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Portfolio 2016-2019


hi

there!

I

am

Laura

Fiamenghi

I am an architect and I graduated with honors at Politecnico di Milano. I consider myself a creative, determined and hard-working person; I am sensitive to problems, with a specific inclination for in-depth analysis. The following is a collection of my academic works with a small appendix of personal photomontages. Hope you enjoy it!

via Gorizia n.1, Crema - CR via Carpaccio n.10, Milano - MI https://www.linkedin.com/in/fiamenghilaura/ fiamenghilaura@gmail.com +39 3469788839


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résumé + recommendation letter

04-07

academic works

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01 BUSTO PELLE, (Naples)

08-15

02 Michaelbrücke Museum, Berlin

16-21

03 Los Jardines de Ujué, Ujué

22-25

04 Janus, Ijburg - Amsterdam

26-31

05 Making nature public, Badolato

32-37

appendix

38-41


EDUCATION 2016 / 2019 Master degree - Architecture (EN) Politecnico di Milano, overall score: 110/110 cum laude Final thesis: BUSTO PELLE // mentored by E.C. Cattaneo and C. Gambardella 2017 / 2018 Erasmus+ programme (ES) EINA Unizar - Universidad de Zaragoza Professors: Carmen Díez Medina, Carlos Labarta, Mariano Pemán and Sergio Sebastián 2012 / 2016 Bachelor degree - Architettura ambientale (IT) Politecnico di Milano, overall score: 110/110 cum laude Final thesis: Karel Teige, il velocista rivoluzionario dell'avanguardia cecoslovacca // mentored by A. De Magistris 2007 / 2012 Italian high school diploma Liceo scientifico L. Da Vinci - Crema, overall score: 100/100

EXPERIENCE 2019 Architect Studio Saffi - Milan

+ architecture design of commercial spaces, private and public buildings; reuse and renovation of historical buildings. 2017 / 2018 Internship Gravalosdimonte arquitectos - Zaragoza

+ architecture design, analysis drawings, presentations and photomontages for the proposal presented at Biennale di Architettura 2018 - Italian Pavilion

2016 Exhibition designer NOISTUDIO architecture, art & design - Milan

+ Co-founder, designer and coordinator of the working team for the exhibition “Identità e Visioni. Montisola in Mostra” curated by arch. Marcello Corti

2015/2016 Sales Assistant LUSH fresh handmade cosmetics - Milan

+ side work 2015 Internship NOISTUDIO architecture, art & design - Bergamo

+ architecture design of commercial spaces and private buildings, design of small furnishing pieces.

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Portfolio 2016-2019


WORKSHOPS 2018 Mobility in a small town Terraviva workshop - Orani (NU) with R. Ingersoll

+multi-disciplinary proposals and design solutions to better connect Museo Nivola and the rest of the municipality. EXHIBITIONS 2017 MADE Expo Exhibition of 'Njonica projects - Milan with I. S. Inti 2016 Identità e Visioni - Montisola in Mostra Monte Isola (BS) with M. Corti and the municipality of Monte Isola http://www.montisolainmostra.it

PUBLICATIONS 2018 Biennale di Venezia 2018 - Padiglione Italia Fotomontages at Arcipelago Italia / Padiglione Italia http://www.arcipelagoitalia.it/it/Laboratorio-Basento-Due-nodi-curativi--per-la-Collina-materana https://divisare.com/projects/388802-ignacio-gravalos-lacambra-patrizia-di-monte-gravalosdimonte-arquitectos-urban-reports-da-scalo-ferroviario-a-vivaio-di-iniziative-di-cittadinanza-per-le-colline-materane 2018 KooZA/rch Janus https://koozarch.com/2018/05/11/janus/

SKILLS and LANGUAGES Autocad Photoshop Illustrator Indesign Rhinoceros QGIS Cinema 4D

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Italian Native speaker English Professional - IELTS Certification 7.0 / C1 Spanish Intermediate

Portfolio 2016-2019

Résumé


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Portfolio 2016-2019


25th of September, 2019 Patrizia Di Monte and Ignacio Grávalos GRÁVALOS + DI MONTE ARQUITECTOS C/ S.Vicente de Paúl 4 – 50001 Zaragoza (Spain) estudio@gravalosdimonte.com

To Whom It May Concern, It is with great pleasure We are writing to offer a formal recommendation for Laura Fiamenghi. We know Laura through her work in our architecture office. She first contacted us almost one and a half year ago about the possibility to work in our office as a full-time intern student. We had the pleasure to work with her for a few months and she was a very welcome addition to the team. We are glad we had the opportunity to be part of her mentoring at the beginning of her career. She had worked in a team with other architects on the on-going project for the Italian pavilion at the Architecture Biennial in Venice (2018). We could see they were making a good team in solving problems related to the project by working together. She played an important role in the design phase, especially for what concerned the graphic part and the photomontages shown at the Architecture Biennial. Laura has excellent drawing skills (Autocad, Photoshop, Illustrator, Indesign and models). In addition, she is extremely organized, reliable and hard-working. She can work independently and is able to follow through to ensure that the job gets done. She is also flexible and willing to work on any project that is assigned to her. Finally, Laura was quick to volunteer to assist in other areas of company operations, as well. In summary, she demonstrated the ability to work independently or in a team with great creativity and enthusiasm. We always appreciated her talent, her ability to stay focused and meet the deadlines. We believe she would be an outstanding asset to your office. We give her our highest recommendation. Yours sincerely,

Patrizia Di Monte (architect) Ignacio Grávalos (architect)

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Portfolio 2016-2019

Recommendation Letter


(Naples) The first scene of the movie Hands over the city shows the coexistence of two Naples: the modernist idea of the city – static, organized and firm – collides with a series of organic, fluid and apparently chaotic bodies, which create the metropolis of the extemporary and ephemeral. Francesco Rosi pass with his camera through the structured, formal and rigid city to get then closer to an old and crumbling building, which seems continuously conquered by the remains of its inhabitants: laundries, flags and chairs on the public street. On the screen, the director therefore shows two different connected structure of the city: what is the relationship between the inorganic structure of an urban landscape and its organic deconstruction which absorbs, grasps and relates with it? Which could be the relations between the modernist concept of the city – ruled, precise and idealized – and the city of the ordinary, the remains and disorder? Firmitas and Infirmitas, Composition and Superimposition, Structure and Remain bump into each other in the contemporary city creating a complex synergy between Bust and Pelt.

2019 FINAL THESIS E. C. Cattaneo, C. Gambardella with Camilla Malinverni, Gian Luca Mazza

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Portfolio 2016-2019

BUSTO PELLE


Il Busto si autoproclama tale attraverso la sua stessa matericità fisica ed è autodeterminato secondo una propria legge, nel rispetto di una propria gerarchia; trova in sé la propria ragion d’essere e una giustificazione alla propria genesi, per questo è possibile affermare la sua natura endogena e svincolata dalla presenza dell'uomo.

IL BUSTO B

U

S

T

IL BUSTO B

U

S

T

IL BUSTO B

U

S

T

IL BUSTO B

U

S

T

IL BUSTO B

U

S

T

IL BUSTO B

U

S

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IL BUSTO B

U

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IL BUSTO B

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IL BUSTO B

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LLE

PELT IS INFIRMITAS

È FIRMITAS IS

LE

F I R M I T A S

È OSSA IS

B

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N

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O

R

D

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R

È ALBERO IS

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C O N C L U D E D

È REGOLATO IS

R E G U L A T E D

È RIGIDO IS

R

I

G

I

D

È INFLESSIBILE IS

I

N

F

L

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X

I

B

L

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È IERATICO IS

È DISORDINE PELT IS RHIZOMATIC

LA PELLE È RIZOMATICA LA PELLE PROLIFERA INFINITAMENTE

LLE

U N I Q U E

È CONCLUSO IS

PELT IS FLESH

PELT PROLIFERATES ENDLESSLY

È UNICO IS

LA PELLE È INFIRMITAS LA PELLE LA PELLE È CARNE PELT IS DISORDER

È ORDINE IS

M A N I F E S T O PELL

T

H I E R A T I C

LA PELLE NON SEGUE LE REGOLE

T

S

PELT DOES NOT FOLLOW THE RULES

S

E

T PE L

U

F

S PEL LE

B

I

U PE

IL BUSTO

N

O PE

A

B P ELLE

M

PELT IS DAILY LITTLNESSES

LA PELLE È QUOTIDIANE PICCOLEZZE LA PELLE È IN CICLICO DIVENIRE PELT IS IN CYCLICAL BECOMING

PELT IS FLEXIBLE

LA PELLE È FLESSIBILE LA PELLE È ADATTABILE PELT IS ADAPTABLE

LA PELLE È DIPENDENTE

PELT IS UNFINISHED

LA PELLE NON È COMPIUTA LA PELLE È PERSONALIZZABILE

PELT IS DEPENDENT

PELT IS CUSTOMIZABLE

IL BUSTO B

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IL BUSTO B

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È STATICO IS

S

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A

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I

PELT PROLIFERATES SPONTANEOUSLY

C

LA PELLE PROLIFERA SPONTANEAMENTE

È MONUMENTO IS

M

O

N

U

M

E

N

T PELT IS NUMEROUS

IL BUSTO B

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È RETORICO IS

LA PELLE È COMUNE

LA PELLE È MOLTEPLICE

R H E T O R I C A L

PELT IS ORDINARY

La Pelle è organica, debole e difficilmente leggibile; non ambisce alla compiutezza e prolifera spontaneamente in quanto manifestazione variegata e variabile delle quotidiane piccolezze della vita. Per questo è possibile affermare la sua natura esogena e la sua dipendenza dalla presenza umana.

Manifesto Bust and Pelt

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Master thesis

BUSTO PELLE


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Portfolio 2016-2019

BUSTO PELLE


The book

A small anthology 11

Master thesis

BUSTO PELLE


Concept S. Maria

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Portfolio 2016-2019

BUSTO PELLE


Concept

S. Pietro in Vinculis 13

Master thesis

BUSTO PELLE


Plan, maquette S. Maria

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Portfolio 2016-2019

BUSTO PELLE


Plan, maquette S. Pietro in Vinculis

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Master thesis

BUSTO PELLE


Berlin Modernist town planners, including Le Corbusier, Ludwig Hilberseimer and after 1945 Hans Scharoun as the Berling city architect, quite deliberately declared war on the traditional texture of the city. For centuries buildings had faced streets and squares, and the façade had marked the transition from public space to public land, but Modernism created objects in fluid space, reached by freely articulated streets and roads that submitted to the logic of car-borne speed - often on many levels. It was not only central Berlin that lost its identity in these new structures. The traditional city with its corridor- like roads and geometrical squares was broken up to make way for a freely composed accumulation of objects that related to each other at best in the abstract. As none of these different urban develpoment models for the post-war decades in east and west ever really established istelf fully, and their patterns changed rapidly, the real city consists of a collection of fragments of different urban justifications in terms of planning and politics. The design process of the building starts from the will to contrast the main tendency of the post-war decades, marked by the presence of ‘object buildings’ spread all over a completely fluid city, orphaned of its ancient urban texture. In order to let Michaelkirchstrasse regain its original strength as an urban axis, the aim is to recompose the currently fragmented block, whose main directrix has represented the starting point in the development of the project. The result is a ‘topographic shape’ building which is inserted as the las piece of the axis, exactly in the point of its cross with the Sprea river and at the same height of the neighboring buildings od the same block. The whole mass has been the progressively carved in a sculptural process regulated by the superimposition of the system on the bearing walls, these lasts in turn carved themselves. This parallel grid regulates the definition of the main spaces of the museum: the public upper square, the exposition areas, together with the auditorium, the research institute, the library and the residential part.

2018 DESIGN STUDIO 2 S. Vieths, C.M. Riva, U.M. Poli with Camilla Malinverni, Irene Ricciardi

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Portfolio 2016-2019

Michaelbrücke Museum


Axonometry 17

Design Studio II

MichaelbrĂźcke Museum


Exploded axonometry 18

Portfolio 2016-2019

MichaelbrĂźcke Museum


Plan and sections 19

Design Studio II

MichaelbrĂźcke Museum


Views

the stair and the center 20

Portfolio 2016-2019

MichaelbrĂźcke Museum


Views

the walk and the gallery 21

Design Studio II

MichaelbrĂźcke Museum


Ujué - Navarra The village of Ujué is located in a strategic enclave between Navarra and Aragon because of its elevated topography on the surrounding territory, to which it owes its origin as a fortified place. The church-fortress of Santa María is located at the top of the hill dominating the landscape, built on the site of the old castle, constituting one of the most important and characteristic medieval architectural complexes of Navarra. The building is supported by the rock formation of the hill, so that the accesses, staircases, portals and galleries are articulated with the urban space of the town constituting a continuous whole oriented towards the sunniest part and protected from winds. In the northern part is the so-called cloister giving rise to a raised square in which there is also a water tank, built in the manner of a small fort, an enclosure with a square floor plan. Between both buildings, church and warehouse, the square is a horizontal plane, open on both sides opposite the landscape. On this side and after the deposit, the construction of the village ends, the hillsides being in a natural state, without urbanization, with some recent minor buildings, not integrated into the population center. The designed new hotel of Ujuè is nestled to the slope, toward the sorrounding landscape: it is embraced to the ancient water tank, with a slab prolonging the existing square and creating a new surface toward the sorrounding landscape like a panoramic viewpoint. The public space is thus almost doubled with a tool which tries to dialogue with the ancient, historical presence. The water tank is emptied, while its walls are preserved as boundaries of a “secretgarden” which works as a filter in the passage from the past to the present. The first garden is supposed to slow down the walking, to give the chance to wait and rest and to prepare the visitor to the subsequent disclosure of the breath-taking panorama. On the second square a small stair let the users of the hotel dive in and enter a second garden, real core of the whole hotel.

2017-2018 PROYECTOS 7 C. Labarta, M. Pemán, S. Sebastián

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Portfolio 2016-2019

Los jardines de Ujué


Concept 23

Proyecto 7

Los jardines de UjuĂŠ


General plan 24

Portfolio 2016-2019

Los jardines de UjuĂŠ


Plan and elevations 25

Proyecto 7

Los jardines de UjuĂŠ


Ijburg - Amsterdam The European cities, after the Golden Age of economic growth in postwar Europe appear as frail cities and their weaknesses reveal themselves in space where there was once the strength, power and firmness of each individual society. The rapid growth of population and the need of more space within the boundaries of the urban cities became the current issue. Architecture, as seen in Amsterdam, started seeking ways of highering the capacity of the cities, but preserving the identity and boundary of each place. IJburg area is a rigid example of the so called crisis: the period of the big urban transformation is over and what is it that remains from its vigour? The plot located in the heart of the island is a space of provocation, to the highly dense urban environment surrounding it. It resists to stay natural on an artificial land. Just like the attempts of Van Eyck to turn the cities into playgrounds in the 1950s, the plot persists to remain as a natural playground, where the users are so called ‘Homo Ludens’ who conquer the freedom of the space without rules or duties, contradicting with the neoliberalist densification of the island, and even with the city as a whole. Our aim is to help the site bring out its characteristics and transform it into a kind of ‘playscape’, by creating a positive impact on the island in a wider scale. The idea is based on two different systems: the playground, space of forced/ artificial nature and freedom, and the spatial apparatus that contributes to the built environment and works as a paradox to the free space in order to strengthen its qualities by creating a contradiction. Using the emptiness as a design principle, the site will create a degraded scenery from the strict border of the marina that represents the urbanism, to the natural border that represents freedom. This gradient system will inhabit the dwellings on the concrete border of the marina, where a piazza is created by the surrounding urban context; whereas the Architecture degrades towards the natural coast on the other side. Each of the proposed residential flats is oriented in a way that they face on both the urban and the natural coast in order to inhabit the context of ‘duality’ for the users.

2017 DESIGN STUDIO 1 E.C. Cattaneo, M.Van Gelderen, S.Jung with Maria Beril Kubin, Kacper Kuczynski, Camilla Malinverni, Gian Luca Mazza

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Janus


Concept

suspending the future, enhancing duality 27

Design Studio I

Janus


Scenarios/timetable

shifting from the nature to the city 28

Portfolio 2016-2019

Janus


Groundfloor 29

Design Studio I

Janus


Plans 30

Portfolio 2016-2019

Janus


Elevations 31

Design Studio I

Janus


Badolato Badolato is one of the 52 double villages which stud especially the Jonian coast of Calabria region. It can be considered as part of a larger area affected by shrinkage and ghost town phenomena, which gained the name of ‘Njonica. From Marina di Gioiosa Jonica to Soverato Marina a fifteen-kilometers thick longitudinal stripe divide the medieval settlements from their coastal protrusions, placed alongside the Statale 106. This crack is filled in-between by stripes of lands at sharp differences in height which come in succession, recreating subsequent overlapped peculiar layers from the seaside to the mountain. ‘Point, line, surfaces’ had been for us a mean and a method to interpretate this contradictory and slightly paradoxical land: surfaces to connect by lines, points to include within surfaces, lines to join dots and spread elements. The work, divided between analysis and proposal development, was led exploring three different scales and enhancing three different levels of potentialities. The three different approaches developed share the will to sew a ripped up strip of land, exploiting the already existing calabrian natural means of connection: extended regional and national protected areas that run along its longitudinal axis; fiumaras which transversally join the woodlands and the coast, cutting each of the thousands coexistant calabrian personalities.

2016-2017

TOWN PLANNING I.Inti, R.Mazzoni, S.Sbattella with

Federico Bordoni, Francesca Braglia, Ana Costa, Jiahong Huang, Erpinio Labrozzi, Lu Yuyao, Zhu Yuchen, Tran Vy

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Portfolio 2016-2019

Making nature public


0 10

50

100km

Potentiality map

Strategy

Hydorgraphy, woodlands and areas of preservation as connective tissues

An ecological network for Regione Calabria

Points, lines, surfaces the regional scale

33

Town Planning

Making nature public


0

5

10

20km

Potentiality map

Strategy

Surfaces: parco delle Serre and agricultural lands

Improving connectivity

Points: urbanized areas Lines: fiumaras

Points, lines, surfaces the middle scale

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Portfolio 2016-2019

Making nature public


The surfaces crossed by the rivers

Introducing the two fiumaras

Points, lines, surfaces the Badolato green ties

35

Town Planning

Making nature public


VodĂ river park zoom-ins

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Portfolio 2016-2019

Making nature public


Gallipari ecological corridor zoom-ins

37

Town Planning

Making nature public


Fotomontages - what's left

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Portfolio 2016-2019

Making nature public


39

Town Planning

Making nature public


Zaragoza/Grassano - 2018

!

40

have a look at:

https://divisare.com/projects/388802-ignacio-gravalos-lacambra-patrizia-di-monte-gravalosdimonte-arquitectos-urban-reports-da-scaloferroviario-a-vivaio-di-iniziative-di-cittadinanza-per-le-colline-materane

Portfolio 2016-2019

Appendix


Zaragoza/Grassano - 2018

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Portfolio 2016-2019

Appendix


thank you! Laura Fiamenghi fiamenghilaura@gmail.com +39 346 9788839


Profile for Laura Fiamenghi

Laura Fiamenghi, Portfolio 2016-2019  

Selected academic works

Laura Fiamenghi, Portfolio 2016-2019  

Selected academic works

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