀伀倀䄀䰀䰀䔀吀䔀吀䄀嘀伀䰀䔀䤀一䴀伀䐀伀吀䄀䰀䔀吀䄀嘀伀䰀䄀䴀䔀倀䄀䰀䰀䔀吀 ⴀ 䔀䰀䔀䴀䔀一吀䤀䐀䤀䄀刀刀䔀䐀伀䐀䄀刀䤀倀刀伀倀伀刀刀䔀䄀一䌀䠀䔀䄀䰀䰀ᤠ䤀一吀䔀刀一伀唀一伀匀嘀䤀䰀唀倀倀伀䐀䤀匀唀倀䔀刀䘀䤀䌀䤀䌀䠀䔀吀䄀嘀伀䰀䄀䴀䔀倀䄀䰀䰀䔀吀吀䄀嘀伀䰀䄀䴀䔀匀䤀䤀一吀䔀刀匀䔀䌀䄀一伀⸀ 倀䄀䰀䰀䔀吀䰀ᤠ䄀刀刀䔀䐀伀 저 刀䔀䄀䰀䤀娀娀䄀吀伀䌀伀䴀倀伀一䔀一䐀伀倀䄀䰀䰀䔀吀䔀吀䄀嘀伀䰀䔀䤀一䴀伀䐀伀吀䄀䰀䔀 ⴀ 匀䌀䔀䰀吀䔀倀刀伀䜀䔀吀吀唀䄀䰀䤀䔀䐀䤀䄀䜀刀䄀䴀䴀䄀䐀䄀刀䤀倀刀伀倀伀刀刀䔀䄀一䌀䠀䔀䄀䰀䰀ᤠ䤀一吀䔀刀一伀唀一伀匀嘀䤀䰀唀倀倀伀䐀䤀匀唀倀䔀刀䘀䤀䌀䤀䌀䠀䔀 ⴀ 匀䌀䔀䰀吀䔀倀刀伀䜀䔀吀吀唀䄀䰀䤀䔀䐀䤀䄀䜀刀䄀䴀䴀䄀䐀䤀匀吀刀䤀䈀唀吀䤀嘀伀ⴀ䘀唀一娀䤀伀一䄀䰀䔀 ⴀ 匀䌀䔀䰀吀䔀倀刀伀䜀䔀吀吀唀䄀䰀䤀䔀䐀䤀䄀䜀刀䄀䴀䴀䄀䄀ⴀ䄀匀䤀䤀一吀䔀刀匀䔀䌀䄀一伀⸀ 䐀䤀匀吀刀䤀䈀唀吀䤀嘀伀ⴀ䘀唀一娀䤀伀一䄀䰀䔀䐀䤀嘀䤀匀䤀伀一䔀䐀䔀䜀䰀䤀匀倀䄀娀䤀䘀唀一娀䤀伀一䄀䰀䤀䐀䤀匀吀刀䤀䈀唀吀䤀嘀伀ⴀ䘀唀一娀䤀伀一䄀䰀䔀刀䔀儀唀䤀匀䤀吀䤀㨀 ⴀ 䴀伀䐀唀䰀䄀刀䤀吀䄀ᤠ 刀䔀儀唀䤀匀䤀吀䤀㨀 Forniture 㬀 ⴀ 䘀䰀䔀匀匀䤀䈀䤀䰀䤀吀䄀ᤠ㬀 ⴀ 刀䔀嘀䔀刀匀䤀䈀䤀䰀䤀吀䄀ᤠ 刀䔀儀唀䤀匀䤀吀䤀㨀 ⴀ 䴀伀䐀唀䰀䄀刀䤀吀䄀ᤠ 㬀 ⴀ 䘀䰀䔀匀匀䤀䈀䤀䰀䤀吀䄀ᤠ㬀 ⴀ 刀䔀嘀䔀刀匀䤀䈀䤀䰀䤀吀䄀ᤠ ⴀ 䴀伀䐀唀䰀䄀刀䤀吀䄀ᤠ 䄀ⴀ䄀㬀 ⴀ 䘀䰀䔀匀匀䤀䈀䤀䰀䤀吀䄀ᤠ㬀 ⴀ 刀䔀嘀䔀刀匀䤀䈀䤀䰀䤀吀䄀ᤠ

ⴀ 䘀䄀匀䤀䐀䤀䴀伀一吀䄀䜀䜀䤀伀

䘀䄀匀䔀㄀㨀䄀䰀䰀䔀匀吀䤀䴀䔀一吀伀䈀䄀匀䔀䔀倀伀匀䄀倀䄀嘀䤀䴀䔀吀一伀

ⴀ 䘀䄀匀䤀䐀䤀䴀伀一吀䄀䜀䜀䤀伀

䘀䄀匀䔀㄀㨀䄀䰀䰀䔀匀吀䤀䴀䔀一吀伀䈀䄀匀䔀䔀倀伀匀䄀倀䄀嘀䤀䴀䔀吀一伀

䘀䄀匀䔀㈀㨀䴀伀一吀䄀䜀䜀䤀伀䌀

䘀䄀匀䔀㄀㨀䄀䰀䰀䔀匀吀䤀䴀䔀一吀伀䈀䄀匀䔀䔀倀伀匀䄀倀䄀嘀䤀䴀䔀吀一伀

䘀䄀匀䔀㈀㨀䴀伀一吀䄀䜀䜀䤀伀䌀

ⴀ 䘀䄀匀䤀䐀䤀䴀伀一吀䄀䜀䜀䤀伀

ⴀ 倀刀伀匀倀䔀吀吀䤀䔀䌀䄀刀倀䔀一吀䔀刀䤀䔀

General Plan 䌀ⴀ䌀 ⴀ 倀刀伀匀倀䔀吀吀䤀䔀䌀䄀刀倀䔀一吀䔀刀䤀䔀 ⴀ 倀刀伀匀倀䔀吀吀䤀䔀䌀䄀刀倀䔀一吀䔀刀䤀䔀䌀ⴀ䌀䌀ⴀ䌀

䄀ⴀ䄀 Elevation A-A, carpentry

Elevation 䄀ⴀ䄀 C-C and carpentry

䄀ⴀ䄀 ⴀ 䌀伀一䌀䔀倀吀 ⴀ 䔀䰀䔀䴀䔀一吀䤀䐀䤀䄀刀刀䔀䐀伀 ⴀ 䘀䄀匀䤀䐀䤀䴀伀一吀䄀䜀䜀䤀伀 ⴀ 䘀䄀匀䤀䐀䤀䴀伀一吀䄀䜀䜀䤀伀 ⴀ 䌀伀一䌀䔀倀吀 ⴀ 䌀伀一䌀䔀倀吀䘀䄀匀䔀㄀㨀䄀䰀䰀䔀匀吀䤀䴀䔀一吀伀䈀䄀匀䔀䔀倀伀匀䄀倀䄀嘀䤀䴀䔀吀一伀䘀䄀匀䔀㄀㨀䄀䰀䰀䔀匀吀䤀䴀䔀一吀伀䈀䄀匀䔀䔀倀伀匀䄀倀䄀嘀䤀䴀䔀吀一伀䘀䄀匀䔀㈀㨀䴀伀一吀䄀䜀䜀䤀伀䌀䠀䤀唀匀唀刀䔀嘀䔀刀吀䤀䌀䄀䰀䤀䰀ᤠ䄀刀刀䔀䐀伀 저 刀䔀䄀䰀䤀娀娀䄀吀伀䌀伀䴀倀伀一䔀一䐀伀倀䄀䰀䰀䔀吀䔀吀䄀嘀伀䰀䔀䤀一䴀伀䐀伀吀䄀䰀䔀䰀ᤠ䄀刀刀䔀䐀伀 저 刀䔀䄀䰀䤀娀娀䄀吀伀䌀伀䴀倀伀一䔀一䐀伀倀䄀䰀䰀䔀吀䔀吀䄀嘀伀䰀䔀䤀一䴀伀䐀伀吀䄀䰀䔀䐀䔀䰀䘀刀伀一吀伀䘀䘀䤀䌀䔀

DATA ⴀ 䔀䰀䔀䴀䔀一吀䤀䐀䤀䄀刀刀䔀䐀伀

䘀䄀匀䔀㈀㨀䴀伀一吀䄀䜀䜀䤀伀䌀䠀

DESCRIPTION

䘀䄀匀䔀㈀㨀䴀伀一吀䄀䜀䜀䤀伀䌀䠀䤀唀匀唀刀䔀嘀䔀刀吀䤀䌀䄀䰀䤀䘀䄀匀䔀㌀㨀䴀伀一吀䄀䜀䜀䤀伀䌀䠀䤀唀匀唀刀䄀伀䈀䰀䐀䄀刀䤀倀刀伀倀伀刀刀䔀䄀一䌀䠀䔀䄀䰀䰀ᤠ䤀一吀䔀刀一伀唀一伀匀嘀䤀䰀唀倀倀伀䐀䤀匀唀倀䔀刀䘀䤀䌀䤀䌀䠀䔀䐀䄀刀䤀倀刀伀倀伀刀刀䔀䄀一䌀䠀䔀䄀䰀䰀ᤠ䤀一吀䔀刀一伀唀一伀匀嘀䤀䰀唀倀倀伀䐀䤀匀唀倀䔀刀䘀䤀䌀䤀䌀䠀䔀 OF 2017 匀䤀䤀一吀䔀刀匀䔀䌀䄀一伀⸀ The 匀䤀䤀一吀䔀刀匀䔀䌀䄀一伀⸀YEAR theme of this workshop is centered on the concept of re-use and in particular of the re-use of materials exceeding the building proPRODUCTION duction inventing new forms of use. This concept of sustainability is very strong for the era we are living in and especially for the city where

YEAR COURSE

5th

WORKSHOP INTERNATIOⴀ 䔀䰀䔀䴀䔀一吀䤀䐀䤀䄀刀刀䔀䐀伀 NAL ARCHI-

the project took place, L’Aquila, the largest construction site in Europe.

刀䔀䰀䄀娀䤀伀一䔀䤀一吀䔀刀一伀ⴀ䔀匀吀䔀刀一伀䐀䤀嘀䤀匀䤀伀一䔀䐀䔀䜀䰀䤀匀倀䄀娀䤀䘀唀一娀䤀伀一䄀䰀䤀 Without missing the raw material, we started designing an info point that could be modulated and reorganized into new forms. To do this 䐀䔀䰀䘀刀伀一吀伀䘀䘀䤀䌀䔀刀䔀䰀䄀娀䤀伀一䔀䤀一吀䔀刀一伀ⴀ䔀匀吀䔀刀一伀䐀䤀嘀䤀匀䤀伀一䔀䐀䔀䜀䰀䤀匀倀䄀娀䤀䘀唀一娀䤀伀一䄀䰀䤀刀䔀䰀䄀娀䤀伀一䔀䤀一吀䔀刀一伀ⴀ䔀匀吀䔀刀一伀䐀䤀嘀䤀匀䤀伀一䔀䐀䔀䜀䰀䤀匀倀䄀娀䤀䘀唀一娀䤀伀一䄀䰀䤀 ⴀ 䘀䄀匀䤀䐀䤀䴀伀一吀䄀䜀䜀䤀伀䐀䔀䰀䘀刀伀一吀伀䘀䘀䤀䌀䔀 we used a meter marked by the size of an eu pallet which we then used as a closing element for the floors and infill walls. For the structu䐀䔀䰀䘀刀伀一吀伀䘀䘀䤀䌀䔀

䘀䄀匀䔀㄀㨀䄀䰀䰀䔀匀吀䤀䴀䔀一吀伀䈀䄀匀䔀䔀倀伀匀䄀倀䄀嘀䤀䴀䔀吀一伀䘀䄀匀䔀㈀㨀䴀伀一吀䄀䜀䜀䤀伀䌀䠀䤀唀匀唀刀䔀嘀䔀刀吀䤀䌀䄀䰀䤀䘀䄀匀䔀㌀㨀䴀伀一吀䄀䜀䜀䤀伀䌀䠀䤀唀匀唀刀䰀ᤠ䄀刀刀䔀䐀伀 저 刀䔀䄀䰀䤀娀娀䄀吀伀䌀伀䴀倀伀一䔀一䐀伀倀䄀䰀䰀䔀吀䔀吀䄀嘀伀䰀䔀䤀一䴀伀䐀伀吀䄀䰀䔀 TECTURAL ral part, instead, we used tubes and joints with which scaffolding is usually built. Other elements were used as finishes, such as wooden 䐀䄀刀䤀倀刀伀倀伀刀刀䔀䄀一䌀䠀䔀䄀䰀䰀ᤠ䤀一吀䔀刀一伀唀一伀匀嘀䤀䰀唀倀倀伀䐀䤀匀唀倀䔀刀䘀䤀䌀䤀䌀䠀䔀 WORKSHOP ⴀ 䘀䄀匀䤀䐀䤀䴀伀一吀䄀䜀䜀䤀伀匀䤀䤀一吀䔀刀匀䔀䌀䄀一伀⸀ planks to give slope to the roof and pvc sheets to waterproof it. 䘀䄀匀䔀㄀㨀䄀䰀䰀䔀匀吀䤀䴀䔀一吀伀䈀䄀匀䔀䔀倀伀匀䄀倀䄀嘀䤀䴀䔀吀一伀䘀䄀匀䔀㈀㨀䴀伀一吀䄀䜀䜀䤀伀䌀䠀䤀唀匀唀刀䔀嘀䔀刀吀䤀䌀䄀䰀䤀䘀䄀匀䔀㌀㨀䴀伀一吀䄀䜀䜀䤀伀䌀䠀䤀唀匀唀刀䄀伀䈀䰀䤀儀唀䄀䘀䄀匀䔀㐀㨀吀䄀娀娀䔀 L’AQUILA

ⴀ 䔀䰀䔀䴀䔀一吀䤀䐀䤀䄀刀刀䔀䐀伀

䰀ᤠ䄀刀刀䔀䐀伀 저 刀䔀䄀䰀䤀娀娀䄀吀伀䌀伀䴀倀伀一䔀一䐀伀倀䄀䰀䰀䔀吀䔀吀䄀嘀伀䰀䔀䤀一䴀伀䐀伀吀䄀䰀䔀䐀䄀刀䤀倀刀伀倀伀刀刀䔀䄀一䌀䠀䔀䄀䰀䰀ᤠ䤀一吀䔀刀一伀唀一伀匀嘀䤀䰀唀倀倀伀䐀䤀匀唀倀䔀刀䘀䤀䌀䤀䌀䠀䔀 41匀䤀䤀一吀䔀刀匀䔀䌀䄀一伀⸀

ⴀ 䘀䄀匀䤀䐀䤀䴀伀一吀䄀䜀䜀䤀伀

䘀䄀匀䔀㄀㨀䄀䰀䰀䔀匀吀䤀䴀䔀一吀伀䈀䄀匀䔀䔀倀伀匀䄀倀䄀嘀䤀䴀䔀吀一伀

䘀䄀匀䔀㈀㨀䴀伀一吀䄀䜀䜀䤀伀䌀䠀䤀唀匀唀刀䔀嘀䔀刀吀䤀䌀䄀䰀䤀

䘀䄀匀䔀㌀㨀䴀伀一吀䄀䜀䜀䤀伀䌀䠀䤀唀匀唀刀

匀吀唀䐀䔀一吀䤀㨀䔀洀椀搀椀漀䄀氀昀漀渀椀猀椀㬀倀愀甀氀愀䄀稀渀愀爀䜀漀洀攀稀㬀䴀愀琀琀攀漀䐀椀䈀攀爀愀爀搀椀渀漀㬀䜀爀攀最漀爀椀漀䐀椀䴀甀稀椀漀㬀䨀甀愀渀䌀愀爀氀漀猀一愀栀愀爀爀漀䴀攀最椀愀猀㬀䔀洀椀搀椀漀䄀氀昀漀渀椀猀椀㬀倀愀甀氀愀䄀稀渀愀爀䜀漀洀攀稀㬀䴀愀琀琀攀漀䐀椀䈀攀爀愀爀搀椀渀漀㬀䜀爀攀最漀爀椀漀䐀椀䴀甀稀椀漀㬀䨀甀愀渀䌀愀爀氀漀猀一愀栀愀爀爀漀䴀攀最椀愀猀㬀匀吀唀䐀䔀一吀䤀㨀吀唀吀伀刀㨀䤀渀最⸀ 倀栀⸀䐀⸀ 匀琀甀搀攀渀琀䰀甀椀猀愀䌀愀瀀愀渀渀漀氀漀吀唀吀伀刀㨀䤀渀最⸀ 倀栀⸀䐀⸀ 匀琀甀搀攀渀琀䰀甀椀猀愀䌀愀瀀愀渀渀漀氀漀䐀伀䌀䔀一吀䤀㨀倀爀漀昀⸀ 倀椀攀爀氀甀椀最椀䐀攀䈀攀爀愀爀搀椀渀椀猀㬀倀爀漀昀⸀ 䰀甀椀猀倀愀氀洀攀爀漀䤀最氀攀猀椀愀猀䐀伀䌀䔀一吀䤀㨀倀爀漀昀⸀ 倀椀攀爀氀甀椀最椀䐀攀䈀攀爀愀爀搀椀渀椀猀㬀倀爀漀昀⸀ 䰀甀椀猀倀愀氀洀攀爀漀䤀最氀攀猀椀愀猀

䌀䤀吀吀쀀 䐀䔀䰀ᤠ䄀儀唀䤀䰀䄀䌀䤀吀吀쀀 䐀䔀䰀ᤠ䄀儀唀䤀䰀䄀

吀唀䈀䤀䔀䜀䤀唀一吀䤀吀唀䈀䤀䔀䜀䤀唀一吀䤀

ⴀ 嘀䤀匀吀䔀䘀伀吀伀刀䔀䄀䰀䤀匀吀䤀䌀䠀䔀

ⴀ 倀䤀䄀一吀䄀䔀匀䌀䠀䔀䴀䤀䐀䤀匀吀刀䤀䈀唀吀䤀嘀䤀吀䄀嘀伀䰀䄀䴀䔀吀䄀嘀伀䰀䄀䴀䔀

䤀

匀䌀䄀吀伀䰀䄀ⴀ 吀䔀一䤀吀伀刀䔀䌀刀䤀䌀䠀䔀匀倀䄀娀䤀伀䴀䔀吀䄀䘀伀ⴀ 一吀䰀䔀Ⰰ 䜀䰀䤀吀䤀Ⰰ 匀伀一伀

ⴀ 嘀䤀匀吀䔀䘀伀吀伀刀䔀䄀䰀䤀匀吀䤀䌀䠀䔀

倀䄀䰀䰀䔀吀倀䄀䰀䰀䔀吀

匀䔀䜀唀䔀一䐀伀䤀䐀䔀吀吀䄀䴀䤀䐀䔀䰀䰀ᤠ䤀䐀䔀䄀䌀伀䴀倀伀匀䤀吀䤀嘀䄀Ⰰ 匀䤀匀伀一伀䐀䤀匀吀刀䤀䈀唀䤀吀䤀䜀䰀䤀匀倀䄀娀䤀 ⴀ 匀䌀䔀䰀吀䔀倀刀伀䜀䔀吀吀唀䄀䰀䤀䔀䐀䤀䄀䜀刀䄀䴀䴀䄀 ⴀ 匀䌀䔀䰀吀䔀倀刀伀䜀䔀吀吀唀䄀䰀䤀䔀䐀䤀䄀䜀刀䄀䴀䴀䄀一䔀䰀䰀䄀匀䔀䜀唀䔀一吀䔀䴀䄀一䤀䔀刀䄀

䐀䤀匀吀刀䤀䈀唀吀䤀嘀伀ⴀ䘀唀一娀䤀伀一䄀䰀䔀䐀䤀匀吀刀䤀䈀唀吀䤀嘀伀ⴀ䘀唀一娀䤀伀一䄀䰀䔀

刀䔀儀唀䤀匀䤀吀䤀㨀刀䔀儀唀䤀匀䤀吀䤀㨀 ⴀ 䴀伀䐀唀䰀䄀刀䤀吀䄀ᤠ ⴀ 䴀伀䐀唀䰀䄀刀䤀吀䄀ᤠ 㬀 ⴀ 䘀䰀䔀匀匀䤀䈀䤀䰀䤀吀䄀ᤠ㬀㬀 ⴀ 䘀䰀䔀匀匀䤀䈀䤀䰀䤀吀䄀ᤠ㬀 ⴀ 刀䔀嘀䔀刀匀䤀䈀䤀䰀䤀吀䄀ᤠ ⴀ 刀䔀嘀䔀刀匀䤀䈀䤀䰀䤀吀䄀ᤠ

ⴀ 倀刀伀匀倀䔀吀吀䤀䔀䌀䄀刀倀䔀一吀䔀刀䤀䔀 ⴀ 倀刀伀匀倀䔀吀吀䤀䔀䌀䄀刀倀䔀一吀䔀刀䤀䔀

䌀ⴀ䌀䌀ⴀ䌀

倀䔀吀吀䤀䔀䌀䄀刀倀䔀一吀䔀刀䤀䔀伀匀倀䔀吀吀䤀䔀䌀䄀刀倀䔀一吀䔀刀䤀䔀

ⴀ䄀

䄀ⴀ䄀䄀ⴀ䄀

ⴀ 䌀伀一䌀䔀倀吀 ⴀ 䌀伀一䌀䔀倀吀

䐀䤀䴀伀一吀䄀䜀䜀䤀伀

刀䔀䰀䄀娀䤀伀一䔀䤀一吀䔀刀一伀ⴀ䔀匀吀䔀刀一伀刀䔀䰀䄀娀䤀伀一䔀䤀一吀䔀刀一伀ⴀ䔀匀吀䔀刀一伀䐀䤀嘀䤀匀䤀伀一䔀䐀䔀䜀䰀䤀匀倀䄀娀䤀䘀唀一娀䤀伀一䄀䰀䤀䐀䤀嘀䤀匀䤀伀一䔀䐀䔀䜀䰀䤀匀倀䄀娀䤀䘀唀一娀䤀伀一䄀䰀䤀䐀䔀䰀䘀刀伀一吀伀䘀䘀䤀䌀䔀䐀䔀䰀䘀刀伀一吀伀䘀䘀䤀䌀䔀䘀䄀匀䔀㈀㨀䴀伀一吀䄀䜀䜀䤀伀䌀䠀䤀唀匀唀刀䔀嘀䔀刀吀䤀䌀䄀䰀䤀

䰀䔀匀吀䤀䴀䔀一吀伀䈀䄀匀䔀䔀倀伀匀䄀倀䄀嘀䤀䴀䔀吀一伀

䘀䄀匀䔀㌀㨀䴀伀一吀䄀䜀䜀䤀伀䌀䠀䤀唀匀唀刀䄀伀䈀䰀䤀儀唀䄀

䘀䄀匀䔀㐀㨀吀䄀娀娀䔀

ⴀ 倀刀伀匀倀䔀吀吀䤀䔀䌀䄀刀倀䔀一吀䔀刀䤀䔀

䌀ⴀ䌀

䄀ⴀ䄀

ⴀ 䔀䰀䔀䴀䔀一吀䤀䐀䤀䄀刀刀䔀䐀伀 ⴀ 䔀䰀䔀䴀䔀一吀䤀䐀䤀䄀刀刀䔀䐀伀

ⴀ 䘀䄀匀䤀䐀䤀䴀伀一吀䄀䜀䜀䤀伀 ⴀ 䘀䄀匀䤀䐀䤀䴀伀一吀䄀䜀䜀䤀伀

䰀ᤠ䄀刀刀䔀䐀伀 저 刀䔀䄀䰀䤀娀娀䄀吀伀䌀伀䴀倀伀一䔀一䐀伀倀䄀䰀䰀䔀吀䔀吀䄀嘀伀䰀䔀䤀一䴀伀䐀伀吀䄀䰀䔀䰀ᤠ䄀刀刀䔀䐀伀 저 刀䔀䄀䰀䤀娀娀䄀吀伀䌀伀䴀倀伀一䔀一䐀伀倀䄀䰀䰀䔀吀䔀吀䄀嘀伀䰀䔀䤀一䴀伀䐀伀吀䄀䰀䔀䐀䄀刀䤀倀刀伀倀伀刀刀䔀䄀一䌀䠀䔀䄀䰀䰀ᤠ䤀一吀䔀刀一伀唀一伀匀嘀䤀䰀唀倀倀伀䐀䤀匀唀倀䔀刀䘀䤀䌀䤀䌀䠀䔀䐀䄀刀䤀倀刀伀倀伀刀刀䔀䄀一䌀䠀䔀䄀䰀䰀ᤠ䤀一吀䔀刀一伀唀一伀匀嘀䤀䰀唀倀倀伀䐀䤀匀唀倀䔀刀䘀䤀䌀䤀䌀䠀䔀匀䤀䤀一吀䔀刀匀䔀䌀䄀一伀⸀ 匀䤀䤀一吀䔀刀匀䔀䌀䄀一伀⸀

䐀䤀䴀伀一吀䄀䜀䜀䤀伀匀䤀䐀䤀䴀伀一吀䄀䜀䜀䤀伀

䰀䔀匀吀䤀䴀䔀一吀伀䈀䄀匀䔀䔀倀伀匀䄀倀䄀嘀䤀䴀䔀吀一伀㄀㨀䄀䰀䰀䔀匀吀䤀䴀䔀一吀伀䈀䄀匀䔀䔀倀伀匀䄀倀䄀嘀䤀䴀䔀吀一伀

Render views

䘀䄀匀䔀㈀㨀䴀伀一吀䄀䜀䜀䤀伀䌀䠀䤀唀匀唀刀䔀嘀䔀刀吀䤀䌀䄀䰀䤀

䄀䰀䔀

ⴀ 䘀䄀匀䤀䐀䤀䴀伀一吀䄀䜀䜀䤀伀

䘀䄀匀䔀㄀㨀䄀䰀䰀䔀匀吀䤀䴀䔀一吀伀䈀䄀匀䔀䔀倀伀匀䄀倀䄀嘀䤀䴀䔀吀一伀

䘀䄀匀䔀㄀㨀䘀䄀匀䔀㄀㨀䄀䰀䰀䔀匀吀䤀䴀䔀一吀伀䈀䄀匀䔀䔀倀伀匀䄀倀䄀嘀䤀䴀䔀吀一伀䄀䰀䰀䔀匀吀䤀䴀䔀一吀伀䈀䄀匀䔀䔀倀伀匀䄀倀䄀嘀䤀䴀䔀吀一伀

䘀䄀匀䔀㈀㨀䘀䄀匀䔀㈀㨀䴀伀一吀䄀䜀䜀䤀伀䌀䠀䤀唀匀唀刀䔀嘀䔀刀吀䤀䌀䄀䰀䤀䴀伀一吀䄀䜀䜀䤀伀䌀䠀䤀唀匀唀刀䔀嘀䔀刀吀䤀䌀䄀䰀䤀

䘀䄀匀䔀㌀㨀䴀伀一吀䄀䜀䜀䤀伀䌀䠀䤀唀匀唀刀䄀伀䈀䰀䤀儀唀䄀

䘀䄀匀䔀㌀㨀䘀䄀匀䔀㌀㨀䴀伀一吀䄀䜀䜀䤀伀䌀䠀䤀唀匀唀刀䄀伀䈀䰀䤀儀唀䄀䴀伀一吀䄀䜀䜀䤀伀䌀䠀䤀唀匀唀刀䄀伀䈀䰀䤀儀唀䄀

Picture of construction steps

䘀䄀匀䔀㈀㨀䴀伀一吀䄀䜀䜀䤀伀䌀䠀䤀唀匀唀刀䔀嘀䔀刀吀䤀䌀䄀䰀䤀

䘀䄀匀䔀㈀㨀䘀䄀匀䔀㈀㨀䴀伀一吀䄀䜀䜀䤀伀䌀䠀䤀唀匀唀刀䔀嘀䔀刀吀䤀䌀䄀䰀䤀䴀伀一吀䄀䜀䜀䤀伀䌀䠀䤀唀匀唀刀䔀嘀䔀刀吀䤀䌀䄀䰀䤀

䘀䄀匀䔀㐀㨀䘀䄀匀䔀㐀㨀吀䄀娀娀䔀吀䄀娀娀䔀

䘀䄀匀䔀㐀㨀吀䄀娀娀䔀

䘀䄀匀䔀㌀㨀䴀伀一吀䄀䜀䜀䤀伀䌀䠀䤀唀匀唀刀䄀伀䈀䰀䤀儀唀䄀

䘀䄀匀䔀㌀㨀䘀䄀匀䔀㌀㨀䴀伀一吀䄀䜀䜀䤀伀䌀䴀伀一吀䄀䜀䜀䤀伀

䘀䄀匀䔀㐀㨀吀䄀娀娀䔀