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PORTFOLIO FRANCESCO DE NIGRIS


Born the 15.05.1991 in Genova, now in Milan

EXPERIENCE

EDUCATION

February 2015 / May 2015

February 2014 / October 2016

June 2013 / October 2013

July 2015 / February 2016

Intern in Arch. Massimiliano Roca as co-designer for international competition (5th prize) Collaboration with Politecnico di Milano for organization of Alvaro Siza’s honorary degree

May 2013 / June 2013

Intern in Temporiuso.net as co-designer for municipality competition (1st prize) November 2012 / January 2013

Intern in SmarritaCamilla Architectural Workshop as co-designer for refurbishment of private flats

SKILLS Autocad, Vray, Illustrator, Photoshop, InDesign, Artlantis Studio, ScketchUp, Microsoft Office

INTERESTS Photography, Music, Design, Illustration, Films Football, Snowboard

Politecnico di Milano (English courses) Master degree in Architecture (110/110) University of Buenos Aires Exchange student October 2010 / February 2014

Politecnico di Milano Bachelor degree in Architectural Sciences (103/110) September 2005 / July 2010

Primo Levi Scientific High School High school certificate

LANGUAGES Italian, French - Mother tongue English, Spanish - Professional level

CONTACTS francesco.deni@gmail.com +39 348 8332158


ARCHITECTURE

Urban Centre in Milan - Academic work

Piazza della Scala - International Competition

Museum in Buenos Aires - Academic work

New Museum of London - Thesis work

PHOTOGRAPHY OF ARCHITECTURE

National Library Clorindo Testa, Buenos Aires, 1962

Casa Puente Amancio Williams, Mar de Plata, 1943


ARCHITECTURE

“Everything you can imagine is real.” Pablo Picasso


N MASTERPLAN 1 : 2000


Urban Centre in Via Brisa, Milan academic work

The project aim is the study and the construction of an urban centre in a central area of Milan, dense of historical and cultural layers, characterized by the presence of an important archaeological site. The project is, therefore, the product of a careful analysis of the territory and of its morphological characteristics and settlement. The analysis of the city showed that the project area is located in one of the urban gaps caused by the bombing of the city in 1943 which discovered the ruins of the baths of the Imperial Palace of the Mediolanum Massimianea and left untouched the Torre Gorani, the last survivor of the towers of the most powerful families of the medieval Milan. Nearby the last remaining tower of the Mura Massimianee is located, easy to reach from the project site through the void left by the demolitions carried out in a project of urban redevelopment called “Racchetta”. These elements are representative of the city’s history, so, with the aim of enhancing the memory that they are carrying, space and breath have been given inserting them into a system of squares and green spaces. The road that runs alongside the ruins has been narrowed with the intention of inviting the gaze of pedestrians to appreciate their beauty. The system of squares that qualify the void of via Ansperto has favoured the creation of a link between the ruins of the imperial baths and the Mura Massimianee, creating a first connection among the different Roman remains within the city, in order to foster the memory of the Roman city. The squares around the urban centre allow passage, stopping and resting of residents, tourists, the staff of urban centre and of many offices in the area. These squares and green areas offer a new overlooking on the surrounding buildings, sometimes creating continuity with the spaces of urban centre itself. Studying the historical maps of the city, it was noted how the block contain-

ing the project area has always maintained the same shape, despite the constant changes in the city. The bombing of 1943 destroyed the southwest curtain of the block altering its particular shape and so its recognisability. The intention of the project is therefore to rebuild the perception of the block through a continuous front characterized by a high permeability partly physical and partly visual. With the closing of the block as a court it was necessary to create a link between the green area inside and the surroundings; so it was decided to create a large urban space within the ground floor of the building that assumed the function of entrance hall connecting all the elements of the system. A two-storey basement that aggregates and links volumes with different functions contains also this urban space creating connections and facilitating relations. After establishing a functional program, it was decided to group the functions according to the users and relations between them. The first building is therefore dedicated to the museum system, with temporary and permanent exhibitions, in close relationship with the Roman ruins. The second volume is devoted to a library with study rooms and a small music library, and auditorium. These volumes are directly related to the central one, where the ticket office is located, with the info point and the restaurant. The third volume collects all the urban centre’s service areas, such as offices, meeting rooms and research laboratories. It is autonomous thanks to a secondary access from Via Gorani. Based on the observations and analysis made on the settlement pattern of this area of the city, the choice was made to disarticulate the building volumes, whose shapes are determined by the alignments of via Ansperto, of the buildings that overlook Via Brisa and the first building of via Morigi.


AXONOMETRY


ROOFTOP WEST ELEVATION 1 : 1000


A

A

GROUND FLOOR SECTION AA 1 : 1000


UNDERGROUND FLOOR, FIRST FLOOR WEST ELEVATION 1 : 1000


B

B

SECOND FLOOR, THIRD FLOOR SECTION BB 1 : 1000


N

MASTERPLAN 1 : 2000

2


New design of Piazza della Scala, Milan international competition

The idea that guides the project is the attempt to give shape to the void. The project delimits an elliptical space, included and physically determined by the location of a dense urban forest. The formal reason is only apparently in contrast with the elements: the central void, through the curved line of its edge, binds with the public spaces of the surrounding buildings. This simple principle determines the shape of the void: an ellipse with variable section is oriented to the two opposing architectures of Palazzo Marino and Teatro alla Scala. In the dense wooded margin the internal void is dug to become an open space. The central protected space is excluded from the traffic and the noise of the surrounding streets and it unites, through the drawing of the soil, the nowadays-neglected relations between the buildings that make up the edge of the square. It this way the architectural precision of the central open space reassembles the design and the relationship between the architectures of the city. The proposed architectural figure digs into the memory of the city’s forms; it creates paradigmatic links in the history of the discipline through correspondences and references. It is shaped as a space that, through the definition and use of a non-conciliatory form, strengthens the morphological diversity of the surroundings and solves those conflicts through a new habitability. To allow it, freeing the central space to the new form, the monument to Leonardo da Vinci is relocated near Palazzo Marino. The project sets this condition through three principal indissociable elements: the first, which defines the reasons of the shape of the space, is constituted by a thin bronzed covering suspended from the

ground, with variable section, which has few and thin pillars of the same material; the cover also becomes the instrument of protection and shade of the movement and the rest, increasing the coverage of the section toward the entrance of the Scala. The second element is determined by the peremptory nature of the geometrical square’s proportion, which traces the original measure of the physical square, to form a new urban forest that saturates the available spaces of the square until via Case Rotte and via Manzoni. The trees are of different species like birches, hazels and plums, which vary their look and colour with the changing seasons. The third element is established by the continuity of the paving, which is made, for all spaces of the area of intervention, of a unique material used in all the elements of the urban public space. The characteristic simplicity of the project is highlighted by the use of only few materials used for the entire intervention: the stone, grey porphyry, is the only material of the urban space intervention. It is laid in slabs for the central elliptical void and for the surrounding space until it reaches the perimetral architectures, as well as on the streets and sidewalks. It is laid in chunks, in the parts of the square where the trees are planted. The project preserves the structure of the existing vehicular routes, increasing the taxi parking space on via Case Rotte and displays a small covering, towards Piazza San Fedele covering the motorcycle parking. The project, in the replacement of the lighting elements, keeps the principle of angular illumination of public space, with four street-lights in the square edges, and with a system of indirect lighting for the façades of the four buildings at the edges of the central elliptical shell.


3

1

LONGITUDINAL SECTION 1 : 1000


2

3

1 vista a volo d’uccello 2 2 scorcio 3 vista verso le Gallerie d’Italia


N

MASTERPLAN 1 : 2000


Cultural Centre in calle M.Coronado, Buenos Aires academic work

It has been a great challenge to design a new cultural centre in the downtown of such a big and complex city as Buenos Aires is, especially having the possibility to experience and understand the city for only six month. The aim of the project, from the very beginning, has been focused on the design of a building that could personify and express the simultaneous feelings of roughness and hospitality that the city induced in me during my visit. What really impressed me from the start of this amazing professional and human experience has been the incredible behaviour of the Argentinian people held with the foreigners, showing extreme hospitality and a strong will to help new individuals including them in their communities and social customs. The feeling of a genuine and domestic ambience between the people has been always strong. Another issue that really made an impact on me, at the beginning of my stay, was the roughness and apparent disorder of the city, in term of organization, services and planning. Only through the living and the handling of the city I have been able to understand and get the sense of “order” and “harmony” hidden behind the first appearances. The cuadras that constitute and order the urban pattern of the city centre are 90x90m squares filled by a messy aggregation of buildings of different heights and shapes. These blocks create on the surrounding streets straight fronts with irregular heights and inside different little open spaces, patios and terraces protected from the noise and chaos coming from outside. All those aspects have been crucial in the definition of the general strategy of the project taking in account especially the will of creat-

ing inclusive and protected spaces contained by a building with a double soul: rough and welcoming. It’s clear how the brutalist projects in Buenos Aires by Clorindo Testa, such as the Biblioteca Nacional and the Banco Hipotecario, have unconsciously influenced some language choices, but it was a kind of natural response to the lack of contents of the latest interventions in the city. The project is then organized following a simple strategy that mainly considers the positioning of the auditorium, designed to host 900 persons, at the centre of the building in order to isolate it from the surrounding noise and the location of the exhibition spaces around it. The problem of the possible overlapping of the flows of people related to the two principal functions of the cultural centre has been solved creating two entrances each leading to a big two-storey hall configured to easily guide the flows directly to the entrances of the auditorium or the start of the exhibitions. The presence of an external patio directly liked to the main hall helps to manage the quantity of people hosted by that space. The rehearsal rooms have been located on the ground floor with an easy access to the front stage of the auditorium. Also the offices, administration and laboratories of the museum are hosted in the ground floor with easy connections to the exhibition spaces. Particular attention has been paid in the design of the façades in which had to coexist the simplicity of the rhythm and the sequence of the openings, the roughness of the concrete and the sharpness of the bronzed windows frames, the straight of the fronts and the movement generated by the structure’s shadows.


PLANO DE SITIO 1: 500

AXONOMETRY

PROYECTO ARQUITECTONICO TALLER EX BALIERO - Arq. Santiago Herrera


GROUND FLOOR SOUTH - WEST ELEVATION 1 : 1000


A

A

FIRST FLOOR SECTION AA 1 : 1000


B B

SECOND FLOOR NORTH - WEST ELEVATION, SECTION BB 1 : 1000


FRENTE PRINCIPAL

SOUTH - WEST ELEVATION FROM THE PARK


CENTRO CULTURAL

ENTRANCE


EXPOSICION

TEMPORARY EXHIBITION


N

MASTERPLAN 1 : 2000


New Museum of London in Smithfield Market, London thesis work

Aiming to conceive an architecture fully integrated with the city, the neighbourhood and the Smithfield Market, through a multiscalar approach, from the urban to the architectural scale, it has been possible to govern the choices referring to their relation with the different systems. This process has been preceded by a punctual and careful study of the main features, characters and structures of the project site’s surroundings. In this way it has been possible to collect all the necessary elements to guide the development process in a more accurate and pertinent way. At the urban scale, strong importance has been given to the streets network, especially referring to the axes created during the Victorian’s rearrangement of the city. Those axes strongly influence the structure and shape of the entire complex of Smithfield Market setting alignments, directions and rhythms. The decision to keep those lines as rules also for the new intervention has been driven by the will to keep the urban impact and feeling of the building. Another element that shifts between the urban and the architectural scale is the scanning rhythm of the elevations strongly present in the majority of the city centre and characterizing the Smithfield Market, and neighbourhood, itself. Also this feature has been taken in account in the design process aiming to integrate and melt the new parts of the building with the city. This intention drove the decision of having only one landmark, excluding the new façade, visible from the outside, leaving untouched the principal character of the identity of the building: its exterior elevations. At the architectural scale, after a deep study concerning the functioning of this extremely complex building and the physical and scalar relationship between the different spaces, the drivers of the intervention strategy have been identified in three main categories: reuse, memory and connection. Through those three simultaneous approaches it has been possible to identify a program and an integration to the existent building coherent with its current formal and spacial aspect. The settle-

ment pattern of the actual buildings, whit their courtshaped organization, has been identified as one of the main influential feature, leading the strategic plan to keep this character as a spacial identifying issue. Another way to connect and relationate the old building to its new function has been found in the reuse of its much dynamic and “urban” spaces as interfaces with the people, trying to exploit their spacial appeal to attract the attention and welcome the new guests. The strongest characters of the existing building as the north façade’s scan rhythm and its tower, the dome and the pitched roofs drove the whole strategic plan and could be easily recognised in the final design results. In this way it has been made possible to celebrate and better understand both the old and the new building and their tight spacial relationship. The theme of the connection between the General Market building and the Annexe has been an important part either of the strategical plan either of the conceiving of the exhibition path. The presence of a large basement, fool of interesting elements, helped to find the best solution. Another spacial asset that influenced the general strategy is the constant shift from compressed spaces to expanded ones highlighting the quality of the glass roofs structure. A third aspect played a central role in the definition of the main projects intentions: the program and the competition requests. The insertion of a museum system into an existing building presents its own set of problems related to the accessability, the additional functional apparatus serving a cultural building, safety, etc. So all the design choices had to relate with those features. With this purpose it has been drawn a schematic representation of the “system museum”, relationing all the parts that have to communicate and work together. In this way, keeping the public interest parts in the centre, it has been possible to organize all the “accessory” functions around them, creating a schematically concentric system that helped also the definition of the paths across the building.


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AXONOMETRY


7

N

7

A

A

GROUND FLOOR SECTION AA 1 : 1000


10

N

10

B

B

UNDERGROUND FLOOR SECTION BB 1 : 1000


9

C

C

N

8

MUSEUM OF LONDON

FIRST FLOOR SECTION CC 1 : 1000


11

D

D

N

9

SECOND FLOOR SECTION DD 1 : 1000


NEW ELEVATION


EXHIBITION LAYOUT


PHOTOGRAPHY OF ARCHITECTURE

“Only photograph what you love.” Tim Walker


Biblioteca Nacional, Buenos Aires Clorindo Testa, 1962


Casa Puente, Mar de Plata Amancio Williams, 1943


Portfolio  

Selected works - 2017

Portfolio  

Selected works - 2017

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