Silvia Maria Gioia Puddu - Undergraduate Porfolio. University of Cagliari.

Portfolio

Puddu Silvia Maria Gioia UUN: s1346413 s.m.gioia@hotmail.it Cagliari, 16/08/1994 Junior Architect University of Cagliari, Italy

Curriculum vitae

3

Personal Statement

4

Introduction

5

Academic Projects

Index

01. Integrated Laboratory of Design and Construction of Architecture 1

2015/2016

Architectural Composition 1 Prof. Giorgio Mario Peghin

Technical Project for Architecture 1 Prof. Antonello Sanna

Contacts: giorgiopeghin@unica.it

asanna@unica.it

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02. Integrated Laboratory of Design and Construction of Architecture 2

2016/2017

Architectural Composition 2 Prof. Pier Francesco Cherchi

Technical Project for Architecture 2 Prof. Emanuele Mura

Contacts pfcherchi@unica.it

emura@unica.it

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03. Integrated Laboratory of Design and Construction of Architecture 3

2017/2018

Architectural Composition 3 Prof. Adriano Dessì

Technical Project for Architecture 3 Prof. Carlo Atzeni

Contacts adrianodessi@unica.it

carlo.atzeni@unica.it

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04. Architectural Drawing and Surveying 1, 2

2015/2016

Architectural Drawing and Surveying 1 Prof. Vincenzo Bagnolo

2016/2017

Architectural Drawing and Surveying 2 Prof. Andrea Pirinu Contacts vbagnolo@unica.it

apirinu@unica.it

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05. Final Thesis

Title of qualification awarded

Grade

Title of the Thesis

Supervisor Contacts

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13/11/2018 Architecture Bachelor’s degree 110/110 cum laude “9 projetcs. Composition of pure forms in Louis Kahn works” Prof. Pier Francesco Cherchi pfcherchi@unica.it

The projects presented below were all produced in group works,

my personal contribution is marked with *.

Curriculum vitae

Personal information

Education and Training Extracurricular activities

Name Silvia Maria Gioia Puddu

Address

Telephone E-mail Nationality

Date of birth

Via Germania 8, Quartu Sant’Elena, CA, Italy

+393477790815 s.m.gioia@hotmail.it Italian 16/08/1994

“ARCHIVIZ 6DAYS” Full-Immersion course held in Milan The following topics were studied during the course: Basic and advanced 3D modeling, cloth modeling, rendering setup, exterior and interior lighting techniques, still life lighting, basic and advanced texturing, multipass, photo insertion, basic and advanced post-production, photography fundamentals, image composition, colour

Personal skills and competences theory.

Languages

And the following software were illustrated:

Mothertongue Italian

Cinema 4D, V-RAYforC4D, Photoshop, Marvellous Designer

Other languages English

Professors Angelo Ferretti, Angelo Talia and Silvia Labanti

IELTS certificate 25/05/2017

Dates 14/01/2019 - 19/01/2019

Centre Anglo-American School, Cagliari

Duration (h) 54 Reading 8.0

Writing 6.5

Workshop AAE_PAVILLON – (Architecture, Art, Education)

Speaking 6.5

“The Machine for Permanent Learning”

Listening 6.0

at Politechnika Poznańska, Wydział Architektury.

Overall score 7.0 - C1

Professors Prof.ssa Anna Maria Colavitti, Prof. Maciej Janowski

Social skills and competences In the last five years I have had the opportunity to work closely with the public, particularly as a hostess in the Teatro Lirico of Cagliari and in a bathing establishment. This was certainly useful to develop an awareness of the importance of communication and cooperartion within a group with the purpose of achieving the task at best. In my academic career I have always managed to combine my natural tendency to be individualistic, making decisions independently, with the importance of listening to others’ opinion.

Technical skills and competences

Good command of every Microsoft Windows Operating System and intuitive understanding of different computer devices.

Good command of the following programs: Autocad, Revit, Adobe-Photoshop, Adobe-Indesign, Office-Word, Offi ce-Excel, Office-Poweropint, ArcGIS, Cinema 4D, V-rayforC4D, RDF, fTool, VcaSlu

Artistic skills and competences I have good skills in freehand and technical drawing. I’ve always been interested in figurative art, in music and in philosophy.

I have also attended some piano classes at the music school named “Scuola Civica di Musica Luigi Rachel”

Dates Duration (h)

15/09/2018 - 22/09/2018 48

Seminar for the design of systems in the residential area, “Systems and Renewable Sources” at the headquarters of the Order of Architects of Cagliari Dates Duration (h)

22/03/2018 5

Seminar for the design of systems in the residential area, “Air conditioning systems” at the headquarters of the Order of Architects of Cagliari Dates Duration (h)

15/03/2018 5

Enrollment at the Faculty of Architectural Sciences (Bachelor’s degree) of the University of Cagliari Date 8/10/2015 Duration (y) 3

Diploma of Scientific High School at the Liceo Scientifico (Scientific High School) “G. Brotzu”, Quartu Sant’Elena, CA Grade 86/100 Dates 15/09/2008 - 9/07/2013

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Personal Statement I am a recent Bachelor graduate in Architecture at the Italian University of Cagliari, where I attended a three-year course, that was important to develop on one hand self-awareness, on the other my passion for architecture.

I have been in the city of Edinburgh ten years ago and it deeply touched me for its ineffable magic, that with time I realized was its inseparable relationship with nature. I would love to study the unions and contrasts between architecture and the natural environment and critically face the concept of “beauty”, which I think, in a world full of contradictions, is no longer necessarily similar to that of harmony. I am therefore pleased to read the opportunities that the University of Edinburgh offers and the way the courses are treated, with a non-traditional multiperspectival approach based on active student participation in debates of issues.

My choice to study architecture was indeed dictated by the urgency and desire to get involved creatively. I have always been fascinated by the symbolic meaning of the work of art, often hidden behind an ambiguous surface that cannot always be described in words.

This led me to become interested in philosophical readings that made me question about the way in which the artistic expressions evolve, today more than ever similar to a very personal way of living that influences those around us, our work and contributes to the complexity of human knowledge.

During my studies I tried to carry out the task of integrating my knowledge and interests, focusing them in architectural design.

I’ve learnt for example that architectural design is a complex fact, which cannot be limited to the choice of spaces and

technologies. There is something subtler, more philosophical and essentially “human” that must be considered. The scope of architecture has the potential to shape culture, to deepen our experience of the modern world.

That’s why these themes are in my opinion related to the existential experience itself. After the distortion of the simplicity of life caused by technologies, we must question again on the necessity to learn how to inhabit places, returning to the original contact with life and to re-develop, as architects and men, that necessary sensitivity to improve the human education.

All this is contained in the word Architecture itself, from árche and técton. The first term is in fact connected with árchein for “to begin”, “to command” and it expresses in ancient Greek the meaning of “origin”, “foundation” or “guide”. While técton, recalls different meanings, among which “invent”, “create”, “shape”, “build”: the technical make-up, but also art, the manual making, the craftsmanship.

Based on this considerations, it is possible to understand how the task of the architect is probably to become a guide, a master of living, in a society in which it is not obvious anymore. In my opinion, the architect cannot disregard even a psychological knowledge of the human being and a critical and dynamic vision of the world.

I think that the multi-perspectival approach as well as the request of active participation that seem to characterize the course are a perfect way to preserve all the complexities that concern the making of architecture. I also recognize the importance of not excluding theoretical questions to solve practical issues and of the fundamental support of critical thinking.

To conclude, I just can say that I would be honoured to grow as an architect in a similar environment.

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Introduction During my studies I tried to carry out the important task of integrating my knowledge and interests, focusing them in architectural design. I’ve had the opportunity to approach a great variety of topics, from philosophy to construction science, and I was fascinated with some theoretical consideration on Architecture.

The projects presented below are developed within the architectural laboratories at the University of Cagliari and they deal with different themes depending on the place where they arise, the destination of use, the target audience, the climate.

It is possible in spite of the physiological diversity that can be found in designing residential buildings, school buildings and receptive architecture based on a pre-existent construction, to find many important background themes.

The plans of these buildings are in fact different, but their development is essentially driven by the pre-existing forms suggested by the place.

In the first case, a residential area located in a plain and rudimentary area in the north-west of Sardinia, with a system of insufficient services, already announces how the architectural design is a complex fact, which cannot be limited to the choice of spaces and technologies.

Before the need to solve the practical problems of every specific project, this was the key point of these years of study.

For exemple, in the second year, before facing the project itself, we were asked to work creatively by defining an ideogram representative of our abstract idea and to try to put it into words, as if to return to a primordial stage and to reconnect

with the archetypes inherent in human nature in a language that everyone can understand.

Moreover, the theme of “living” was transmitted in a broader paradigm than the one of the house, covering those public places that we are led to live for a long time: such as study and work places, where it seemed fundamental to find a dialogue between the need to be an individual and at the same time feeling part of the community.

During the last course of Design and Construction we explored the theme of a privileged place in the center of a small village of Oristano, in the centre of Sardinia, as a destination to better explore another important and primordial theme: the nutrition.

Even here, the choice of making architecture dialogue with the food service is not casual, it’s once again connected to the need to rediscover the origins of life.

This brings me to underline how we cannot ignore the need to adapt intelligently the project to pre-existences with its own nature, its special climate, its light, its landscapes, its vegetation, in its geomorphology and with its habits that already mark the tracks of what must necessarily be valued as it is and what can be added without presumption.

My final thesis work, an analysis of nine selected projects of the the Architect Louis Kahn, summarizes my desire to somehow unite poetry with its symbolism and the experimentation of forms. In fact, he shows us the potential of pure geometries that combined can generate spaces of excellence, where it seems almost possible to touch the sacred and not only the well-being considered as the satisfaction of our own needs.

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Project theme

The central theme of the Laboratory is the design of the house in its size, in the layout, in the characterization of the functional spaces and the aim is to find the relationships that architecture has with the specific place. This consists in practice in elaborating a building or a district to be inserted in a urban, suburban or rural context. The actual project is preceded by a study of the site and a reflection on the relationships between architecture, type and context, on the aggregation of different building types and on the links between the new intervention and the system of pre-existences.

Description of the intervention

The project of the residential district, expansion of the existing district of Loratella - Sa Segada, includes two types of buildings: terraced houses and patio houses. The starting point at the planimetric level were the terrraced houses, because it seemed sensible to place them in the lower portion of the lot oriented to the East. The context, which is still purely rural in Loratella and surroundings, also suggests to respect the tradition by introducing gardens in the wide space between the two arrays.

These gardens are separated by a road which leads to the garage of each house. They have east-west orientation, to guarantee interior lighting.

Residential District in Loratella Sa Segada, Alghero

0 1

Design reasons

The design of the terraced houses was inspired by the Soholm houses I at Klampeborg by Arne Jacobsen, because we wanted to resume the offset of this exemple using a side entrance and a recessed garage. For the patios, the main reference was Eduardo Souto de Mura, in particular the example of Matosinhos for the alternation of dimensions in the two types of patio houses.

Other important references were the projects by Alberto Campo Baeza Casa Guerrero and Casa Gaspar. We were also inspired by the care that these architects have placed in harmonizing architecture with nature.

Integrated Laboratory of Design and Construction of Architecture 1 Prof. Giorgio Mario Peghin Prof. Antonello Sanna 2015/2016 Camilla Muntoni, Federica Planu, Daniele Porcu, Silvia Maria Gioia Puddu Software: Autocad

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1 Patio Houses with three courts 2 Patio Houses with two courts 3 Terraced Houses 4 Private gardens 5 Road that leads to each garage 6 Park

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3

5 4

2

6 Planimetry of the project proposal of the residential district of Loratella*

00551010 2020

5050MM

Orthophoto representing the current state of the district of Loratella*

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Patio House

Terraced House

Transverse section

West elevation*

Longitudinal section (left)

First floor plan (left) Ground floor plan* (right)

Transverse section

Plan (right)

East elevation*

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Wall section of the Terraced House*

1. Galvanized steel flashing; red tiles 45x14.5-18 cm; Roof covering: waterproofing layer 6 mm; thermoacoustic insulation 7 cm; steam barrier 7 mm; irons of the beam φ6; hollow flooring block h 16 cm; concrete cover 2.5 cm; thermoacoustic insulation 5 cm; plaster 2 cm 2. Exposed brick 12x5.5x25 cm; thermal insulation 5 cm; plaster 2 cm 3. Covering 2 cm; insulation and concrete cover 5 cm; vapour barrier 6 mm; irons φ16; plaster 2 cm; aluminum frame 4. Plate with drips 5. Intermediate floor with: internal flooring 2 cm; screed 10 cm; thermal insulation 5 cm; waterproofing sheath 6 mm; irons φ6; concrete cover 2.5 cm; hollow flooring block h 16 cm plaster 2 cm 6. Sliding aluminum frame 7. Foundation slab: internal flooring 2 cm; screed 10 cm; sheep wool insulation 5 cm; waterproofing sheath 6 mm; concrete casting with electro-welded mesh 11.5 cm; prefabricated “igloo” foundation h 35 cm; lean concrete 8 cm 8. Rigid continuous foundation 9. 2 steps with a 10 cm rise and a 40 cm step; layer of weakly cemented sand 10 cm; stone foundation 30 cm; ground

9

Wall section of the Patio House*

1. Corten steel flashing with joint on the brise soleil guides; light perforated bricks 11x11x24 cm 2. Pipe union with protection (wider part 9.60 cm) 3. Draining gravel 6 cm; waterproof bituminous sheath 6mm; slope screed of 2.5 cm thermoacoustic insulation in sheep wool 10 cm; 7 mm steam barrier; bausta type concrete slab; concrete covering layer 2.5 cm longitudinal section of the irons of the beam ɸ6; bracket ɸ6 (round irons ɸ16); hollow flooring block h 16 cm; plaster 2 cm 4. plaster 2 cm; bearing wall consisting of Poroton 800 (30x24x19 cm); termoacoustic insulation in sheep wool 7 cm in which is recessed the drainpipe of the same diameter; coating in plasterboard panels 6 mm; plaster 2 cm 5. Brise soleil with adjustable wooden fins and aluminum frame composed of three guides 6. outdoor flooring 5 cm; layer of weakly cemented sand 10 cm; stone foundation 30 cm; ground 7. internal flooring 2 cm; screed 10 cm; sheep wool insulation 5 cm; waterproofing sheath 6 mm; concrete casting with electrowelded mesh 11.5 cm; prefabricated “igloo” loose foundation h 35 cm; lean concrete 8 cm 8. Rigid continuous foundation*

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Project theme

The theme of the Laboratory was the design of new spaces for students to be integrated with the public areas of the campus and with the gardens towards Viale Merello and the “Orto dei Cappuccini”. The area is located just behind the former hotel of Ubaldo Badas, now headquarters of the faculty of Economics, and it is divided into several units facing the gardens.

Premise

The “Aula nel parco” (Classroom in the Park) project involves the construction of a study room in Viale Sant’Ignazio in Cagliari.

A green area needs to be reassessed in order to have a decisive and influential role in the whole project and not only a background function. The classroom is seen as a efficient space in the center of the city but also a intimate refuge in close contact with the surrounding nature.

We wanted to exploit its proximity to the recently revalued green area called “Orto dei Cappuccini” and the connection with two of the most important university centers in Cagliari.

Description of the intervention

It was imperative to preserve the surrounding greenery as much as possible, so we intervened on the natural slope of the land.

The building, oriented to north-east, consists in three levels.

The first level is at the ground floor, with the entrance from Viale Sant’Ignazio presented to the public as a hall from which it is possible to reach the floors below. The intermediate level -1, -4 meters from the street level, is an open space that houses the study room in its spatial and visual freedom. The last level, -2, -8 meters high, is an additional classroom able to accomodate further students and recreational activities. Here there is a medium-sized patio, a remarkable source of sunlight.

The inclination of the roof guarantees the right shielding from the Mediterranean sun in a city like Cagliari.

Design reasons

We wanted to differentiate the building from the surrounding architectural style, with contemporary stylistic and technological choices, therefore, we selected concrete and glass. The last one in order to preserve the continuity with the surrounding space.

Classroom in the Park, Cagliari

0 2 Integrated Laboratory of Design and Construction of Architecture 2 Prof. Pier Francesco Cherchi Prof. Emanuele Mura 2016/2017 Elisa Floris, Valentina Mele, Silvia Maria Gioia Puddu

Software: Autocad for drawings Revit and Cinema4D for modeling and rendering Photoshop for post-production

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1 2 5

1 Project area 2 Ubaldo Badas’ building 3 Viale Merello 4 Orto dei Capuccini 5 Viale Sant’Ignazio

Garden in the project area

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External view of the Classroom*

0 floor plan*

Longitudinal section x-x*

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External view of the classroom*

-1 floor plan

Internal view of the classroom

North-East elevation*

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-2 floor plan

South-West elevation

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1_A detail*

Clamp Bearing masonry in reinforced concrete Vertical rebar External thermal insulation in expanded polystyrene Waterproof plastomeric membrane sheet Rusticated membrane in elastoplastomeric bitumen-polymer Anti-root nonwoven fabric Stones

RP

-2F

-1F

0F

Clamp Soundproofing panel in expanded polyethylene Horizontal rebar Thermal insulation in expanded polystyrene Reinforced concrete Screed slab with visible finish Glue Parquet Flooring

Wood finish Reinforcing square-shaped bar Longitudinal rebar Longitudinal rebar Inclined reinforced concrete full-section slab

AA section*

COB1 1. Lean concrete 10 cm 2. Aerated vespaio consisting of elements in regenerated polypropylene (type CUPOLEX h = 40 cm); screed with electro-welded mesh, 20x20, (h = 10 cm) 3. Insulation in expanded polystyrene (type Silverstyr Xps) 10 cm 4. Concrete foundation screed 10 cm 5. Parquet flooring 2 cm + 0,5 cm glue INDOOR GARDEN 1. Land 2. Lawn OUTDOOR GARDEN 1. Land (stone) 2. Land COI 1. Light plate slab (type COBIAX Eco-Line 315) 40 cm 2. Sound-absorbing pad in expanded polyethylene 0.2 cm 3. Insulation in expanded polystyrene (type Silverstyr Xps) 6 cm 4. Concrete foundation screed 10 cm 5. Parquet flooring 2 cm thick glued with a 0.5 cm glue condition COC 1. Light plate slab (type COBIAX Eco-Line 315) 40 cm 2. Bituminous vapor barrier 0.2 cm 3. Insulation 10 cm 4. 0.5 cm plastomeric bituminous waterproofing sheath 5. External finish made of a lean concrete with electro-welded mesh, pitch 20x20, (h = 5 cm) CV1 1. Load-bearing masonry in reinforced concrete 40 cm 2. External insulation in expanded polystyrene (type Silverstyr Xps) 10 cm 3. BPP plastomeric waterproofing sheath 0.4 cm 4. Membrane in bitumen-elastoplastomeric polymer bit 0.8 cm 5. Non-woven macroforo fabric in anti-root polypropylene 0.2 cm CV2 1. Load-bearing masonry in reinforced concrete 40 cm with internal facing fishing 2. External insulation in expanded polystyrene (type Silverstyr Xps) 10 cm 3. External plaster 2 cm CV3 Stained glass consisting of: · 1 cm multi-layer glass · Double glazing (argon gas) 1,5 cm · 1 cm multi-layer glass CV4 20 cm reinforced concrete partition with external facing finish CV5 Stained glass consisting in: · 1 cm multi-layer glass · Double glazing (argon gas) 1,5 cm · 1 cm multi-layer glass ECV Stairs consisting of: · Reinforced concrete slab · Shaped and armed step with brackets · Parquet finish 2 cm

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Screed with electro-welded mesh with visible face finish Bituminous waterproofing membrane Metal flashing Thermal insulation in expanded polystyrene Structural lightweight concrete Vapor barrier Bituminous waterproofing membrane Metal flashing Dowel with threaded bar Structural concrete Aluminum counterframe Aluminum frame Self-tapping screw to lock the frame Single glass

RP

1_B detail

Shatterproof multi-layer upper glass Double glazing (Argon gas) Shatterproof multilayer lower glass Spacer Double-glazing locking device Silicone for structural glazing Nylon thickness Glass-holder Lower longitudinal reinforcement Lightening element in polyethylene Support Upper longitudinal reinforcement

-2F

-1F

0F

BB section COB1 1. Lean concrete 10 cm 2. Aerated vespaio consisting in elements in regenerated polypropylene (type CUPOLEX h = 40 cm); screed with electro-welded mesh, 20x20 (h = 10 cm) 3. Insulation in expanded polystyrene (type Silverstyr Xps) 10 cm 4. Concrete foundation screed 10 cm 5. Parquet flooring 2 cm + 0,5 cm glue INDOOR GARDEN 1. Land 2. Lawn OUTDOOR GARDEN 1. Land (stone) 2. Land COI 1. Light plate slab (type COBIAX Eco-Line 315) 40 cm 2. Sound-absorbing pad in expanded polyethylene 0.2 cm 3. Insulation in expanded polystyrene (type Silverstyr Xps) 6 cm 4. Concrete foundation screed 10 cm 5. Parquet flooring 2 cm thick glued with a 0.5 cm glue condition COC 1. Light plate slab (type COBIAX Eco-Line 315) 40 cm 2. Bituminous vapor barrier 0.2 cm 3. Insulation 10 cm 4. 0.5 cm plastomeric bituminous waterproofing sheath 5. External finish made of a lean concrete with electrowelded mesh, pitch 20x20, (h = 5 cm) CV1 1. Load-bearing masonry in reinforced concrete 40 cm 2. External insulation in expanded polystyrene (type Silverstyr Xps) 10 cm 3. BPP plastomeric waterproofing sheath 0.4 cm 4. Membrane in bitumen-elastoplastomeric polymer bit 0.8 cm 5. Non-woven macroforo fabric in anti-root polypropylene 0.2 cm CV3 Stained glass consisting in: · 1 cm multi-layer glass · Double glazing (argon gas) 1,5 cm · 1 cm multi-layer glass CV4 20 cm reinforced concrete partition with external facing finish CV5 Stained glass consisting of: · 1 cm multi-layer glass · Double glazing (argon gas) 1,5 cm · 1 cm multi-layer glass PI1 1. Finishing with plaster 1 cm 2. Partition in perforated bricks of 12x25x25 cm 3. Finishing with plaster 1 cm PI2 1. Finishing with plaster 1 cm 2. Supporting partition in perforated bricks (Poroton type) 25x25x30 cm 1. Finishing with plaster 1 cm PI3 30 cm reinforced concrete load bearing septum with exposed face finish ECV Stairs consisting in: · Reinforced concrete slab · Shaped and armed step with brackets · Parquet finish 2 cm

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Project theme

The design idea begins with the study of a traditional reality, the court house of the Marmilla, in which the enclosure, consisting in factory buildings arranged around a large court, is reinterpreted with the aim of giving it new shape and new function. The house is in fact transformed into a receptive structure that consists in two new volumes that house the restaurant and the bedrooms.

The general effect is the subdivision of the entirety into several semi-private courts.

Description of the intervention

The project consists in blocks of distinct and independent volumes punctuated by linear geometric repetitions that create clear perspectives.

The central nucleus that binds the volumes together, emerges with relevance in the first entrance court where the essence of the project manifests itself.

Here, the access is guaranteed by the portal-threshold. The spaces crowning the entrance contribute to make the main volumes usable and complete.

The volumes of the project cohabit with the pre-existing ones that need to be enhanced, especially the main portico building, redesigned in its first floor as a cooking academy.

Design reasons

The purely geometric concept that initially moved the design evolved to acquire a materiality that is best expressed through the use of wood.

This material symbolizes the incessant dialogue between tradition and progress, allowing the visitor to come into contact with the natural dimension and at the same time guaranteeing the exploration of advanced techniques.

The shape is manifested in a succession of lamellar blades and beams that scan light and shadow to create a functional portal that supports the asymmetric slopes of the roof.

The roofs supported by a portal-based system represent an evolution of the sloped traditional roof. The portal was vital for the growth and definition of the project, a reference to the theme of entrance and to the vertical scan of the loggia.

Geometries beyond the Threshold

0 3 Integrated Laboratory of Design and Construction of Architecture 3 Prof. Carlo Atzeni Prof. Adriano Dessì 2017/2018

Elisa Floris, Valentina Mele, Elisa Pinna, Eleonora Puddu, Silvia Maria Gioia Puddu Software: Autocad for drawings Revit for modeling and rendering Photoshop for post-production

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3

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6

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8

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6 4

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1 5

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1 5

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8 6 4 8

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9 1 5 Ground floor 1 Entrance 2 Patio 3 Dorm 4 Restaurant 5 Storage 6 Shop

First floor 7 Stairs 8 Cooking academy 9 Dorm *

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Ground floor plan

South-West elevation

EE section*

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1* 3

7 8 6

4

2

2

9 1 5

1

Roof plan*

2*

Longitudinal section

Transverse section

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Multi-layer wood panel 0.12 cm 5-layer xlam panel 10 cm Sheep wool insulation 5 cm Multi-layer wood panel 0.25 cm Plywood 0.25 cm

Wood Roof

Pitched roof in corten steel

1

Portal system in corten steel.

They define the three elevations of the volume and perform the structural function

Horizontal coverage

Laminated wood frame assembly Steel plates 0.8 cm Bolts

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Volume of the restaurant overlooking both the main courtyard and the orchard behind Lamellar wood frames

2

XLAM panels

Multi-layer wood panel 0.12 cm 5-layer xlam panel 10 cm Sheep wool insulation 5 cm Multi-layer wood panel 0.25 cm

Plan of the restaurant

Multilayer wood paneling assembly

XLAM panels

Multi-layer wood paneling assembly

Steel pillar for window fixtures

Window fixtures

Roof wood Lamellar wood

Steel pillar for window fixtures

X-lam Glass

Pre-existent wall

Stone Concrete

Podium

Concrete bond-beam

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Transverse section and wall-section of the bedrooms

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1 1

4

4

2

2

4

2

3. laminated wood beam 10x45 cm wooden plank 3 cm vapour barrier 0.15 cm sheep wool insulation 6 cm waterproof case 0.15 cm slope screed 2% waterproof case finishing in gravel 4. multi-layer wooden panel 0.12 cm 5-layer XLAM panel 10 cm sheep wool insulation 5 cm multi-layer wooden panel 0.25

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Transverse section and wall-section of the restaurant*

Assembly diagram of the lamellar wood frame

1. laminated wood beam 10x45 cm wooden plank 3 cm vapour barrier 0.15 cm sheep wool insulation 6 cm waterproof case 0.15 cm wooden spacers 5 cm wooden plank cover 3 cm 2. lean concrete 10 cm stalls cupolex ventilated wasp 40 cm partition screed 4 cm bituminous sheath 0.15 cm sheep wool insulation 6 cm background screed 10 cm

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The laboratory of Architectural Drawing and Surveying 1 and 2 represents another important step for the architect’s training.

The graphic arts presented below are few compared to those that have been produced during these two courses.

The first year was based on lectures and laboratory didactics with execution of individual drawings. In order to test the learning of the theoretical content of methodologies of representation we had graphic exercises developed in the classroom and on the field.

What was important to develop was the ability to solve problems on geometry of space by appealing to the theoretical foundations of descriptive geometry as well as the correct use of the projective methods. We were asked to conceive and represent the visual quality of objects through the use of different techniques.

The theoretical lectures dealed with the perception and representation of space, the functions of the drawing, the methods and techniques of graphic representation, the graphical languages, the theory of shadows.

The technical drawing’s importance consists in finding the operational guidelines and standards, understanding the correct use of plans, elevations and sections and of the scales of representation.

Finally, the architectural survey consisted in a group work in which we were supposed to apply the theory of measurement, the systems for the direct survey to a private house.

In the second course we had to acquire a mastery of traditional techniques of graphic representation and the ability to analyze objects in three dimensional space, leading to an awareness of conventional and symbolic sign in the definition of two and three dimensional fields. The theoretical lessons consisted in a historical excursus on the application of matrix-geometric and graphic design in the design process, survey and the drawing of architecture and the city. The teachings on the survey were based on many seminars and practical application relating to the graphic restitution, at different scales of representation, architectural, urban and territorial, of traditional and contemporary architecture. We had to realize individual free-hand drawings and eidotypes but we were working in groups.

Classroom in the Architectural Park, Drawing Cagliari and Surveying 1, 2*

0 0 2 4

Integrated Laboratory of Design and Construction of Architecture 2 Architectural Drawing Prof. Pier Francesco Cherchi and Surveying 1, 2 Prof.

Emanuele Mura Prof.

Vincenzo Bagnolo 2016/2017 Prof. Andrea Pirinu 2015/2016 Elisa Floris, 2016/2017 Valentina Mele, Silvia Maria Gioia Puddu Elisa Floris, Valentina Mele, Elisa Pinna, Eleonora Puddu, Software: Silvia Maria Gioia Puddu Autocad for drawings Revit and Cinema4D for Software: modeling Autocadand forrendering drawings Photoshop Photoshop for for post-production post-production

Schematization of common objects

Architectural drawing and surveying 1

Volumes of common objects

Characterization of common objects

Pictogram in different techniques

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Survey of a private house in Uta, Cagliari

Ground floor plan

Planimetry of the district

AA section

North-east elevation

Sketch of the living room

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Redrawing of a 45 degree aerial photo (1920) of the historic district of Santa Croce, Cagliari

Sketch of the rampart of Santa Croce, Cagliari

Architectural Architectural drawing drawing and and surveying surveying 22

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Survey of the Sacristy of Santa Maria del Monte, Cagliari

Particular of a capitel

Eidotype of the Sacristy of Santa Maria del Monte, Cagliari

Longitudinal section and plan of the Sacristy of Santa Maria del Monte

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Landscape drawing.

Approaching the Historic District of Castello, Cagliari

Redrawing of the view of Castello from Calamosca

Redrawing of the view of Castello from Sant’Elia

Redrawing of the view of Castello from via Bottego

Sketch of the historic Saint Pancrazio Tower from via Santa Croce.

It is possible to notice the tower also in the other drawings.

Redrawing of the view of Castello from viale Regina Elena

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The following pages deal with a multifocal analysis of some of the works of the Architect Louis Kahn, in an attempt to search for common interpretations in the diversity of his projects.

There are some recurring themes that have been identified in the nine projects, such as: light as a fundamental component of form, monumentality, materiality, the central plan as a polarity of independent volumes all around, the rediscovery of origins. Everything is reconnected to a more specific analysis on the geometry of the plants of the proposed examples, usually composed of pure geometric shapes.

The combination of these themes produce unexpected variations depending on the intended use, place, and cultural references of Louis Kahn, never indifferent to historical types (Renaissance churches, monasteries, Scottish castles) and enriched by the journey in Italy, Greece and Egypt, from which he takes inspiration for the research on pure geometries.

The starting point is certainly the First Unitarian Church, which will define Kahn’s enterprise in finding a non-symmetrical order of independent fragmentary geometries around a nucleus.

The analysis and re-reading of the nine projects selected was developed with the tools of design. For each project have been developed a graphical plan analysis drawing attention to the lattices, the symmetry axes, the pure geometries at the base, the asymmetries, the nodal points.

The plans were classified into three groups by common geometric principles: The nine-square grid, the rotated square and the central plan.

The first group includes: The Adler house, the Trenton Bath House, The American Consulate in Luanda; the second one: the First Unitarian Church, the Fischer House, the Convent of the Dominican Sisters of Media; the third one: the Dhaka National Assembly Building, the Phillips Exeter Library and Hurva Synagogue.

9 projects.

Composition of pure forms in Louis Kahn works*

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Final thesis Supervisor: Prof. Pier Francesco Cherchi 13/11/2018 Silvia Maria Gioia Puddu Software: Autocad for drawings Indesign for the layout Photoshop

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Adler House

Trenton Bath House

The nine squares represent a pedagogical exercise developed by Hejduk to systematically analyze a series of compositional and constructive problems.

The organization of the Adler House has its conceptual origin in a grid of nine squares (Fig. 1) that generate five closed units and five open spaces (Fig. 2a).

While the lower row (empty, full, empty) can be connected to this origin, in the central row (empty, full, full, empty) and in the upper row (full, half empty, full, empty) this doesn’t happen (Fig. 2b).

The pavilion system therefore allows multiple readings.

The ideal ABA scheme (Fig. 3a) is manipulated to form the plan of the Adler house (Fig. 3b).

The modern BBA scheme (Fig. 4a) can be adapted to the plan by moving the pavilions (Fig. 4b).

The general arrangement of the pavillion units therefore presents a superposition of classical and modern scheme and their combination allows a double reading with both provisions.

There are two ways to identify the classic nine-square grid in the Adler House, but both of them are imperfect adaptations (Fig. 5a, 5b).

The Bath House is considered as the starting point for Kahn’s developments on the theme of primary forms: square, cross, circle, triangle (pyramid), starting from a plane of transverse axes.

The result is a denial of the free plan and of the dynamic asymmetries of modernism, making it more similar to a classical nine-squared plan, a grid of serving spaces and served spaces with an ABABAB rhythm.

The figure A shows how the intersection of the corners of the four squares arranged in a cross generates greater “served” spaces and lower “serving” spaces.

The serving spaces become the most evident element of the plan, structural hollow columns that delimit the space of the primary served rooms (Fig. B).

The third figure (Fig. C) shows how this configuration developes a destabilization of the specific points of view of the nine-square plan.

It is possible to note nevertheless (Fig. D) how the plan fits perfectly in a classic nine-square grid.

The orthogonal grid rotated by 45 degrees with respect to the axis of the plant represents a recurrent attitude in subsequent works.

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First Unitarian Church; Fisher House

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The rotated square (Fig. 6) is an ancient proportioning device that was widely used in the Middle Ages as a method to determine the appropriate structural and aesthetic proportions of the Gothic towers. A square is built inside the initial square, rotated 45 degrees, with the side equal to a quarter of the first dimension and the halved area. A second smaller rotated square aligns with the initial outer square, the vertices are derived from the intersection of the diagonals with the sides of the rotated square.

The side is further halved compared to the original size and the area is reduced by a quarter, and so on.

The proposed scheme shows the generation of the plan of the Unity Temple of 1905/1908 by Wright.

Perhaps more than in any other project, in the first scheme of the First Unitarian Church (Fig. 7), it is possible to perceive the importance of the first works by Frank Lloyd Wiright and the tradition of late Roman and Renaissance central plants.

A perfectly symmetrical quadrilateral with a square in the center surrounded by an ambulatory and four orthogonal axial projections that form a cross.

The square rotated 45 degrees was applied more freely to plants of various kinds, generating unexpected solutions with asymmetric interstitial spaces. On the right, the scheme shows how even in the Fisher House (Fig. 8) pure geometries are a starting point but here the elements combine and intersect developing a square and a rectangle, one rotated at 45 degrees compared to the other. The rotation and the consequent interpenetration between the two volumes generates active and articulated spaces all around the building.

The message is given by the whole.

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Dhaka National Assembly Building; Phillips Exeter Library; Hurva Synagogue The close correlation that exists between these three projects is evident if we analyze the ideas underlying their conception.

Monumentality, light and sacredness are inseparable from the symmetrical geometry of these plans.

All of them are based on the idea of the central nucleus as an attractive pole of the concentric spaces around it, now considered as a stratification of independent buildings, “a world within a world”, reconnected precisely by the central polarity that unites them. A space of symbolic recollection that in Kahn’s theoretical and practical research lends itself to different interpretations and destinations, following the precept “space leads to the project”. The light moves in the nucleus as if it were a boundless place, in a vivid spiritual experience generated by the dialogue between the different intensities of illumination and the stratified spaces. He believed that by designing buildings with a central plan, the effects of the solar rays would have been contrasting with the immutability and purity of the geometric volumes and that only in this way the true nature of light would be honored.

In the Dhaka Parliament, the starting point is the assertion of the transcendent nature of the assembly and the idea of community that it evokes. This materializes in a castle or citadel shape, a diamond or a rotated square with four diagonal walls of offices surrounding the central hall.

The central plan is delimited by a series of independent building forming a society of rooms.

The plan of the Exeter library evolves from this basic principle: “Larger spaces would develop from the smallest space of the building”.

The beginning of Exeter is in the illuminated perimeter, where the reading area is located.

Also here the primary geometries of square, circle and triangle recur, composing, with the cross, Kahn’s ideal: a glorious central single space illuminated from above and, by contrast, the signs of its realization, or of the internal “conflict”, highlighted on the material.Three concentric square spaces are conceived (reading room, book shelves, central hall) as if they were independent buildings.

In closing, the Hurva Synagogue can be considered as the conclusion of this process of analysis, because it summarizes all the topics already treated. Once again it contains the vestiges of antiquity expressed in pure geometries. It is, indeed, conceived as a square within a square separated and united at the same time.

The outermost of the two is formed by independent square-based hollow pylons. The synagogue is like a ruin protected from the strong solar flares and from the heat by an external newer building.

Sunlight plays with the stratifications of spaces as it happens in ruins, giving the idea of a timeless place at the same time rooted to the land to which it belongs. The purpose of the research of Louis Kahn was the attempt to find a timeless cosmic order through these concentric spaces where light surrounds the core before matter, symbolizing the passage from the immeasurable to the measurable.

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