Lemonot_Portfolio 2020

Lemonot Sabrina Morreale AA Prize Dipl RIBA PArt II

Lorenzo Perri AA Dipl (Hons) RIBA PArt II projects@lemonot.co.uk www.lemonot.co.uk

BREWING DEMOCRACY The Assembly of Le Balai Citoyen, June 2016 with C. D. Moreno & E. G. Grinda (Tutors) AA Dploma Honours (5th year Project)

Burkina Faso means “The Land of Free Man” in Moorè, but for the past 30 years the country has been under a strict military regime. Politicians formed a sterile opposition, and civilians had absolutely no role.

A democratic process has now begun and the activists of Le Balai Citoyen meet the Dolotières – women exclusively in charge of the dolo brewing ritual – to create a communal arena to pursue informal democracy, where the production and consumption of beer supports political emancipation.

A space of accumulation growing from a marketplace, whose verticality is juxtaposed to the modernist tower of the BCEAO bank, a witness to the French influence over local economy.

The new assembly of Ougadaogou is a different bank, where grain, beer and political utopias are stored.

A compound of functional silos hosts clusters of brewing machineries,

while their absence carves out public spaces for different political gatherings: a massive yet intimate crypt and an upper open tribune, leaning towards Revolution Square.

The assembly is then protected within an inhabitable animalistic cladding, a framework to create a fragile mass and a direct involvement between people and architecture.

A clash between contemporary sophisticated techniques and tribal animistic instances, essential to conceive and celebrate a raised political brewery – run by women – in such a context.

THE DOGMATIC GARDEN Qu’ranic Academy in Baghdad, June 2015 with C. D. Moreno & E. G. Grinda (Tutors) AA Diploma 5 (4th Year Project)

The phenomenon of Isis forces us to re-consider how, within the Islamic world, religion is intersected with politics and education. How a religious dogma still could play an active role in the society, providing an imposed direction for Muslim’s life and behaviours.

As critique to a simplifying vision that identifies religious integralism necessarily with terrorism, I am proposing a Qu’ranic Academy in Baghdad, a constructed island on the Tigris, in front of the International Green Zone. To face these phoenomena of radicalization, instead of exporting and forcing a different model of government, the best way is giving them an appropriate and contextual voice, addressing their dogmatic instances.

This Qu’ranic Academy is constructing a publicness based on an extremely rigid religious model, where the dogmatism is pursued through education and its different methodologies.

Violence isn’t physical, the violent act consists in strictly imposing certain beliefs. And in an obsessive geometrical and architectural unfolding.

Internalizing the symbolic and typological features of the Islamic Paradise and the Kullyesi, the Academy is conceived as a synthetic garden, essentially an accumulation of domes, water and geometry.

An inhabited pattern, where the Iconoclast abstraction – pushed to the extreme – triggers and informs a new radical spatial imagery. Architectural violence.

DRAWING PUBLIC SPACE Vienna Design Week, October 2017 with Ecòl Studio DesignPreis Honorable Mention

Drawing public space is one of the five european projects selected for the Vienna Design Week, Stadtarbeit 2017. The workshop aimed at investigating and triggering new social dynamics by redefining public space through the use of colored adhesive tape laid out to create a precise geometrical design.

The physical engagement and continuous presence in the area required by the project resulted in a gain of trust of the community, enabling the work to go beyond its temporary and ephemeral nature and create a bond with the inhabitants of the neighborhood.

The geometrical drawing itself, playful yet strongly rigorous in its execution, was planned in order to offer different scenarios of the area, depending on the work in progress. Subdivided into different steps, each configuration was thought as a different fantastic figure: animalistic creatures slowly populating the square.

MAGIC CARPETS Nuit Blanche, Taipei, October 2017 with Ecòl Studio

Exhibited work at Pecci Museum (Prato, Italy) The project deals with our understanding of drawn public space and its implications on people’s behaviors. Therefore, we decided to produce a series of urban drawings, meant as public colorful carpets to be placed in different areas of the Gongguan Campus of the National Taiwan University. The geometries reveal an interplay around the idea of tile, addressing issues of scale and modularity: each carpet, even though is clearly imagined as a compound of repeating and differentiated pieces - graphic tiles indeed - has a consistent aesthetics as a whole, framing a vocabulary of independent bigger urban elements. The design is based on a precise geometrical organization, inspired by traditional Chinese iconography, then flattened into public drawn plans - to track and trigger people’s intuitive re-actions. Many performances spontaneously took place interacting with the intervention, helping to establish an active dialogue between the visitors and the lines on the ground. .

THE FACTORY Pinocchio Children’s Library, Collodi, December 2017 with Lemonot Architectural Competition

“The child who concentrates is immensely happy”.

Maria Montessori The Factory is a park within the park, both isolated and connected with the exterior through spiky envelopes of transparent bricks.

Pinocchio’s hat becomes an inconographical and structural device to shape layers of built topographies on top of the natural landscape The Factory is a platform for children’s playing and learning.

An artificial mountain, where a linear library is meant as progressive path of knowledge, that then encloses clusters of different workshops.

Each one of them, accessible through a network of playful catwalks, frames the children into heterogeneous yet cozy spatial conditions.

These bricked cones allow the children to explore, to concentrate, and therefore - to be happy.

PERENNIAL TOPIARY Asa EXPO Bangkok, April 2019 with Lemonot INDA Selected Work

In today’s overwhelming global evidence that atmospheric, geologic, hydrologic, biospheric and other earth systemic processes are now altered by humans, perennial topiary is a collection of possible solutions, projections, rejections, moments which are worth to share globally.

We defined ecology not only restricted to our environment but as well on subcultures, ethical scarcity and money excess. Realities that most of the time are underneath our eyes and just not been picked up upon.

The more that we forget, the more we do not care.

In this Perennial Topiary, everytime that a flower is picked up, a thread of needed knowledge is shaped.

One flower is one project. We will construct our topiary out of hundreds of projects.

Perennial Topiary is an encyclopedia to harvest knowledge. We trigger aesthetic curiosity to raise awareness.

EDIBLE ARCHETYPES Lisbon Food Conference, October 2017 with Lemonot and P.Sacchetti (Pastry Chef) Published on Mold Magazine

The project starts from the Florentine Zuccotto, an “archetype” of the traditional Tuscan patisserie with chocolate, cream and pan di spagna flavoured with pink Alchermes. Its typical shape is coming from the soldiers, who used their helmets as a mould. Its appearance, intuitively reminds a proper archetype: the dome. We developed a series of recipes as part of a typological investigation for an extravagant yet consistent family of dome-shaped cakes, creating a series of outcomes based on these combinations. Models and drawings were neither a precise reproduction of the desserts nor just previously scripted blueprints for the edible recipes. They were influenced by the cooking, while at the same time they were leading it.

Rather than designing “for” food or “with” food, “Edible Archetypes” is an attempt to trigger a new collaborative understanding - a methodological parallelism: designing “through” food.

LIBIDINAL PERSPECTIVES Milan Design Week, April 2019 with Lemonot

Selected work for KooZA/rch + Abnormal “Micro Tools” We were asked to fill a suitcase with our references: we decided to build an extravagant openable sphere, full of architectural dreams.

Our references are our obsessions.

As hedonistic adventurers, we could only work through those - our obsessions are the only burden that we carry around.

We haunt for patterns which are forged by the anatomy of pleasure, forms shaped through irreverent gestures and everything that speaks of an erotic language.

We love to objectify – to transform ideas literally and wildly into an apparatus of built dreams. Our working table is a potluck between production and consumption - front and back – depression and euphoria.

In how many ways you can use a pair of boobs?

Porn for the privileged, Architecture for Everyone.

SCANALATURE New Cyprus Archaeological museum, Janauary 2017 with Amid.cero9 Architectural Competition

What if the sunken garden is an inverse ruin where ghosts of future buildings grow? The museum is surrounded by a series of gardens based on the same formal mechanisms of the main building.

As in an archaeological garden these topiary artefacts that build spaces with vegetation and low walls will become the expansion of the Museum, inverting the arrow of time: reversed ruins of the future.

What if this series of pieces of extravagant forms, almost like pop ruins, will complete the exhibition programme?

Constructed with lightweight materials and saturated colours, almost like a set of found objects around the big eroded column these pieces could serve to test out curatorial innovations.

Each month one archaeologists of the group of researchers will pick one piece, big or small, coming from a settlement,a burial a sanctuary or a shipwreck and depicting it in a special display in one of these satellites.

INTIMATE MEMORABILIA Low Fat Fest Bangkok, February 2019 with Lemonot The Thang Nguan Vintage House is a a place where time freezes: from its decadent walls and faded colors to its neighboring communities, you suddenly find yourselves in another era. Perhaps not far away, but certainly within layers of objects, still imprinted with collective personal memories. Our project does nothing more than emphasizing and creating a path between these fragments that were once used and nowadays are still intact - preserving their peculiar value through the matter.

The space has been designed as an architectural still life, where through delicate surfaces and heterogeneous openings you are able to be face to face with these objects. This curated space is a point of departure to be part of someone’s recollection of playing - eating - travelling.

For the first time, you are allowed to enter this private space, in which you become the main actor, taking with you belongings and pieces of uncle Poonsak’s story.

ROMANS AND BARBARIANS Open House Rome, 2009 Inspired by Nicky Garland “ Rethinking the dichotomy: ‘Romans’ and ‘barbarians’, these hand drawn images of Roman’s monuments are just few of a 25 series. Collaging and creating pastiche images of an ancient Rome updating it with current themes - from abortion to the freedom of politics.

ILLUSTRATIONS AND PUBLICATIONS 2009-2018

The entire history of humanity can be represented by a sequence of images. “The Complex Order: How To Construct an Image” Y. Friedmann Trained as an architect, I extensively work through images, both representing the reality which surrounds us, and a more imaginary one, we speculate – in order to create new environments. I use architecture as a filtering framework – as a medium to grasp reality and to represent a precise design, but as well a person’s personality, a city’s identity. I use drawing as a tool for storytelling, where every crafted detail becomes a medium to communicate with different types of audiences. I have been studying with a Montessori methodology, where the teaching is adapted for the children’s needs and not vice versa. These are publications for Cartha Magazine, XRivista, Rivista Studio, Elle, AA Publication and many others.

ARCHITECTS WANSPEED

Osso Magazine, July 2018 A series of illustrations representing all the moments in which women feel completely surrounded by men, always feeling their presence and constant opinion. In the architectural realm it is challenging to be around male critics and architects Studying architecture, Sabrina explains, the names of characters that are read and heard are architects and male critics: from Chipperfield, to Corbusier, from Foucault, to Loos and Wigley. If students were asked to name a female architect, few would be able to think of a couple of names at most.

GASTRONOMIC PALAPA Mextropoli, Maxico city January 2020 with Lemonot Architectural Competition 3rd Prize

Alameda Central, once an Aztec marketplace, today becomes the context for the Gastronomic Palapa, a temporary polysemic place: a public chillies dryer, a cathedral of sounds and colours, a convivial collective mesa. Completely made by Chiles Secos, the triangular-shaped dryer is constructed with a series of wooden arches forming an inverted thatched roof that acts as a communal palapa. 3500 bunches of chillies become the main elements to inform the materiality of the pavilion.

They’re attached progressively to each wooden arch, creating a colourful sequence to walk-through.

The chillies knotted together define a variegated cloister where glimmers of light draw shadows on the ground.

The last day, the pavilion will be deconstructed directly by the public who wish to take a bunch back home. This gastronomic palapa is an architecture to be physically consumed.

ANTHROPOTYPES AA Summer School London, 2018 With Lemonot

Maghnild Kennedy Lorenzo Vitturi Worskhop Type: Architecture/ Crafted masks/ Video performance Smithfield Meat Market and Billingsgate Fish Market, two insulated worlds, rich and raw – London’s history. 12 newcomers, a 3am visit. Livers, kidneys, intestines, pig trotters – invading all the senses. Fish scales, ice, styrofoam boxes, tentacles – an array of colours and textures.

Fragments, moments and interactions inform a dialogue with the markets – seemingly random elements stand apart, forming narratives and personalities – Antropotypes. Born from impressions, interrogations and above all, interactions in the market – four new characters from these faceted little worlds emerged.

The Wanderer from the East – an outsider, searching for a common language.

The Grinder – constantly monitoring the ongoings at Smithfield, keeping intruders away.

Faceless – the quiet soul of the market, seeking the exotic beauty that exists within.

The High Priest of Billingsgate – delivering the fishy beings from sea to plate with empathy.

And finally a tasty potluck supper club.

A peculiar snapshot of London and a few of its multiple selves – our crafted Anthropotypes.

“This fish soup is bland. Could you pass me the salt?”

“Don’t do that.”

“This is an eel soup, you will scare them.”

“This is an eel soup, you will scare them.”

“What do you mean? The eels are dead. I can’t scare them, I am eating them.”

“Really? You’ve never heard this?!”

“The eels are never dead, they fluctuate between life and afterlife.”

“Come on! That’s crap! And then – what about the salt?”

“The salt reminds them of his face.”

“The salt reminds them of him.”

“Him?Who?” “Him!” “Who?” “Him!” “I don’t understand.”

“He’s the feeder.”

“He’s the killer.”

“He holds the cabinet.”

“He prepares the coffin.”

“I don’t believe you, I will just eat the soup.”

“Well, just pay respect to him – he’s the High Priest of Billingsgate.”

STREET FOOD FUNERAL WTF Gallery Bangkok, 2018

INDA Design & Build With Lemonot

Workshop Type: Architecture/ Mural/ Stage Set “Yet this week, in an attempt to impose some order on the capital’s famed tourist road, the Thai authorities ordered all street vendors selling food, clothes and trinkets to clear off the pavements during the day. “ The Guardian, 2018 “In Bangkok’s Fragrant Street Food, City Planners See a Mess to Clean City planners prefer a more manicured Bangkok, with air-conditioning, malls and Instagrammable dessert cafes — and without the mess and noise of street vendors.” [...]

Already, the number of areas designated for street food has decreased from 683 three years ago to 175, according to the Network of Thai Street Vendors for Sustainable Development. [...]

“If they want to get rid of us, we can’t do anything to protest because it’s the law,” Ms. Somboon said. “But Bangkok to me is about street food. Without it, it wouldn’t feel the same.”

New York Times, 2018 “Thai values on living is a language that has a persuasion and sweet sound. The food they eat is also one persuasion too. But it isn’t just only attract the eyes because it is a traditional way of preparing food in a better way than buying food from a convenience store.

But what the government is doing is hurting Bangkok by changing the colorful and beautiful chaos in Bangkok into a boring space to buy food as we are seeing now.”

David Thompson (Thai food expert), 2018 “We know each other because of our hunger. You are so chill, we can meet in every place that we want and everytime you make me impressed and gain new experience. “You” - who we are talking about - are “street food”. It doesn’t matter if we’re rich or poor. We already met.

We have known street food since we were kids. My grandma always took care of my food, she alway asked me “what are you going to eat today?” until now. [...]

Money is the illusion Rice and fish is reality” Street Food Funeral,, 2018

STREET FOOD FUNERAL

H Gallery Bangkok, 2018

INDA Design & Build With Lemonot

Workshop Type: Architecture/ Props/ Exhibition Bangkok streets are lined with ubiquitous stalls, makeshift kitchens and a large variety of temporary structures selling different food, clothes, and electronic gadgets. This urban condition represents the continuation of a long-standing tradition of informal trade within the community. In such a context, we see informality as an effective response to pre-conceived societal structures, as an instrument to re-organize political and formal imposed conditions. It is rooted in people’s daily life, producing its own social, economic and cultural sphere, manifested through symbolically charged objects and mundane rituals.

The purpose of the workshop was to identify the appropriate design categories to grasp informality into an architectural device.

This happened through a speculation built on the pamphlet “Street Food Funeral”, that led to the construction of an inhabitable chariot for a fictional gastronomic requiem: treated as typological device, the chariot became an hybrid synthesis between a market stall and a religious baldaquin.

Researching what the markets already offer, sell and display - we attempted to find a precise logic to curate a variable organization of goods, without misrepresenting the informality and spontaneity of the outcome.

We ased the students to determine the chariot’s architectural conditions, producing a spatial scaffolding to challenge the relationship between the different actors meant to inhabit it: sellers, monks, musicians, guests and pedestrians. Testing a series of imaginary rituals, the ground floor of the H gallery was transformed into a stage-set for happenings and informal gatherings.

We thus highlighted the mutual influence between people’s behaviors and designed elements.

The students were encouraged to relentlassly assemble and disassemble a collective product, developing design and construction skills related to the field of movable structures. Particular attention was dedicated to the artisanal crafting of specific ornamental and functional components, to understand the deep connection among aesthetics, mechanisms and spontaneous reactions.

THE CHINATOWN EFFECT Att19 Gallery Bangkok, 2019

INDA Design & Build With Lemonot

Workshop Type: Architecture/ Stage set/ Video Research “The Chinatown effect” is a project which investigates the notion of commonality and stereotype - in relationship to the world of Chinatown(s) as social typologies. When analysed through the Chinese cultural attitude towards reproducibility, the proliferation of Chinatowns reveals a network of what we define “authentic trans-territorial clichés”. We need to craft challenging techniques for the legitimization and preservation of such a specific yet diffused identity: Chinatowns are constantly reconstructed and experienced in different parts of the world, growing into a familiar system of habits and iconographical values that represent a reminiscence of home for everybody.

Once inside the pavilion, the spectator, through videos on multiple screens, inhabit a “Chinatownised “ wolrd made of communal rituals. The stageset itself, through its materiality, structure and ornaments, is a spatial manifestation of stereotypical yet identitarian forces: an inhabitable red folie, a dragon, a votive pavilion - a purposely recognizable architectural cliché. The project was first conceived and exhibited in Bangkok, then it will travel around the globe, to be showcased in the Chinatowns of different continents.

THE CARNIVAL TABLE Hello Wood Festival Hungary, 2019

With Lemonot Space Saloon

Workshop Type: Architecture/ Furniture/ Theatrical performance.

To celebrate the 10th year of Hello Wood festival, we were challenged to construct a portable architectural device that could be built in a few days with selected students. Carnival, the festival topic, was born as a temporary inversion of social conventions - how can we speculate and bring this attitude into an architectural discourse?

We used the ritual of eating and the symbolic power of a dining table - a place where people meet at the same level - in order to encourage a different practice of design, rooted in conviviality and freedom. By uncovering symbolic and social constructions through food, we triggered a debate rich of symbolic explanations about human behavior and rituals.

We designed a series of pieces, simultaneously masks and horizontal tables, leveraging both the coordination capacities of the group and the artistic potentials of theindividuals.

Each piece represents one designer in its iconographical and ergonomical configuration.

All together they constitute a broad and composite inhabitable dining table for a Carnival feast: a banquet of oddities where food, design and performance are indistinguishable from each other.

CULTURAL ASSEMBLING Salon “El Crucero del Sur” La Paz, 2018 AAVs El Alto

With Lemonot Freddy Mamani Silvestre

Workshop Type: Architecture/ Pottery/ Stage set The VS questions the ideas of identity, folklore translated into architecture – that becomes thus a collision among multiple symbolic fragments, far beyond its disciplinary boundaries and conventional testing grounds.

Act 1 - Defragmenting We started constructing a new architectural artifact in a chaotic process of fragmentation and re-assembly, transfiguring each element we would use, charging it with symbolic and aesthetic sense regarding the cultural power of the “Diablada of Oruro”.

In the process of understanding this, we dived into the first week of the workshop to dismantle our own, identitarian fragments and combining them with a protagonist of the Diablada that was assigned to each one of us.

The task was to take the essence out of the characters and ask ourselves: what defines that persona? Is it something visual, symbolic or both at the same time? What does that mask transcend in human nature? How can we make an ancient dance contemporary?

Act 2 - The Kingdom of Fragments The elements we selected and arranged did not work in a vacuum. We are all part of a bigger picture. The process of designing continued with the production of the surroundings. The context, made out of ceramics became our frame to play within. Each one of us had its own totem shaped out of geometrical cones, in different shades and sizes. Through these totems we fueled the design of the entire ground, where synthesis and syncretism aroused.

Act 3 - Assembling the choreography The last week we worked in one of the cholets of Freddy Mamani Silvestre.

The place itself suggested us to make a centerpiece as in each of its buildings, the shapes and columns meet and intertwine almost in a knot right in the centre of the rooms.

This centerpiece involved the assembly of the miniatures in a series of stages that resemble the sequence of building up any architectural project. The action of translating and appropriating objects, placing them in a new context gave a new symbology for our ground. We used objects as a medium to construct architecture. The whole project got unveiled through a performance, revealing the meaning of this ground: an inverted ceiling with a complex chandelier in the middle. Our painting became a fresco, our centerpiece – a chandelier, our totems - ceiling lights and our movements were trajectories to our ideas.

PORTABLE CHOLETS Salon “Ramirez” La Paz, 2019 AAVs El Alto

With Lemonot Freddy Mamani Silvestre Marcos Loayza

Workshop Type: Architecture/ Props/ Short Film As you walk in the streets of La Paz, you immediately understand that there is a mystic feeling in paceños. There is a practical and a sacred sense in all the things they do: the most ordinary routines can be naturally transformed into unique spiritual happenings.

In 2019 the VS El Alto persisted on questioning notions of identity, folklore and contemporary rituals translated into architecture.

If the previous year the VS investigated the masks, the costumes and the choreography of an actual Bolivian traditional dance – the Diablada – in the 2019 edition we crafted our own characters, to construct a layered performance, dealing both with popular myths and the urban fabric morphology.

Students thoroughly experienced Freddy Mamani’s cholets, as built examples of the symbiosis among religion, politics, Pop and popular culture. Their compositional and aesthetic features are indeed grounded into the symbolism of indigenous folkloric dances and textiles: here demons, dragons and angels, together with real-world creatures like bears and owls not only populate the parades, but also dictate the geometrical abstract motifs of the facades and the proportions of ornamental details within the interiors.

We analyzed and absorbed El Alto’s contaminated visual languages – privileged witnesses of the syncretism between Andean paganism and Catholic instances - to extract design principles and spatial hierarchies, that enable a direct interplay of scale between architecture and the human body. Indeed, we recorded the memories of these identitarian architectural compounds, consciously adopting dysfunctional procedures to track back the symbolic items that inspired them.

El Alto’s colourful buildings became again costumes, masked characters with anthropomorphic and animalistic lineaments to dynamically inhabit the streets of La Paz – wearable and portable Cholets.

Lemonot www.lemonot.co.uk projects@lemonot.co.uk 18B Ferntower Rd, N52JH, London

Sabrina Morreale (16.09.1990) AA Dip 2016 Riba Part II +44 7568328780

Lorenzo Perri (21.10.1989) AA Dip Honours 2016 Riba Part II +44 7904046208/+39 3339069072

Sabrina received her Diploma from the Architectural Association in 2016, awarded with the AA Prize, a selected student who made significant contribution to the University.

Lorenzo graduated in architecture (BA) in Florence in 2013 and received his Diploma with Honours from the Architectural Association in 2016.

From 2016-2019 she has taught at the AA Summer School at the Architectural Association and since 2017, together with Lorenzo Perri, she is Programme Head of the AA Visiting School El Alto and co-founder of Lemonot - a design and and research platform that investigates architectural production and its implications on other disciplines. From 2018 to 2019, she has been Adjunct Professor at INDA Chulalongkorn University Bangkok, teaching in Y1, Y3 and DTS courses. Sabrina has been working with Office S&M, OMMX, Skrei and AI for the Russian Pavilion at the Milan Expo in 2015. Alongside collaborating as Illustrator with various magazines as Illustrator (Rivista Studio, Cartha, Elle, Osso) and worked as Assistant Curator for the RIBA Late Series at the Royal Institute of British Architects(RIBA).

Currently visiting Tutor in the Experimental unit 9 at the AA, he has previously taught as a consultant for Intermediate 7 and Diploma 8 in London and as Adjunct Professor at INDA Chulalongkorn University Bangkok from 2018 to 2019. He participated to several competitions with international firms (Amid.Cero9, Elemental, MDU) and his work has been published and awarded worldwide (Venice 14th Biennale, YTTA 2016 among the others). In 2016, he also co-founded the research-based Plakat Platform and architectural practice Ecòl. Since 2017, together with Sabrina Morreale, he is Programme Head of the AA Visiting School El Alto and co-founder of Lemonot. Their design production explores geometrical yet figurative assemblages, supported by an academic research on contemporary folklore and performances.

Sabrina è laureata all’ Architectural Association nel 2016, premiata con l’AA school prize, assegnato annualmente allo studente che ha contribuito in maniera più significativa all’ Università.

Lorenzo si è laureato in architettura a Firenze (BA) nel 2013 e ha ricevuto il “Diploma with Honours” all’Architectural Association nel 2016.

Dal 2016 al 2019 è Tutor alla AA Summer School e dal 2017, assieme a Lorenzo Perri, è Programme Head dell’ AA Visiting School El Alto ed ha co- fondato lo studio Lemonot - una piattaforma di ricerca che indaga la produzione architettonica e le sue implicazioni su altri campi disciplinari. Dal 2018 al 2019, ha insegnato architettura e design come Adjunct Professor al primo, terzo e quarto anno presso INDA della Chulalongkorn University di Bangkok. Sabrina ha lavorato in diversi studi internazionali - Office S&M, OMMX, Skrei e AI, per la progettazione del Padiglione Russo all’Expo di Milano nel 2015. Ha anche collaborato come illustratrice per varie riviste(Rivista studio, Cartha, Elle, Osso) e presso la Royal Institute of British Architects(RIBA) per la curatela del programma RIBA Late.

Attualmente Visiting Tutor presso Experimental Unit 9, ha collaborato come docente anche al terzo anno (Inter 7) e al Diploma (Dip8) dell’AA di Londra nel 2017, e come Adjunct Professor presso INDA della Chulalongkorn University di Bangkok dal 2018 al 2019. Ha partecipato a numerosi concorsi con studi internazionali (Amid.Cero9, Elemental, MDU) e i suoi lavori sono stati premiati e esibiti alla 14ma Biennale di Venezia ed al Young Talent Architecture Award (YTAA) nel 2016. Nello stesso anno ha co-fondato la piattaforma di ricerca Plakat e lo studio di architettura Ecòl. Dal 2017, insieme a Sabrina Morreale, è Programme Head dell’AA visiting School El Alto e co-dirige Lemonot. I loro progetti e installazioni cercano l’equilibrio tra istanze figurative e geometria, all’interno di una ricerca accademica su folklore e performances nella contemporaneità.

SELECTED WORKS 2019, JULY - “Carnival Table”,10th Anniversary Hello Wood Festival, Budapest, Hungary 2019, JUNE - “The Chinatown Effect”, Pavilion ATT19 Gallery, Bangkok, Thailand.

2019, MAY - “Fieldworks”, several landscape installation for self initiated design festival, Morongo Valley, California.

2019, APRIL - “Perennial Topiary” , project realized during the Asa Expo, Bangkok, Thailand.

2019, APRIL - “Libidinal Perspectives” , installation realized during the Salone del Mobile, Milan, Italy.

2019, MARCH - Spatial Characters , Art Room Fair, Rome, Italy.

2019, FEBRUARY - “Intimate Memorabilia”, project realized for the Low Fat Fest in Bangkok, Thailand.

2018, SEPTEMBER - “Danisinni on stage” , project for Xrivista in Palermo, Italy.

2018, JULY - “Ban Bat Gate”, pavilion with tourist orientatio and public space, Bangkok, Thailand.

2018, JUNE - “Designing Informality” , Architectural moving device exhibited project at H Gallery, Bangkok, Italy.

2018, MAY - “Landing”, several landscape installation for self initiated design festival, Morongo Valley, California.

2018, MAY - “Spriritual Lines” , drawings as translation in collaboration with Reminisce Tatoo at Cho Why Gallery, Bangkok, Italy.

2017, OCTOBER - “Food Design Studies Conference“, Selected finalist of Experiencing Food, Designing Dialogues. Presentation of the project “Edible Archetypes”, Lisbon, Portugal.

2017, JUNE - “Hello Pizza” community oven and pizzeria for Hello Wood, Hungary.

ACADEMIC 2018, JULY - AA Summer School, Tutor Unit4 - “Antropotypes“, Creating masks for four characters inspired by London’s markets, London, UK 2017, JULY - AA Summer School, Tutor Unit3 - “C.R.A.P “ experimented with the technique of Kitbashing, assembling fragments together, London, UK 2017, SEP - DEC Anglia Ruskin University, Digital Media Tutor - pre-production, digital drawing, image production and manipulation at Cambridge School of Art, Cambridge, London, UK. 2016 - 2017, AA Diploma 8, Tutor consultants - ”Dis-Continuous Cities” Design studio on diverse assemblages of ideal cities and “anti-cities”, London, UK 2016, JULY - AA Summer School, Tutor Unit2 - “Two seconds city “, turned the use of the GIF from a medium of entertainment to an architectural tool, London, UK. 2016, NOVEMBER - Istituto Marangoni, Lecturer and workshop leader - Using Architectural methodology to create fashion artifacts., London, UK PUBLICATIONS 2018, MARCH - “Edible Archetypes“, Reimagining famous architectural domes in cake form. Collaboration with Pasticceria Nuovo Mondo, London, UK. 2018, AUGUST - “Long story Short“, Paper on the Architectural creative process for Koozarch, London, UK. 2018, SEPTEMBER- “When Venturi met a Bolivian alchemist“, Paper on building identity for Cartha Magazine, London, UK. 2017, DECEMBER - “Food and Space”, contributor to publication focused on food production and consumption, Quodlibet, Macerata.

2016, SEPTEMBER - “On The Edge of Reason”, article about three churches by Sigurd Lewerents, in Trans Magazine n.29, Zurich.