Fi l i p p o Fa n c i o t t i P o r t f o l i o
arch. FILIPPO FANCIOTTI | curriculum vitae Filippo Fanciotti is Scientiphic assistant at the Laboratory of Arts for Sciences (LAPIS) at the École Polytechnique Fédérale De Lausanne -EPFL (CH) under the direction of Nicola Braghieri. Since 2016 he’s tutoring and holding classes about architectural representation for the courses of Figuration et représentation de l’architecture (FIRE II and FIRE III) and the bachelor course of Vision et Utopie. Born in Genova in 1988, he obtained a M. Arch. Diploma with honours at the Polytechnic School of Genova, IT (2014) with a specialization in architectural restoration. In 2013 he worked as an intern at MVRDV Rotterdam. Between 2014 and 2016 he was graduate assistant and guest lecturer at the Polytechnic School of Genoa (IT). Between 2015 and 2017 he worked as sole-practitioner and collaborator at una2 architetti associati in Genova. Since 2015, he is co-founder and member of the architecture collective false mirror office.
ViaVerona - 20135 Milano -
+39 392 3611107
date of birth
15th of April, 1988
iscrizione n° 4456 all’Ordine degli Architetti, Pianificatori Paesaggisti e Conservatori della Provincia di Genova
Licensed Architect | Ordine degli Architetti di Genova
Master degree of Architecture, 110/110 with honors | Università degli studi di Genova, Scuola Politecnica
1st year Master’s Degree Erasmus Program | UPV Universitat Politècnica de València
High school diploma | Liceo classico G. Chiabrera, 94/100 - Savona
prof essional 2015/18
Architect / visualizer Sole-pratictioner | Genova |
una2 architetti associati architetti associati | Genova | collaborator
MVRDV | Architecture Intern | Rotterdam, the Netherlands . August / December MVRDV | Visualization Intern | Rotterdam, the Netherlands . February / July
Scientiphic Assistant | EPFL . Ecole Polytechnique Federale de Lausanne . ENAC . Laboratoire LAPIS | Prof. N. Braghieri | courses FIRE2 . Figuration et Representation de l'Architecture deux . FIRE3 . Figuration et Representation de l'Architecture deux . VETU . Vision et Utopie.
Teaching Assistant | 3rd year Studio | Lab. di Progettazione Architettonica |Prof. G. Galli | Genova Polytechnic School
Teaching Assistant | 1st year Studio | Fondamenti, pratiche e tendenze dell’architettura contemporanea | Prof. G. Galli, N. Lunardi | Genova Polytechnic School
Perspectives On . PostDigital Drawing | chaired by Sam Jacob |Royal Institute of British Architecture RIBA, London CARNETS: Coming of Age | chaired by Carnets magazine | IUAV, Venezia Concorsi: Campi di Battaglia | chaired by Forestieri Pace Pezzani | Unfolding Pavilion, Venezia
Generazione: a call from Rome | chaired by WAR |Casa dell’Architettura, Roma Heterotopic Visions From Vegas to Disneyland | EPFL - Ecole Polytechnique Federale de Lausanne - Laboratoire LAPIS La Grande Bellezza | chaired by OSSA
the False Mirror, Europan13_NO” | Genova, Scuola Politecnica
MVRDV, the art of story$elling | Genova, Scuola Politecnica
OSSA 2017 Wielkie Piekno . The Great Beauty | fundacja Jednostka Architektury | ISBN 978-83-946884-1-7
NEW ARCHITECTS 1 | FALSE MIRROR OFFICE FORETASTE ISSUE #112 | DIVISARE | ISSN 2532-523X ARCHIPRIX 2017, the world's best graduation projects | Ahmedabad, India
learning from Favelas | Burrasca Magazine #1 . Brasil, ISBN: 9788894046601
MVRDV ZhongShan Vertical Village | Rotterdam, 2013
Archeonet archeologia | paesaggio | turismo Genova, 2012
Forma de la ciudad: Metodología de intervención.Vacíos urbanismos . Editorial UPV,Valencia,2011 Proyectar sobre lo contruido. Formalización. Selected Works . Editorial UPV,Valencia,2011
la cameretta | with false mirror office, gosplan, uno8a, pia, linearama | Unfolding Pavilion, Venezia, IT
#aeschyli, Open!studi aperti | with false mirror office, gosplan, uno8a, pia, linearama | p.za G. Cattaneo, Genova, IT ARCHIPRIX 2017, the world's best graduation projects | Cept University, Ahmedabad, IND
zuppa romana | with false mirror office | Acquario Romano, Roma, IT
zuppa romana | with false mirror office | ierimonti gallery, New York, US zuppa romana | with false mirror office | RIBA, London, GB
vertical village IBA | with MVRDV | Hamburg Museum Hamburg, D
vertical village IBA | with MVRDV | INTERNI’s Feeding New Ideas for the City . Università degli Studi di Milano, IT
* Participants Favourite “IPOMOEOID, a climbing neighbourhood” |
* Winner “the false mirror” | Trondheim, NO- Europan 13 | * Finalist “IPOMOEOID, a climbing neighbourhood” | Archiprix Italia |
* Finalist “the GearBox” | YAC Space to culture | Bologna . IT YAC
* Runner-up “Rouen on the move” | Rouen, FR - Europan 12 * Special mention “Schiedam on the move” | Schiedam, NL - Europan 12
"OSSA 2017, the Great Beauty" tutor of OSSA 2017 | Niemcza/Wrocław, Poland | october 2017
“developing people's places” ARCHIPRIX INTERNATIONAL WORKSHOP | Cept University, Ahmedabad, India |
“Europan 12, the adaptable city” inter-sessions forum and workshop for winners&runner-up | Europan | Pavia
“Informed objecthood, Grasshopper for [3D]printing” | Co-De-It | Genova
“Processing” | Co-De-It | Genova
“Adaptive skin, Grasshopper” | Co-De-It | Genova
“Parametric Design with Maya,MELscript&Plug-in” | Zaha Hadid architects+UCL the Bartlett+A.B.A.BO. |Genova
“Archeonet archeologia | paesaggio | turismo” | Luni
italian . native
Adobe Creative Suite . Photoshop, Illustrator,InDesign
english . fluent, verbal and written
Rhinoceros, Sketchup, Vectorworks, BIM, Autocad, Vray.
spanish . fluent, verbal and written french . basic knowledge
la vi(ll)e en rose house in Milano Sesto
competition . with false mirror office | Sesto San Giovanni . Milano . IT | 2017
architecture | 10
second floor plan
The PII variant to MilanoSesto
buildings (a.) would lead some courts
units, with consequent poor quality
masterplan envisages, in fact, a
to face the main pedestrian axis,
and low variety: a re-interpretation
linear development of residential areas
allowing a vertical development of the
of the railing typology would instead
such as UCP-1A: high aligned fronts
public flow in cases where they are at a
offer all the units a double outlook and
overhang the pedestrian axis, leading
height of 4.50m.
The strong depth -required by the call
To ensure an adequate level of privacy
- for the three bodies of the building
without losing the mix of public and
would normally lead to single view
private spaces - characteristic of this
to an unavoidable two-dimensional structure of the public space. A simple inversion of the orientation of some
architecture | 12
traditional Milanese typology - the
pedestrian front -hosts, in addition to
108 living units are differentiated
distribution balcony is detached
some program serving the residential
into seven partitions with balconies
from the internal front of the
distribution, an extension of the
buildings, while the entrances are
cafeteria space located on the ground
further filtered by a green loggia (b.)
floor. At both the underground levels
required by the call.
thus allowing to enhance the internal
the parking spaces are divided into
distribution of the housing types.
boxes and free places, while the cellars
The terrazza - accessible from the
are only present on the first level. The
il serpente e la luna private villa and guesthouse
commission . with una2 architetti associati | Celle Ligure . Savona . IT | 2016
architecture | 14
demolition of a rural ruin and the construction of a new complex. The project is mainly divided into two parts: 1. il serpente (the snake) : a family villa, in turn divided into three units: a main villa - 250 sqm - and two smaller units - circa 100 sqm each -. 2. la luna (the moon) : a guesthouse, circa 400 sqm - hosting six rooms with
A unit (main)
private bathroom, a conference room and a party hall. the elongated shape of the buildings has been developed in order to privilege the view on the sea, thus following the sinuosity of the contour lines describing the hill, therefore integrating the house in the landscape and inserting it in a hypogeum space which maximizes the available square meters and the exposure. Both villa and guesthouse share a section creating an open dialogue with the landscape: two completely opened, glazed fronts facing not only the sea, but the mountain as well, along with its powerful concrete containment wall, giving the house an overall inhedited atmosphere of fresh nudity. L
The section is divided into two main
parts: the mountain, on the north, passage and storage area, a place for all the Backstage activities. The long closet accompanies the walk along the bedrooms and from the clutter
southern part, place for the real
of furniture. On the other side the
stage activities, with its magnificent uninterrupted view on the sea. A particular relevance has been given to the access of each room: in order to welcome the ever changing need of indipendency of each family component.
il serpente, plan of the villa.
the living room
architecture | 16
the sleeping area
crĂŞuza de mĂ¤ summerhouse
commission . with una2 architetti associati | Albisola . Savona . IT | 2017
architecture | 18
Each part of the house lies on a different step: the sleeping areas are spread between the two poles of the building, while the living area occupies the core of the house. This is in turn divided in two different levels, one for the proper living and another one for the dining + kitchen (see image in the next page). The double height of this room generates two different connections with the outdoor space : a vegetable garden is directly connected to the kitchen, while a swimming pool and a the summerhouse and its vegetable garden, axonometric view.
lawn area face the living. Formally, the building mixes the
The project involved the design of a
client of building a holiday house with
summerhouse on the hills surrounding
a strong relation with its vegetable
Albisola, a small town near Genova
garden and follows the conformation
of the territory, accompanying the traditional antropic sign of the steps
The design meets the request of the
traditional typology of this italian region (beams in direction of the short side, ardesia two-pitched roof,...) with the exceptional anomalies along the italian shore, sons of a Modernism who sees its best expressions in the work of Libera, Terragni and many others.
121,8 m slm 120,3 m slm
118 m slm
80 210 L
115,4 m slm
112,7 m slm
80 210 L
[Drawing Title] 1:100
the dining area, view from the interior bridge.
architecture | 20
pinker bathrooms stranger houses
proposal | Savona . IT | 2018
architecture | 22
Until not long ago pink was considered
nice, however authentic and extremely
The succession of arcs - aligned in
a sugary color, vain and even a little
fluid - Millennials pink reflects
a single perspective - frames the
'snap. Now, finally not anymore
a switch in conceiving the relations
bathroom as a scenography, a true
related to a precise gender, has been
between users and spaces.
celebration of the place of the body
rediscovered as one among the most relaxing, anti-stress and even able to overcome gender differences color. True symbol of power of the new generation; - thus not frivolous, but
Here declined in its shade of Pale Dog wood, the choice of the color has been the first designing act, therefore influencing the following choices.
through a step, is elevated as a stage within this intimate metaphor to live in the daily routine.
architecture | 24
the drillmaid a new dutch golden age for domesticity and production
competition . with false mirror office | Amsterdam . NL | 2017
architecture | 26
architecture | 28
The 21st centur y productive city
envelopes and neutral surfaces where
Amsterdam site of Papaverdriehoek
all men could live, work and recreate.
represents the ideal plot where built
Freed from the fixed boundaries of
traditional architecture, they found
catch up the social and technologic
themselves helped uniquely by a set
advancements of our time.
of human-scale tools imagined as the
project is conceived as a community
Our response re-questions Modernity
natural extension of their bodies and
as conceived by Modern Movement’s
they could finally begin to enjoy the
human beings combines together and
pioneers and the Post-war Neo Avant-
game of life.
overlaps in a mature metabolism. The
What’s the meaning of the productive city of the 21st century and how’s possible to develop new space synergies between domestictiy and production?
gardes and re-propose some of their theoretic arguments in our society: free plan, liberation of man through
50:50. The new metabolism of domesticity and production
brief’s request of an equal share of life’s components - domesticity and production above the others - isn’t
machines but also the mobile and
Once read and put aside as dreams of
understood as a mere parcelization
ephemereal architecture, the idea
a distant future, the visions conceived
of space. As conceived here the
of expendable buildings, the vision
by past century Avant-gardes could
organizers’ demand rather becomes
of a city resulting from the synergy
finally find their pragmatic realization
a principle of necessary symbiosis
between long-lasting infrastructures
through the social and technological
between domesticity and working this
revolutions that have been shaping
communal building must assolve at all
the last decades. The continuous
scales and in all of its parts.
environments. The point of arrival of these past researches turns into the departure of our investigation. We look again at the electronic decade where a group of young architects conceived mute
architecture | 30
improvement of the web technology is increasingly affecting architecture at all scales; teleworking is so affirmed
An experimental environment: Envelope, Surface and Utensil
to sound vintage; the continuous
The experimental commune proposed
superposition of working and living
for Papaverdriehoek works through
spaces is affecting the whole society.
a sinyergic superposition of three
and the mechanical instruments of the
platform and the utensil. Their mutual
vertically multiplied in a series of
workshop activity. Once turned into
floors, the platform is sustained by a
a tool at human scale in Amsterdam
human environments and new way of
three-dimensional steel frame. Each
Papaverdriehoek, the utensil becomes
platform is composed by two surfaces
a generator of artificial environments.
subdivided in modular units. Above the
The utensil is characterized by a series
platform works as a walking pavement
of major properties:
The shell answers to a primordial need architecture is called upon: give a shelter. Despite continous attempts to turn it into an aesthetic icon, the shelter has to re-establish its primary finctional essence. The shell consists of a neutral “wrapping surface” covering a mute volume. The shell is expressively designed to maximize
for the upper floor and below it consists of a ceiling for the lower floor. Between this two layers all the services are organized and disposed: electricity grid, wi-fi network for data and wireless charging system, insulation, heating, water and sewage grid.
lighting and indoor microclimate.
The utensil answers to the first
Its surface puts aside any question
primordial purpose men have always
of composition and all the rallies for
seen an artificial tool useful for: help
the new iconic window. The shell is
them performing an action. The utensil
nothing more than a skin, treated
redefines a positive hybridization
differently according to the interiors.
between domesticity and production.
The platform deals with the ancestral purpose men have always seen nature useful for: provide resources. The platform is horizontally displaced
Such dualism is deeply rooted in the semantic ambivalence of the word itself, utensil,
yet used today to
designate the tools of the domestic life
• The utensil denies the zoning principle of traditional architecture. Set aside the very concepts of bedroom, living room, bathroom, the utensil calls for the return of the free plan. The utensile spouses in toto the loft condition. • The utensil keeps the promise for new forms of
architecture: it is made of modular crafted pieces; it is designed to absolve a set of multifunctional purposes; it is openable and closable; it can be assembled; it can constantly change its position and configuration in space. It is ultimately flexible.
architecture | 32
• The utensil breaks the boundaries between Architecture and Design. Rather than a piece of furniture displaced in a programmed space, the utensil itself regulates its own environment. It is a space-definer. • The utensil doesn’t work merely on its functional basis. On the contrary it is the utensil itself to embody the properties of the Vitruvian triade. It is firm and solid, it is useful and functional,
beautiful. • The utensil is part of a short lifecycle that concerns the whole social body. It is designed by professionals; it is manufactured by community workshops; it employed by different users; it is recycled and dismantled by its manufacturers.
la cappella villa i Cancelli
proposal | Fiesole . Firenze . IT | 2017
architecture | 34
Villa i Cancelli - located on the hill of
the villa has to be split in several units
a smart of use of the verticality of the
Fiesole, Firenze - is a semi-abandoned
sold as parts of an exclusive gated
space. The overhead studio colonizes
Renassaince pearl in search of a new
use. Along with its thousands square meters of gardens and marble halls, in order to be affordable for the market,
It is within this process that the design for la cappella - the chapel - sees the light: a kind of super-bedroom making
the space just under the cupola and make possible to enjoy for the very first time the splendid frescos made by disciples of Raffaello.
casa L e casa U private villas extension
commission . with una2 architetti associati | Celle Ligure . Savona . IT | 2016
architecture | 36
view of the village before and after the intervention
the project involves the expansion of
a pre-existent house - casa L - and
until the landscape
the the renovation of the interiors and
(autorizzazione paesaggistica) for casa
facades of its sister - casa U - both
L and building permit (DIA) for casa U.
located on the hill behind Celle Ligure (Savona, IT). The project deals with the traditional settlement typologies and with the
plan of the ground floor
impact of new tecnologies. The result is a building able to change completely its aspect when opened and closed, combining the warm tones of ash wood together with the the dark, hard shell of zinc flakes; a system of shading has been developed to reach this effect and give a new character to both houses.
The main house intervention - casa L mainly involves the addition of a third
floor - therefore the remake of the roof - an extention of the ground floor and the design of the exterior, including a private box and a swimming pool.
6 scossalina metallica perimetrale in zinco; caratteristiche tecniche e colorazione in analogia a quello utilizzato per le scandole degli A scuri 1 2%
manto di copertura in abbadini di ardesia
frangisole - veneziana metallico in alluminio estruso verniciato 3 grigio chiaro opaco tipo Hella 92 o similari
pergolato/tettoia a lamelle 9 orientabili in alluminio tipo pergola bioclimaticaGibus medtwist o similari; colore grigio 8 chiaro
7 5. parapetto metallico zincato acata tinteggiata colore e verniciato; altezza 100cm, correnti orizzontali piatti nda incassato nella metallici 50x10mm; elementi ertura in abbadini di tondi Ă˜12mm, interasse verticali 10cm; colore grigio chiaro 4 oia a lamelle orientabili po pergola bioclimatica 70 wist o similari; colore
7 +50,39 m slm
1. manto di copertura in abbadini di ardesia ssicano con stessa 2. isolamento termico a cappotto spessore 6 cm 3. parapetto metallico zincato e verniciato; altezza opertura 100cm, correnti orizzontali piatti metallici 50x10mm; elementi verticali tondi Ă˜12mm, etallica colore perimetrale in interasse 10cm; grigio chiaro ad anta in alluminio a taglio termico tipo 4. serramenti ristiche tecniche e Schuko; colore grigio chiaro termico 5. disgiuntore n analogia a quello 6. profilo metallico a L serie DIN 100 x 50 x 6 sporgente 6 cm da filo facciata le scandole degli scuri 7. pergolato/tettoia a lamelle orientabili in alluminio tipo pergola bioclimatica Gibus med-twist o similari; fissi: pannelli di colore grigio chiaro 8. scuri in legno fissi: pannelli di essenza frassino sino naturale a vista con naturale a vista con rivestimento esterno in di zinco (s=0.7mm) del tipo RHEINZINK esterno scandole in scandole di -prePATINA o similari di colore grigio chiaro (blue-grey) mm) del tipo RHEINZINK 9. scuri in legno mobili: pannelli di essenza frassino a vista con rivestimento similarinaturale di colore grigioesterno in scandole di zinco (s=0.7mm) del tipo RHEINZINK -prePATINA o similari di colore grigio chiaro grey) (blue-grey) intonacatadi tinteggiata colore bianco 10. facciata mobili: pannelli 11. scossalina metallica in zinco per protezione acqua piovana sino naturale a vista con esterno in scandole di mm) del tipo RHEINZINK 1 similari di colore grigio grey) d anta10in alluminio a 2 5 tipo Schuko; colore 6
1 1010 14
11 4 15 117 162 10 10 78 89
+53,39 m slm
dettaglio del serramento - pianta (scuri aperti) Scale: 1:25
90 - sezione67,5 sistema90 della facciata A Scale: 1:50
dettaglio del serramento - pianta (scuri chiusi)) Scale: 1:25
via ferrari 54/56 celle ligure (sv)
via ferrari civ. 62 e 64
comune di celle ligure
architecture | 38
rich. autoriz. paesaggistica integrazioni
window detail, plan and elevation 1 : 50 open and closed shading configurations.
dettaglio del serramento - sezione Scale: 1:25
ampliam. L.R.49/2009 e s.m.i.
richiedente: andrea giustini
dettaglio del serramento - prospetto (scuri aperti) Scale: 1:25
richiedente: andrea giustini
ampliam. L.R.49/2009 e s.m.i.
via ferrari 54/56 celle ligure (sv)
via ferrari civ. 62 e 64
rich. autoriz. paesaggistica integrazioni
dettaglio del serramento - prospetto (scuri chiusi)) Scale: 1:25
dettaglio scuri progetto
2 12 8 17 2 12 8 11 7 5 4 3 5 9
south elevation, design proposal.
2 1 10 11 8 2 7 8 11 5 4 3 9
east elevation, design proposal.
6. copertura metallica in zinco opaco non riflettente; colore grigio chiaro 7.
scuri in legno fissi: pannelli di essenza frassino naturale a vista con rivestimento esterno in scandole di zinco (s=0.7mm) del tipo RHEINZINK -prePATINA o similari di colore grigio chiaro (blue-grey)
8. scuri in legno mobili: pannelli di essenza frassino naturale a vista con rivestimento esterno in scandole di zinco (s=0.7mm) del
tipo RHEINZINK -prePATINA o similari di colore grigio chiaro (blue-grey) 9. serramenti scorrevoli in alluminio a taglio termico tipo schuko; colore grigio chiaro 10. facciata intonacata tinteggiata colore bianco 11. serramenti ad anta in alluminio a taglio termico tipo Schuko; colore grigio chiaro 12. canale di gronda incassato nella copertura
13. pluviale e messicano con stessa inclinazione copertura 14. profilo metallico a L serie DIN 100 x 50 x 6 sporgente 6 cm da filo facciata 15. scossalina metallica in zinco per protezione acqua piovana 16. isolamento termico a cappotto spessore 6 cm 17. copertina in ardesia
commission . with una2 architetti associati | Savona . IT | 2015
architecture | 40
the intervention planned for the Famila
the complete demolition of the preexistence and in the construction of a new building. Beside the client's natural need to maximize the scenic impact of the intervention to attract new customers' attention, the design concept is to minimize the environmental impact of the volume, being it just a few meters away from the sea: it is right from the conflict of these two necessities that a new form is born as expression of this double, ambiguous nature. On the one side - the one on the road, via Nizza - a pure, very white volume, with a deliberate disproportion in size of the logo. On the other side the beach, clearly visible from the sea as well - the building disappears to leave space to a green hill, public and in continuity with the walk. The intervention in fact pays its urbanism burden
pedestrian path that will connect via Nizza to Prolungamento, a project long announced but never started until now. The double nature of the building is also revealed along with different times of the day; if, in fact, at daytime you have the perception of a large, white volume as suspended on the road, during the night the lighting system abandones the faรงade and reveals the interior space, celebrating the dynamics of the act of shopping and highlighting its maximum symbolic element : the large escalator .
famila seen from the beach, from the road, along the new pedestrian walk and from the sea.
architecture | 42
section b (east elevation)
the false mirror det falske speil
* WINNER * competition . with false mirror office | Trondheim . NO | 2015
urbanism | 46
Europan 13 addressed the matter of adaptability,
sustainability to the ever-changing condition of cities.
Looking at this miscellaneous context,
that city itself ? Europan
we launch an inedited process in which into
combining the reinterpretation of four local archetypes: • The typological reinterpretation of
In a context where such acclaimed
obsolete slogan “from local question
concepts are no longer a conscious
to global solution” naturally switches
attitude, but a dogmatic precept, the
to a more appropriate “from global
• The canalization of the whole
false mirror internalizes such premises
requests to specific solution”.
Trondheim’s district of Nyhavna is the
• The new fleet of temporary and
testing ground where playing out our
facing the enslavement to this belief and questions the foundation of this trend:
personal declination of the adaptable,
• A new land-water network.
to what extent can the use of
through an approach which combines a
new waterfront, the existent heritage,
the renovation of an industrial district
features takes shape through the
and the presence of cultural actors.
a solution f or a whatever city without losing the identity of
urbanism | 48
artificial sky, indoor plaza
urbanism | 50
above, the abacus : a catalogue of locally adapted typologies rather than global tools. on the left, the phasing: a logical process in lieu of a chronologycal approach.
abacus consisting in 52 elements
The urban context can no longer rely
network of interactions unlinked to
(sorted by type and characteristics):
on programs whose completeness is the
a precise time sequence, but through
only guarantee of success, as well as on
a system of situations based on the
universally applicable devices,
those aislated processes whose lonely
interactions between the conditions
success reveals the inability to build up
offered by the context and the specific
direct declination of the f our
a system within the metabolism of the
solutions derived from the abacus.
city taken as a whole.
Contextually adapted rather than
Without the need to outline the
stage of an interactive process of
generically adaptable, the abacus gives
future of Strandveikaia through the
Trondheim an inedit compromise
boundaries given by a strict time
thrilling scenery for the waterfront of
between innovation and tradition,
schedule, the false mirror is based
Trondheim, through a plan that works
flexibility and permanence.
on a process which grows through a
with time and against the generic city.
Strandveikaia becomes this way the situations,
blueprint la fiera di Genova
competition . with false mirror office, PIA, uno8A, GOSPLAN | Genova . IT | 2016
urbanism | 52
the Padiglione S, a new covered plaza for sport and events.
plan of the whole area of intervention . ground level
Blueprint is the former title of the
are held for the construction of the
development and those who hope for
vision for the city given by Renzo Piano
different design areas.
an increase in viable activities within
Building Workshop on the 23rd of September 2015 as a free contribution
This study, which examines the portion
the harbour and Fiera del Mare.
of the city from Porta Siberia to Punta
With the Blueprint, Genova will
Vagno, expresses a vision that, just like
again become a seaside city. Just
a blueprint, has the right immediacy
as the recovery of the Porto Antico,
It is an overall design that leaves ample
to draw a harmonious relationship
redesigned by Renzo Piano, has
space for more detailed definition and,
within port and city, building a bridge
allowed the historic centre to find a
just like the copies of construction site
way to overlook the sea, The Blueprint,
plans, it is a vision of the development
demands, between those who ask
by opening a channel which connects
of the city, after which competitions
for an environmentally sustainable
the Porto Antico to the Fiera, will help
to the future port, industrial, planning and social development of Genova.
urbanism | 54
to overcome the separation between
the requested mass requested is in fact
up from big structure. A bet on quality
the city and the sea caused during
shifted on the plot of the Pavilion S,
driven public space design, sewing up
the development of the port after the
altering its program and structure,
the Porto Antico area with Corso Italia,
Second World War.
while the north part of the lot is freed
as stated in the original BluePrint.
Rather than fill in the sea to claim more space, the design plans an opposite process where valuable space and water are both reclaimed. At the core of this proposal is the will to stress the limits of the call: half of
urbanism | 56
la passeggiata dei baci tra Portofino e Paraggi
commission . with una2 architetti associati | Portofino . Genova . IT | 2016
urbanism | 58
1. Portofino senza tempo Meta del turismo d’élite degli anni ‘50, la visione mitica di Portofino si è radicata e persiste nell’immaginario della villeggiatura di tutto il mondo. L’aperitivo in Piazzetta è rito, le case che la racchiudono sono scenografia di un teatro in cui venire ritratti: Portofino è diventata oramai tappa obbligata per celebrità di ogni dove.La sfilata di star che l’hanno visitata va a comporre un album fotografico che ritrae oltre sessant’anni di celebrazione di un mito e cristallizza una certa idea di eleganza caratteristica di Portofino e di nessun altro luogo nel mondo. 2. la passeggiata da ri-scoprire Il
Portofino a Paraggi e si sviluppa a ridosso della linea di costa e dell’adiacente
attraversando quattro diversi tipi di paesaggio in un climax di ascesa e ridiscesa che rende l’esperienza del cammino diversa in ogni punto. Un primo tratto, scandito dai colori delle facciate del borgo, si insinua nella crêuza con i suoi alti muri in pietra; un secondo, soleggiato passaggio si apre
sulla costa offrendo magnifici quanto inediti scorci sul promontorio e verso l’orizzonte. Quindi la vegetazione si fa più fitta, il tragitto più fresco, quasi oscuro. Prima di ricongiungersi con la statale di Paraggi, il cammino torna ad essere più mite, protetto dai castagni di Niasca che inquadrano inaspettati ritagli di costa da Rapallo a Zoagli.
1. La Riviera Italienne, Italy Travel Poster (1920) 2. Hotel Portofino Kulm, Leonetto Cappiello 3. Ponte dell’Accademia, Venturi Rauch & Scott Brown (1985) 4. veduta di Portofino, la piazzetta 5. Chiesa del Divo Martino, particolare del campanile 6. Ente provinciale per il turismo, Cartolina promozionale di Mario Puppo (Genova).
3. gli spunti progettuali
4. la rilettura del luogo
5. kiss me in portofino
Il percorso esiste già, il progetto
Il linguaggio adottato nel racconto
interviene solo in alcuni punti, scelti
del progetto rimanda all’età d’oro della
toccare la pavimentazione esistente,
promozione turistica provinciale degli
nell’intento di celebrare il valore
anni ‘50, facendo perno sulla memoria
collettiva e riecheggiando un senso
e delle sue declinazioni. I singoli
di nostalgica familiarità anche nella
eventi si innestano puntualmente
proposizione e scoperta del nuovo.
lungo il sentiero, ora attirando il
Ogni intervento vuole valorizzare il luogo proiettando il fruitore in una dimensione quasi onirica tra il mai visto e il familiare; la passeggiata diviene loci
fa gli è
oggetto archetipi grazie
fugace sguardo di un turista, ora accompagnando
contemplazione di un particolare elemento del paesaggio.
scandiscono il tragitto in prossimità
questi presupposti che il motivo
di accessi, punti nodali ed aree di
decorativo pittorico a trompe-l’oeil
Ogni accesso viene segnalato da un
sosta. Ciascuno rimanda all’altro per
portale, ogni slargo potenziato da
materiali, colori o assonanze.
compositivo ricorrente in tutti i nuovi
un’installazione che attribuisce a quel
luoghi: da pattern nelle cementine
luogo una nuova identità, dandogli
delle pavimentazioni, a tassello di
un nome ed una ulteriore ragione di
Ogni luogo acquisisce un nome e diviene
definito, tappa di una storia da condividere.
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architettonici, a sfondo di richiamo per portare i visitatori sul sentiero.
Contemplazione, sosta, gioco, bacio, selfie... Come vivi il tuo #kisspoint?
6. nuove possibilità
fotografici o di spot commerciali per
La Passeggiata dei Baci si presta ad evolvere un percorso di collegamento in viaggio di scoperta e di svago, ad
scrivere nuovi capitoli dell’archivio iconografico e dell’ immaginario di Portofino.
avviare processi di mecenatismo e di
Ogni punto fornisce il pretesto per
promozione turistica di qualità.
spostare lo sguardo su un elemento
Intervenire sul sentiero attrezzando e
riproporne l’uso di volta in volta.
rende possibile nuovi usi e attività:
Il progetto potrà essere realizzato in
installazioni temporanee, land art,
un’unica soluzione, oppure per parti,
costruendo la sequenza dei #kisspoint
eventi mirati di teatro itinerante,
per successione logica oppure casuale,
percorsi enogastronomici, ... Infine
indirizzando le azioni in funzione dell’
tutte quelle attività proprie delle
entità dei finanziamenti acquisiti.
eccellenze turistiche che finalmente a Portofino avrebbero uno spazio senza confliggere con la virtuale “sacralità” della Piazzetta.
Il percorso e il paesaggio potranno arricchirsi nel corso del tempo di nuove attrattive e punti di richiamo andando a consolidare l’interesse a
I #kisspoint si prestano ad accogliere
rivedere il luogo per completare la
eventi di ogni natura, diventare set
map of the interventions along the pathway: six portals and seven points of attraction.
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a commercial illustration has been created to promote each intervention; from Portofino to Paraggi : la porta di ponente (the western door) la rotonda sul mare (the roundabout on the sea) la strada dipinta (the painted street) il tunnel dell'amore (the love Tunnel) il belvedere (the belvedere) il ponte sospeso (the hanging bridge) i giochi nel bosco (the games in the woods) la casa sull'albero (the treehouse) la porta di ponente (the eastern door)
the gardens of zaryadye a new park for Moscow
* third prize * competition . with MVRDV | Moscow . RU | 2013
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1. The Site Zaryadye is a remarkable empty place, hidden behind a fence in the heart of Russia’s capital, next to the Red Square, Kremlin, Saint Basil’s Cathedral and GUM Shopping Aracde, just along the Moskva River. Now it will become a new public space in the very heart of Moscow. The excellent decision to create a public space on this spot is as logical as it is courageous. The central location of Zaryadye is such a strong part of the public domain that it evokes the highest expectations, that it causes lively debate and that it resulted in a complex and contradictory wish list: Zaryadye needs to be a connection between history and the future, city and nature, summer and winter, global and local, iconic and sensitive, community and individuality, idealism and realism, and on and on. 2. The Histor y The site has experienced many eras of Moscow’s history, and many versions of Moscow. First a swamp, it was cultivated into farmland, and then for centuries was a lively, densely populated neighbourhood developing alongside the rest of Moscow, until it was all erased to make space for one of the Eight Sisters. Construction of this mega project was stopped halfway through, and it was replaced by a giant hotel, which in its turn was recently demolished to make space for a commercial venture. The decision to now turn the site into a public space is deeply intelligent. It creates space for the people. It puts the tremendous history of Zaryadye back in the hands of the people. And so the question arises of what to do with this great responsibility?
with nature, as if the site were a tabula rasa, seems too easy, too blunt; such a great past is a fascinating story to be told. Isn’t it wise for a modern, contemporary society to open up its history when creating a new future? 3. The L ayers We propose that all of the known traces of Zaryadye’s history are explored and brought literally to the surface, up to the daylight where they are ‘projected’ onto a new surface. They will mark a new period in the site’s history, both spatially as well as temporally, but they will always remain a kind of X-Ray of the site, revealing its past. The walls and spatial foundations of the past, and in addition the newly requested elements have been translated into a fine framework of footpaths gently draped over the site. History and future become literally accessible,
winter’s day, or a warm summer night. Without
without judgment, each trace of Zaryadyes history is drawn up from the ground and celebrated. 5. The Time Machine Zaryadye’s
amenities for the future of the park are merged into a rich and complex path network allowing easy access to every area of the park. The framework harmoniously and neutrally blends the medieval Zaryadye neighbourhood, the never realised Eighth Sister, the Hotel Rossiya and the archaeological remains
programs of the visitor's centre, the car park, the concert hall and the two proposed new axes. All of the stories which can be told about the past and oncoming future of the Zaryadye
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neighbourhood are thus superimposed
and leaving unobstructed view lines
along the many paths. If one path is
onto each other. Not in a sentimental
to the surrounding state monuments.
busy, there are always alternatives.
way, but as a sensitive new entity.
The highly accessible and yet complex
This network of footpaths creates
Together, the contours of Zaryadyeâ€™s
network of paths stimulates visitors to
connections with the surrounding city.
revisit the park, providing an endless
It helps to encourage and to develop
pattern, a framework as a crucial
number of different experiences, and
a neighbourhood which prioritises
starting point for the stories of the
the potential for a different route for
future ahead. This layer of compressed
each visit. The dense, sensitive pattern
experience of promenading through a
history at Zaryadye is set as an iconic
allows the park to be rich in variety
stage for the future.
and intimacy, whilst being memorable
6. The Connector
and iconic. The number of paths
7. The Gardens of Russia
makes it possible to have many visitors
The diversity and poetic quality of
The historic layer is used as a network
in the park at the same time, without
the Russian landscape is represented
of paths, connecting park and city at
interfering with its atmosphere and
in a collection of 750 natural gardens
many different, sometimes unexpected
character. Large groups of people
and landscapes, which â€˜fillâ€™ the spaces
places. Two diagonal axes are included,
can distribute themselves easily over
between the framework of paths. Each
connecting the corners of the park
the grounds, walking and strolling
historical layer is interpreted through
old Zaryadye neighborhood
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the Eight Sister
connections to surroundings
Valleys and Hills
connection to embankement
vegetation that recreates the illusion of a specific Russian landscape. The paths are slightly elevated in comparison to the gardens, accentuating the framework and allowing for pleasant views over the gardens. They are designed by a curated set of landscape designers and artists, enlarging the diversity of the park’s collection. This grand collection allows for a catalogue of species that form a new arboretum, with a collection of the country’s flora representing all the Russian regions. The gardens can be seen as a vivid library of the Federation’s geography and landscapes.
8. The Garden of Zar yadye The concept of planting for Zaryadye is to enable visitors to experience the diversity of Russia’s natural landscapes right in the heart of the city centre. The plant selection is as rich and diverse as the history of the location. Each historical layer is interpreted through vegetation that re-creates the illusion of a specific Russian landscape such as the taiga, steppe, tundra, dacha
Similar to a natural environment,
visible in the planting of Zaryadye where the historical layers overlap. Where in nature specific plants indicate a specific environment, in the Gardens of Zaryadye the rich history of the site becomes readable through the precise location of different plant species, which stretch out like a rich, woven tapestry between the paths. Species which grow naturally in the region are used where possible, such as birch or pine trees which provide a quintessential image of Russia.
where small variations in plants
The planting choice is inspired by
appear on a large scale according to
nature but resists being an exact copy
microclimates, subtle variations are
the green city
the central plaza
scenography of users
scenography of seasons
scenography of uses
scenography of lights an sounds
on the move open up Rouen !
* second place * competition . with bluefoamit| Rouen . FR | 2013
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concept - avant propos Europan 12 announces a shift in paradigm. It is a fact that the World is
However, are our cities responsive to such conditions? We believe that cities nowadays are too rigid and static, and are incapable of adapting to
and needs. 'On the move' provides a critique of the contemporary topdown urbanism planning approach and the relationship between city and user. Through rethinking and reimaging
design process, allowing them to
relationship with the people who live
make decisions on how their city is
there. The city should be designed by
designed, how their city grows, and
a bottom-up approach, giving citizens
most importantly, how their city is
the tools and parameters within which
used. While the result might end
their city can be designed. The city
up in an apparent chaos, it would
should be constantly evolving and
in fact be nothing but one form of
responding to emerging needs and
desires. The city and the people should
unexpectedness and dynamism given by free will and freedom of choice. The reconceptualised city is designed here collectively, and is highly flexible and responsive to shifting conditions, while celebrating the intense, diverse and complex character of a metropolis. Welcome to YOUR city. Cities nowadays are designed in
we provide a framework and toolkit
that empowers the people the ability
Governmental institutions dictating
and opportunity to contribute to the
design decisions, hence are often not
planning and development process of
what the people want or need. Cities
cities. The toolkit consists of 3 major
are now rigid and static, and are
tools - The Cloud, The Rules and The
not able to ADAPT to the constantly
changing demands and needs of the
Through this set of tools, people are now able to participate in the
In order to create such a dynamic system, we provide the people with a 'make your own' planning Toolkit with the necessary urbanismistic development instruments. The 3 tools work together to create a city that allows freedom through a process of
the urbanism development process,
have a reciprocal relationship.
people. We believe cities should have a dynamic
1. The cloud is a critique of the rigid zoning method of contemporary urbanism planning and is the generator of this dynamic city. The cloud extracts data such as attractions and pedestrian flows from the surrounding context, and generates a 3D map of points that highlight the contextsâ€™ influences. According to these 'attractors', the mapping of points suggest where different scales or typologies could be built to maximize interaction and integration. The Cloud itself is an evolving master plan, and it constantly updates when new projects and flows are introduced. 2. The Rules indicate and regulate how the user builds in the site. The set of rules ensures the livelihood of the city and its users in terms of social and environmental aspects. Upon the input of every new idea or project within the cloud, a designer will take part throughout a conversational process of consulting. The designer may also be a commission, which will make sure that the overall rules (subject to change according to yearly surveys)
urbanism | 72
are followed throughout the project. They are the guideline for an active co-habitation which again reacts on the needs of the people perpetuating the process whilst ensuring a dynamic growth 3.
types that are constantly evolving. As prototypes, they represent a process of evolution, inherently incorporating transformation and evolution as a response to the information they receive
context and to the variable necessities of their users. As
structures which are commonly used and understood within our societies. The catalogue shows the potential scenarios of how a prototypology may evolve over time, either in scale or function. The prototypologies do not suggest a shape or form; instead, what is emphasized is their performance - highly flexible and capable of being reused for new functions.
fibreboards. It has two sides, with
shelf, that can host objects of different
with false mirror office, gosplan, uno8a, pia, linearama
stuffs), the other side is a dolls' house.
different features: one side is a proper size and type (books, dvd, kitchen
Unfolding Pavilion Venezia . IT | 2018
interacts with its context. Between the end of WWII and the 80s, Italian architects faced the need for new housing blocks to accommodate a population that was growing fast.
It is composed by vertical and
This long period saw the construction
horizontal elements, some of which
of largely ugly suburbs, with only few
can be moved in different positions,
examples of good architecture. Gino
Valleâ€™s social housing on the Giudecca
piece of furniture. Gino's original
island is one of the best and most
version has three colours: ocher,
poetic of such exceptions. This was the
grey and violet. The partitions of
expression of a State that tried to give
the shelf are grey, the dolls' house
a home to all its citizens, especially to
structure is violet while the vertical
those who were going to start a family.
installations, the piece of furniture
panel dividing the two parts is ocher.
that we displayed during the Biennale
Thanks to its manifold concept, Gino
is a sort of prototype of an autonomous
can be placed in each room of the
design object that could be produced
house: it can be a bookshelf in the living
room, a cupboard in the dining room
or a dolls' house to play or to place toys. Gino, as we named it as a tribute
It can be a free standing furniture,
to Gino Valle, is a piece of furniture
useful to separate different areas in a
made of coloured medium density
unique space. It is a playful object that
exhibitions | 76
Today, this vision is completely out of time: firstly, because Italy doesn't invest in real estate anymore, and secondly because, as demographic data suggest, Italian households are nowadays mostly composed of a single person. This is why the kids' room in
Valle's three-storey apartment symbolizes for us “the last possible kids' room”, the bedroom where we spent our childhood during the 80s but that we are not likely to design as architects nor to enjoy as parents. We produced a piece of furniture that is half a shelf, half a dolls' house. Its design is inspired by the sophisticated section of Gino Valle's project. This object defines the room as “the kids' room” and it is set up with toys and other memorable items from our Millennial childhood. This playful installation aims to loudly states that our generation (as architects as well as citizens) should not give up trying to provide quality houses for everyone. gino at the Unfolding Pavilion during the opening of the biennale di architettura (Venezia, 2018)
exhibitions | 78
#aeschyli Open!studi aperti with false mirror office, gosplan, uno8a, pia, linearama piazza Grillo Cattaneo Genova . IT | 2017
For the event "Open! The architects open their studies to the public", promoted by the National Council of Architects, we decided to give life to a collective event to present our work as a single corpus, the product of a community, if not quite of a school, based on common training and reinforced by frequent collaborations in the competition field. The exhibition is divided into three scenes. 1. inspired by the card game designed by Charles and Ray Eames, and consists in an installation composed of 212 cards on which are reproduced drawings, plastic photos, collages and graphics that show our common passion for the representation of 'architecture, understood not only as a retrospective return of a project, but as the very foundation of research and the design process. 2.consists of a video projection of the works realized or under construction. 3. occupies Piazza Grillo Cattaneo, on which the other two spaces overlook, and consists of a two-dimensional representation in plan and in real scale of a designed space. A game on the contrast between interior and exterior and on the ability to imagine what is not there.
vertical village IBA with MVRDV Hamburg Museum Hamburg . D | 2013
Under the title ‘ The Vertical Village –Individual, Informal, Intense Taipei’ the exhibition explores the rapid urbanism transformation of East Asia, the qualities of urbanism villages, and the potential to develop much denser, vertical settlements as
identical block-like architecture of standardised units and their effect on city life. The exhibition includes newly commissioned films, interviews, and public works of art, centred around the City of Taipei’s urbanism regeneration scheme
Station’ (URS) which has successfully redeveloped seven disused properties into a wide variety of public facilities, cultural programs and spaces for artists and entrepreneurs. Visitors can design their ideal house and compose their own Vertical Village with these parametric packages. In the main courtyard of the historic Hamburg Museum, an interactive sculpture of the Vertical Village is exhibited. Installation artists from Taiwan have also
to the theme of the Vertical Village: ‘Arcadia in the Back Alley’ by Hsieh Ying-Chun, ‘City Cabin’ by Hsiao YuChi and ‘Whispers of the City’ by artist collective Interbreeding Field.
in this page and the next page page above: the Vertical Village IBA opening, Hamburg Museum. Down on the right: Vertical Village at Milan Design Week (2014).
exhibitions | 80
zuppa romana when in Rome with false mirror office ierimonti gallery New York . US | 2016 RIBA London . UK | 2017 Acquario Romano Roma . IT | 2017
Rome is an off-centre metropolis, out of an orthodox perception of time, where every single past becomes present in a continuous state of monumental contemporariness. An architecture that counteracts this “loss of identity” by showing a profound interest in theory and research coming from a generation of architects born in the ‘80s: a counter-trend that tries to recover a debate lost years ago and obstructed by a cumbersome star system. Their theoretical, critical and historical approach attempts to rediscover a thoughtful dimension behind the architectural subject. Each firm will present a residential project in the Roman countryside, a design exercise meant as a typological investigation, or, more generally, as a meditation on the autonomy of the architectural discipline. What will remain are thirteen projects for thirteen houses in the Roman countryside, thirteen gifts to the city of Rome.Involving some of the architects who participated to the 1988 MoMA’s show “Deconstructivist Architecture” drawings
exhibition is attempting to generate
exhibitions | 82
a debate between two generation of architects: one who destabilized a certain kind of relationship with the design theory and a new one wishful to get back on the lost way.
from the top: zuppa romana at ierimonti gallery (NY), zuppa romana at RIBA (London, UK). on the right: zuppa romana affresco.
the music lessons variations on Vermeer's masterpiece
FIRE3 teaching and research | LAPIS . ENAC . EPFL . Lausanne . CH | 2017
research | 86
The Vermeer’s Music Lesson, forth variation: reverse shot
L'exercice demande aux étudiants de
produire deux images vraisemblables
proposition suivante : soit un espace
sur la base d’un tableau donné.
nouvelle image, sur la base de l'image
intérieur, une chambre comportant au
donnée, en modifiant une ou plusieurs
moins une ouverture vers l’extérieur
de ses caractéristiques telles que
et une ouverture vers l’intérieur; c'est-
perspective, point de vue, cadrage,
à-dire un seuil entre le dedans et le
dehors, un instantané entre un avant
reconstruction - La première sera la restitution précise, vraisemblable et réaliste du tableau - à l'exception des êtres humains et autres animaux.
Les deux images correspondront à la
et un après.
The Vermeerâ€™s Music Lesson (no Lady at the Virginals , no Gentleman)
research | 88
The Music Lesson (Lady at the Virginals with a Gentleman), Johannes Vermeer, 1662-1665, oil on canvas The Vermeer’s Music Lesson, first variation: make your own kind of music The Vermeer’s Music Lesson, third variation: abat-jour The Vermeer’s Music Lesson, second variation: candlelight
smoking lights parametric experiment
Workshop â€” Emergent aGE: Parametric Design with Maya | Genova . IT | 2012
research | 90
the final task of the workshop consists in a small project: create a fluid animation and a blend shape, then combine them with a script. The answer is a collision of the fluid with a district of Genova, in order to create an installation for a square; the result is a parametric design that starts out as a texture for the floor and grows up through two steps - a seat and a flowerpot - becoming, at the end, a proliferation of street lamps.
lunarium study for a Moon termal bath, whatever it means
study | Nowhere | 2018
research | 92
research | 94
ipomoeoid a climbing neighbourhood
thesis graduation project| Rio de Janeiro . BR | 2014
research | 96
What if a skyscraper gets naked,
same need of making an optimal use of
transport system within a leaf of an
showing anything but its connectionsâ€™
angiosperma -a flowering plant -,
system? Staircases, elevators, water and waste supplies, electricity system emerge like the true soul of the building.
The metaphor doesnâ€™t involve only trees and buildings: leaf compounding and
A structure very similar to the one that
electrical and water system: the
transports life within the conif ers ...
same principles of transport all the
From air to soil and down underground: the radical apex of plants and cities
connection systems of natural and built realities, shaping it.
represent a sort of diffuse brain, able
On an itinerary that explores the
to perceive and respond to different
observed similitude from macro to
environmental stimuli. Competing for
micro in vegetal and built worlds,
space, buildings and plants share the
the diverse elements composing the
research | 98
compared to the layers of a street, show the deep parallelism between the two structures. The architecture of a vegetal ecosystem is defined by its transport system, why canâ€™t we mimic its behaviour, apply the same principles to develop an urbanism ecosystem ?
The extract of the exhibited catalogue is
Genotypes are based upon a process
than select the individuals with the
the result of a code which re-elaborates
highest fitness, reproducing them in
the application in Botanical Modelling
which brings to the formulation of a
catalogue of procedural models, the
the base of the mathematical model
plantoids matrix. Around a hundred
models have been produced, but itâ€™s
Lindenmayer, implemented through the Genetic Algorithms developed by Adam Runions. Biodiversity has been adopted as fitness parameter for the selection of the results to obtain a wide collection of models able to fit
potentially infinite !
the successive generation. The
algorithms offers the potential for bringing biological processes and architecture together !
Processing a simulation of Plantsâ€™ competition
specific environmental situation, the best behaviour has been performed by plantoid #16 from the Plantoids Matrix. The basic genetic algorithm has to generate, for each iteration,
diversity through the population and
the seeds Temporal stands, chariots’ storages, social associations, bars... Episodes of spontaneous occupation within an “end-of-life” area. The seeds are portraits of informal life spread by the wind from the surrounding morros. Each seed is a potential growing Plantoid !
the IP0M0E0ID Phenotype of Plantoid #16 from the Plantoids Matrix. The growth is influenced by the interactions of the algorithm with the environment at each iteration. The reference plant is the Morning Glory (Ipomoea carnea, canudode-pita in Brazil), a climber which cannot stand erect on its own and so relies on a host - here the Warehouse.
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the Plantoids Possible development of some seeds produced by the Plantoids Maker and picked from the Plantoids matrix. Each Plantoid is a potential growing neighbourhood !
the infrastructure Translation of the Plantoid into architecture. Each element deployed by the code turns into a modular package of infrastructure, including the whole transport system and connections. The infrastructure is the formal part of the â€˜gameâ€™, given by the Watcher - the Municipality + a team of professionals- iteration by iteration, in response to the possible interactions the inhabitants have with it.
iteration #6 an interactive community
The families keep extending their
of the Warehouse for this purpose, but
houses colonizing all the free space
since Maravilha Project is demolishing
most of the warehouses around, the
occupies the entire facade of the
community argues they shouldnâ€™t take
off space for the carros and welcome
the Watcher to build together an
other ones in their Warehouse instead.
Evangelic Chapel on the rooftop. The Watcher suggests to use the interior
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iteration #7 a climbing neighbourhood
To finalize the last iteration, the
environment swarms of life! The
algorithm increases the attraction
power of the Warehouse and makes the
its maximum growth. Perhaps the
Plantoid completely turn to the other
Watcher could jump back to the
facade of the building, embracing it.
algorithm and allow an 8th iteration
Other lifts are provided, spontaneous
... Maybe the next time. The Watcher
agri-dĂŹnamo attitudes pop up from
mission, here, is over.
the inhabitants themselves. The lajes
(SOFTWARE DEVELOPERS + ARCHITECTS + ...)
• Registers a situation • Makes a topographical survey of the site • Starts a dialogue with a team of professionals
the formal package Modular
• Create a virtual model of the site • Process the competition of plants algorithm, choose the plantoid with the highest fitness from the Matrix • Translates the Plantoid into an infrastructural device
the inf ormal plug-in
obtained by the translation into
inhabitants of the free platforms found
architecture of the algorithm, which
along the structure, which is provided
by the Municipality.
configuration based on the previous iterations and on the interactions with the urban environment. The package
the production of road networks, staircases, footbridges, ... Including water, waste, electricity supplies. Formal part of the dialogue, between the Watcher - which is committed to provide it - and the inhabitants - who have the possibility of squatting it -.
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consisting with the attitude - registered as peculiar - to squat by the favelados. The constructions are made by the inhabitants themselves, according to their traditional background, personal choices, need and taste.
• Build up the first step of infrastructure (connections, ...)
• Squat the free plots they find along the infrastructure
(MUNICIPALITY + PROFESSIONALS)
the informal plug-in
the formal package
vernacular Valais survey of greniers, racards et granges ĂŠcuries
FIRE2 teaching and research | LAPIS . ENAC . EPFL . Lausanne . CH | 2018
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Grenier à Ayer, plan
Le cours de relevé sera appliqué à
permettront de relever le bâtiment
entre architecture et construction
une étude de cas réelle centrée sur
ou le groupe de bâtiments afin de
du territoire. La restitution prévoit
le territoire valaisan. Il est prévu
procéder à leur restitution graphique.
d’utiliser non seulement les bases
de se déplacer sur les sites choisis
La phase de restitution se fera en classe
graphiques 2D et 3D, mais aussi la
afin d’introduire les étudiants à
en parallèle à des cours théoriques sur
construction de maquettes.
la connaissance et au dessin de
les méthodes et principes du relevé
architectural ainsi que sur la notion
Les 2 journées de visite des sites
de patrimoine centrée sur le rapport
grange ĂŠcurie Ă Liez (commune de St-Matin)
research | 108
grange ĂŠcurie Ă Liez (commune de St-Matin)
visualization of "Madla - Revheim" | masterplan proposal| with MVRDV | Stavangar . NO | 2013
visualization | 112
visualization of "zooban" | competition design for the expansion of the city Zoo | with MVRDV | Maubeuge . FR | 2013
visualization | 114
visualization of "zooban" | competition design for the expansion of the city Zoo | with MVRDV | Maubeuge . FR | 2013
visualization | 116
visualization of "mattillanie-mi campus" | competition design for the new universitary campus | with MVRDV | JyvĂ¤skylĂ¤ . FI | 2013
visualization | 118
visualization of "nuovi giardini di plastica" | proposal | Genova . IT | 2017
visualization of "stand-up comedy at la Santeria Social Club" | commission | Milano . IT | 2018
visualization | 120
visualization of "CCbur Centro Civico Buranello" | commission | Genova, IT | 2016
visualization of "the science city In the 6th of October City" | competition | with false mirror office, 5+1 aa | Giza . EG | 2016
visualization | 122
the false mirror portable office | study . publication and exhibition | with false mirror office | Venezia . IT | 2018
visualization | 124
graphic | 126
graphic | 128
graphic | 130
graphic | 132
t h a n k y o u filippofanciotti.com firstname.lastname@example.org
a collection of my most significative works. divided into six chapters: architecture, urbanism, exhibitions, research, visualization and gra...
Published on Jul 25, 2018
a collection of my most significative works. divided into six chapters: architecture, urbanism, exhibitions, research, visualization and gra...