Giulio Marsano_Portfolio_Eng

Giulio Marsano

Adress: Via Aurelia 76-3, 16031, Bogliasco (GE), Italia

e-mail: giulio.marsano@gmail.com

Mobile phone: (+39) 3477642732

24/02/1995

Work experience:

[23/08/2021 - 18/02/2022]

Intern Architect

Studio llabb Architettura

City: Genova (It)

Main responsabilities:

Approach to design and restore of apartment, from preexistent state, to building panels.

-Planimetric survey

-First design propose

-Meeting with clients

-Basic computational drawing

-House survey with precise dimension

-Design update and final panels

Skills

Autocad 2D, Advanced level

Autocad 3D, Intermediate level

Adobe Photoshop, Intermediate level

Adobe Illustrator, Basic level

Adobe Indesign, Intermediate level

Sketchup, Advanced level

Rhinoceros, Intermediate level

01.2023

Academic

[02/2022 - actual]

Master’s degree B.E.I student (Building, Environment, Interiors)

Architecture, English, Politecnico di Milano

Milano, Italy

[11/2013 - 15/12/2021]

Bachelor’s degree in Architecture

Università degli Studi di Genova

Final grade: 97/110

Genova, Italy

[01/12/2021 - 25/01/2022]

“Learn V-Ray” online Ciro Sannino Online School

Basic use of V-Ray

[22/04/2015 - 20/05/2015]

Curricolar Workshop “Introduction of 3d modelling with Rhinoceros”

McNeel

Genova, Italy

[2013 - 2014]

Diploma Artistico - Integrativo

[2009 - 2013]

Diploma Artistico Tradizionale - Architettura

Liceo Artistico Statale N.Barabino

Voto finale: 86/100

Genova, Italia

Language

First languge: Italiano

Other: English C1

Autorizzo il trattamento dei miei dati personali presenti nel CV ai sensi dell’art. 13 d. lgs. 30 giugno 2003 n. 196 - “Codice in materia di protezione dei dati personali” e dell’art. 13 GDPR 679/16 - “Regolamento europeo sulla protezione dei dati personali”.

Giulio Marsano

01.2023

Project Index

Casa 61 2017

Studio “Progettazione Architettonica 2”

Professor: Valter Scelsi, with Francesco Bacci, Elisabetta Canepa, Angelo Torre

With: Andrea Armano, Chiara Canepa, Giorgia Sciandini

Houses in Tinos 2022

“Architecture of Interiors Studio”

Professors: Emanuele De Giorgi, Stamatina Kousidi, with Joseph Rigo, Simona Franzino, Andrea Migliarese

individual project

Villa Balmain 2022

“Architecture of Interiors Studio”

Professors: Emanuele De Giorgi, Stamatina Kousidi, with Joseph Rigo, Simona Franzino, Andrea Migliarese

With: Nathan De Wouters

Studio “Progettazione Architettonica 2” 2017

Professor: Valter Scelsi, with Francesco Bacci, Elisabetta Canepa, Angelo Torre With: Andrea Armano, Chiara Canepa, Giorgia Sciandini

The didactic project Dear prudence is the second chapter of the chronices of “History of the Future”, survey of the italian architecture scene of XX and XXI.

To each group of students has been given a portion of the city of Genova,divided in fourtheen sector. Inside each portion the students has designed, and even thought about demolishing, a common path wich can be taken by foot.

The union of those fragment has create a unique path Genova’s path take ispiration from a survey of 2011, by five architecture firm (Baukuh, Gosplan, OBR, Sp10, Una2), in a join venture whit photograper Anna Positano, in order to imagine a new city.

1. Casa 61

The project start from the demolition of building number 61 in Ravaschio street (from wich, the name of the project, “Casa 61”), in Sestri Ponente, with the aim of giving a continuity to the area. The building, in it’s configuration, goes up to 12 meter, with two entrances, on different streets.

The first intention is about integrate this difference in hight in the path, in order to simplify people’s movement around the city. With this in mind, it has been chosed to use a stair to connect those two streets.

Casa 61 in his new configuration, follows in shape and directions the difference in elevation, and maintain the preexistence funcion, resitential house, composed by two volumes mirrored, but with a difference in hight, with the north volume taller dy 13 m.

The spaces are divided in 2 different categories: public, the path, and private, the domestic units.

On top of the building, it has been designed a labirinth, ; it pass from a vertical disposition of the spaces, to an horizontal one.

This sort of playground, moves along the main path (the stair’s direction, and the axis of the buolding), creating a non traditonal labiring wich drives to an elevated internal garden.

In between those axes, sits a secret: some holes are present on top of the labrint’s wall; by looking through those holes, (possible only from the garden) it’s possible to see the city.

This space confirm and contradic the rules of the project.

[1.8] Inside garden view [1.9] Top view [1.9]

Laboratorio “Architecture of Interiors Studio” 2022

Professori: Emanuele De Giorgi, Stamatina Kousidi, con Joseph Rigo, Simona Franzino, Andrea Migliarese progetto individuale

The aim of the first phase of the course is to study the prevalent typologies of houses in the region of Tinos and to develop design solutions into the theme of minimum dwelling. The variations and constants between the diverse typologies will be explored, in connection to issues of distribution, circulation, spatial articulation, function, form.

The design process will stem from the analysis of the principal house characteristics and elements. The design interventions will express a sensibility about the relationship between space and use, collective and private, inside and outside, tradition and renewal.

The study will then consider the integration of the houses in broader built organisms, placing attention on the relation between building and context – between enclosed, semi-enclosed, and open space – in its material and immaterial connotations, through elements such as the courtyard, the garden, the roof, the wall, the threshold, the street.

2. Houses in Tinos

2. Houses in Tinos

The object of study stems from a network of historical villages on Tinos which emerge as historically, architecturally, and culturally stratified areas – of permeable boundaries between domestic and public spheres – and share common characteristics and fragilities, with other regions in the Mediterranean basin.

Tinos is a Greek island situated in the Aegean Sea. It is located in the Cyclades archipelago.

In antiquity, Tinos was also known as Ophiussa (from Greek ophis ‘snake’) and Hydroessa (from Greek hydor ‘water’).

Situated on the slope below a church (Faneromeni), next to the old marble quarry, it forms part of the insular Mediterranean region –an area elusive in its definition and multilayered in its history – and features an unusually large number of historical settlements, at their majority mountainous, unspoiled by mass tourism and consumption demands, phenomena that characterize neighbouring insular places, severely affecting their natural and built landscape.

The architecture of Tinos is typical of the Aegean vernacular, influenced by the micro- environment and its historical background: The climate, the soil and the building materials, the occupation of the inhabitants, the manners and the customs, are the factors that contributed to the traditional architecture of the island.

The house, accessible from NW side, from a stepped pathway, develops develops from the field to the open courtyard.

It’s integrated in its surroundings and rests on an embankment . For the protection of the main entrance from sun/ rain, an eave of triangular- shape develops, signifying the entrance.

The courtyard is equipped with benches, created from the extension of the counter walls.

The project aimed to create a continuum, and a relation between horizontal spaces and the vaulted ceiling, who created strong movement by its own.

At the entrance we’re inside a small, delimited space, entirely covered in white marble who runs from the pavement to the ceiling (which here is just 230 cm, being at the bottom of the vault), with the only exception of two small niches, who serves as pocket emptier.

Once crossed the entrance, the ceiling goes up to the vault, catching eyes from left to right. In front there’s the table, a thick white marble slab, which goes directly into a niche depth 15 cm. The slab, supported by a small wooden cab- inet and a strong metallic pillar, virtually englobe this small space. The table is shaped in order to create a correct flux of movement, from all the spaces. Up to this niche we find another one (which goes from 100 cm to 160 cm from bottom) divided at its midway by a thick wooden shelf. This same use of space is constant all along the house, maintaining the same level from all the windows to those “Holes”.

At the left of the entrance, we find the kitchen, a wooden horizontal plane who follow the boundary of the house; inside the preexistence hoven we find the ventilation panel, to the top of the stoves, with the sink in front of the window, which is in between to niches (who again follow the previous explained rules).

At the left side of the table, we see the first and only door, which bring us to the bathroom by going up to the lowest part of the vault. In the bathroom the heigh is the same as this low point (230 cm). By entering there’s another opening, which goes down by 3 steps, to -60 cm. This is a bathtub, with the water level on the second step, and a total heigh of this space of 300 cm.

The bathroom is completely covered by big tiles with the same raw texture as pavement and wall of the rest of the house. By coming back it’s evident how’s the entrance is limited by two vertical ele- ments: the fridge (boxed in wood) and the wall itself. Following the wall movement, we find two applique quarto light for the illumi- nation of the dining and kitchen area. Going into the other side of the house there’s a change of level: it goes up to 20 cm on a big platform, which holds another L shaped wooden element, with some cushions on top of it.

Turning at the last space of the house, there’s a small cabinet, serving the living room; this element (in conjunction of the wardrobe back panel) is the of the bedroom; they goes up to 210 from level 0.

The bedroom is lifted again on another wooden element of 20cm height, and at the endo of the room, two suspended akari light illuminate the ambiance, defininig a vertical connection between vault and floor.

Laboratorio “Architecture of Interiors Studio” 2022

Professori: Emanuele De Giorgi, Stamatina Kousidi, con Joseph Rigo, Simona Franzino, Andrea Migliarese con Nathan De Wouthers

Leonardo Ricci (Rome, June 8, 1918-Venice, September 29,1994) was an Italian architect, painter and existential philosopher. Ricci enrolled the Faculty of Architecture in Florence where he graduated in 1941. In his career can be seen different phases. The one that interested us is In the mid-1950s where there was the expressionist-organicist turning point of Villa Balmain. The famous Parisian tailor Pierre Balmain decided to build a holiday villa with a representative function on the island of Elba: he identified the land in an area of particular landscape value, downstream from the town of Poggio, and entrusted the project to the Florentine architect Leonardo Ricci, who wished to create. The work began in 1958 and was completed in 1960.

3. Villa Balmain

3. Villa Balmain

It is composed of the intersection of two different bodies that perfectly exploit the natural difference in height of the ground: the main core has a pseudo-elliptical plan and protrudes towards the sea, the secondary one, located upstream, has a trapezoidal plan; the two bodies differ in their clothing (white plaster in the first one, masonry with granite lines).

The elliptical volume appears suspended, held to the ground by two tie rods - one like the anchor is plastered and fixed to the ground near the pool (also elliptical), the other is a wall septum with a diagonal profile made of granite blocks - and connected to the hill by the massive masonry of the trapezoidal body.

The two cores are distributed over three floors above ground level: the elliptical body is empty on the ground floor, revealing the iron structure of the spiral stair- case and the stone slab steps, while the trapezoidal one has service rooms with a straight staircase leading to the upper floors.

It is composed of the intersection of two different bodies that perfectly exploit towards the sea, the secondary one, located upstream, has a trapezoidal plan; the volume appears suspended, held to the ground by two tie rods - one like the anchor diagonal profile made of granite blocks - and connected to the hill by the massive

Project design’s interior configuration

The design was made in the respect of the values and the strong points of the building without altering its original language. Initially, the trapezoidal stone body was intended to house the service rooms and the housekeeping staff. The main core has a pseudo-elliptical plan and was the home of the noble part of the building. As our society evolves, so do our habits and ways of living. That is why it has been decided to merge the spaces (service and noble) to make one big noble floor.

The strong elements such as the spiral staircase and the organic forms are kept intact while it’s proposed a design more adapted to today’s way of living. The trapezoidal body no longer has a staircase through the other floors, which are now reserved for services and can be accessed by the metal staircase or from the outside. Therefore, is present a new axis which is this corridor serving a bedroom, a bathroom, and a relaxation area to break its line. In the organic part of the building is the master bedroom and the studio, each of them are connected to the elliptical bathroom which it has been taken from the original design.

The dining room is naturally designed by the new alignments that separate the kitchen, dining room and master bedroom. The main living room is built in an almost centrifugal manner: a large piece in the centre serves as a coffee table articulated into several limbs to accommodate different numbers of people (group size). The coffee table is fixed while the seats, Bellini (Cameleonda) type, are manipulable. This leavs everyone free to contemplate the landscape.

A play of light comes to dress the extreme corner of the room under which ends the long wooden piece of furniture which comes to decorate the long strip under the windows overlooking the valley. Finally, the corner of the fire. This is a large piece of furniture in which the sofa sits facing the fire; Its imposing volume shows the change of space. At eye level between the two spaces, only a thin open shelf separates the living room from the more intimate corner.

[3.9] Plan: actual configuration [3.10] Plan: design config. [3.11] Axonometry [3.12] Living room design [3.13] Axonometry

“Casomai non vi rivedessi buon pomeriggio buona sera e buona notte.”

Grazie per l’attenzione

giulio marsano