Mauro Coll Piotrowski _ Portfolio

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Mauro Coll Piotrowski portfolio

18.03.1995 email phone +34 620 42 69 53 instagram @mauro.cp

2019 - 2020 2013 - 2020 2002 - Present Day 2019 - 2020


Master’s Degree in Architecture, ETSAM, UPM, Madrid, Spain Degree in Architecture, ETSAM, UPM, Madrid, Spain La Gran Escuela de Magia ‘Ana Tamariz’ OffMiau Academy, PVB & PVI (Grasshopper) and MOD (Cinema4D)


2021 - Present Day NULA Architecture & Design Architect and 3D Designer. Head of infographics, 3D Design and rendering for numerous projects, including private interiors, public buldings, and anything architecture related 2021 - Present Day Scenic Designer and Renderer Assistant designer and asset creator for scenographers (Monica Boromello and Alessio Meloni) in plays, music concerts, and upcoming projects 2020 - Present Day Zoomorfo Shop CEO, Co-Founder and Creative Director at Zoomorfo, an online shop for 3D Printed textiles and interchangeable clothing accessories 2020 - Present Day Freelance 3D Designer Architecture Visualization for private clients and 3D Rendering teacher at OFFMIAU (‘Image Production through Storytelling’) 2021 Art Director and Production Assistant Set Design and Production for shorts, videoclips and fashion films (Chick Pok Arrebato, Soft Pink, Decades FashionFilm and Niña Polaca’s Joaquin Phoenix Videoclip) 2018 - 2020 NULA Architecture & Design Architect and Intern involved in private projects. Design, construction, site visiting and realization from start to finish 2018 - 2020 MALTA Architect and Intern involved in private events. Design, construction and management for Netflix, Carolina Herrera and Biotherm among others

2010 - Present Day La Gran Escuela de Magia ‘Ana Tamariz’ Teacher and Master of Ceremonies. Performer at multiple locations and theaters around Spain (Galileo Bar, Capitol Theater and Callao Cinema) 2018 CONSTRUTEC Ifema Speaker along Nerea López Salas, presenting the Talk ‘Magic and Architecture: magician tricks applied to architectural design’ 2015 - 2020 Theater and Show Bussiness Artistic Consultant and Set Designer for multiple shows such as ‘Magia y Alegría’, ‘El Oeste Mágico’, ‘Con las Manos en la Magia’... Roles include: prop designer, projections and backdrop design, lead merchandising manager, theater manager, light and sound operator 2018 - 2020 Graphic Design Work Logo and Brand Design for ‘Las Chicas de Ayer’, ‘Oasip, Servicio Integral de Comunicaciones’ and ‘Pablo Arranz Mago’, among others


2021 ‘EXORCITY Oporto Monumental’ TC Cuadernos Publication 2020 ‘Prototype’ Soriano Unit Publication 2019 ‘ETSAM Yearbook 2017/2018’ Architectural Design and A.D. Intensification 2018 ‘Magic and Architecture: magician tricks applied to architectural design’ Public Speaker at CONSTRUTEC (Ifema) 2018 ‘Becoming’ Spanish Pavilion at Venice Biennale with ‘Forest Undercover’ and ‘Assembling ETSAM’ 2017 ‘Assembling ETSAM’ contest winners 2017 ‘Graphic Intensification in Architectural Projects EXPO’ for Outstanding Work 2017 ‘Come and See and Go’ Project Publication at Architectural Design Archive of the DPA, ETSAM 2017 ‘Augmented Reality’ 255.255.255 Publication 2017 ‘Investigation on Models’ Soriano Unit Publication


Skilled at Rhinoceros 3D, VRay Render, AutoCAD, Adobe Creative Suite (Photoshop, Illustrator, InDesign), Microsoft Office Trained at Adobe Premiere Pro, After Effects, Cinema 4D, Grasshopper Languages Spanish (mother tongue) English (Cambridge C1 Qualification) Nationalities Spanish (born), American and Argentine












Grandes Oportonidades on YouTube (Spanish)

‘There is no trick in magic, because we all know there is one. It should not be forgotten that the magical effect is not what the magician shows. It is not an impossible event, but what the viewer, inside his brain, is witnessing’. Under this phrase, quoted from Juan Tamariz’s magic book (‘El Arcoíris Mágico’), the project emerges. Great Oportonities won’t fight against an enormous enemy, nor try to resolve immeasurable tasks or point out social and economical flaws. It is built for fun and leisure only. It steals from Oporto, from what is known and what is lived, and materializes the city in a garden for the amusement and delights. Extracted from real gizmos and tricks, the techniques applied to magical acts are reconstructed and introduced in those effects that pop up in location as individual chunks of the city. Facades disappear, ghosts become real, and gigantic structures float above out heads. These meandering contraptions sit on the garden under the rules that compose Dark Rides, such as the Haunted Mansion, or Pirates of the Caribbean in order to give the spectators the most compelling and engaging adventure.

COME AND SEE AND GO Link to Project

‘Come and See and Go’ is born after the idea of condensing a two and a half hours show in 15 minutes, making it most profitable, fast-paced and spectacular. The Monument: regarding Madrid monumentality what was chosen was El Teatro Circo Price, due to the enormous history the institution holds, making it the representation of Spanish culture through laughter, risk, and wonders. The Client: after studying the show ‘Alegria’ by Cirque du Soleil, the whole show was dissected into minimal chunks which represent each and every one of the numbers in the act. Thus, introducing these chunks into the Price it shows the opportunities and disadvantages of the preexisting architecture, making it clearer when reducing the whole show to a 15 minutes experience. The Making: thanks to tools such as Augmented Reality, graphs which show the spatial conflicts in the acts, and numerous architectural plans, a new ‘choreography’ was created, in which none of the acts collide to one another. This was possible thanks to the implosion of the Monument and the destruction of the previous architecture. The Product: ‘Come and See and Go’ is a new experience in the field of scenic arts. Why should you watch a show which embraces movement while sitting in a comfy chair? Come, and walk, and enjoy the wonders of modern circus in a show where people stand spellbound with amazement. Be delighted by the platforms, suspended trusses, marvelous acts, and performances in the world’s grandest, largest, best, amusement institution: the Circus! ‘Come and See and Go’ is coming to town and it is not going anywhere.

























Conflicto Espacial


Forest Undercover consist of the creation of a workplace for the company Factum Arte, directed to the digitalization of antique documents in the isle of San Giorgio, Venice. So, those documents located in the Cinni Foundation can be carefully transported, scanned and cataloged in the privacy the island provides. What is proposed is a textile construction system suspended from the preexisting tree trunks, creating a diaphanous space where to allocate the digitalization machines. This is possible through the implementation of a series of umbrella-like structures acting both as a support for the cables and the cover, thus eliminating the need for pillars, masts, and beams. The workspaces are allocated in the forest regarding the needs for each one, such as storage, digitalization, or tourism, and developed by the study of the workflows of Factum Arte. This creates a different space and architecture depending on the location of the tree trunks, which can be easily built and lifted thanks to the umbrella-like structure.Due to these structures and textile covers, the forest is left untouched and without damage, and so, when the work of digitalization is finished, Factum Arte can easily gather the architecture and send it to the new location.

In collaboration with Luis Moreno and Jean Gabriel


1. Banco 2. Plataforma 3. Balancín 4. Travesaño 5. Volante 6. Arandela 7. Tirante 8. Conector 9. Eje 10. Empaque 11. Codo 12. Rueda 13. Correa de Transmisión 14. Piñón 15. Panel Cartón Yeso 16. Rueda de Eje 17. Tubería Hueca Soporte Estructural 18. Pletina de Unión 19. Visitante 20. Actuante 21. Truss Recto FANTEK EN-AW 6082 T6 22. Espejo Doble Sentido 23. Marco 24. Bastidor DM Apoyado en suelo 25. Bastidor DM Autoportante 26. Peana Acabado Mate 27. Busto Acabado Mate 28. Fresnel con Visera Gelatina Blanca Paso 01 29. Fresnel con Visera Gelatina Blanca Paso 02 30. Truss Curvo FANTEK EN-AW 6082 T6 31. Cortinaje Opaco Color Negro Mate 32. Tarima Imitación Madera 33. Panel Curvo DM 34. Cerramiento DM

35. Riel para Cortinaje 36. Foco PANORAMA a Contraluz Paso 01 37. Foco Panorama Iluminación Directa Paso 02 38. 1/4 Pilar Hueco Contrachapado 39. 1/8 Pilar Hueco Contrachapado 40. Chapado DM 41. Panel Cartón Yeso Imitación Piedra 42. Arco Medio Punto en Cartón Piedra 43. Cobertura de Arco Medio Punto 44. Iluminación Posterior a Contraluz 45. Fogata 46. Humo de Fogata 47. Fastasmagoría sobre Humo de Fogata 48. Hueco de Fogata 49. Silla Levitación 50. Trípode Pintado Negro Mate 51. Mesa Efecto Cámara Negra 52. Panel Posterior Pintado Negro Mate 53. Cortinaje Rojo 54. Foco Estroboscópico Deslumbrante LED Ámbar 55. Foco Estroboscópico Deslumbrante LED Cian 56. Escuadra para Bastidor 57. Ayudante de Escenario 58. Escenografía para el Efecto 59. Escenografía para la Escena 60. Plancha metálica para Levitación 61. Aro para Misdirection 62. Sábana

63. Cuello de Ganso para Levitación 64. Ayudante de Escenario Oculto 65. Polea 66. Jaula formada como Ayudante 67. Cable de Levitación Marrón Oscuro Mate 68. Vara Escenográfica de Conexión 69. Escenografía Existente 70. Bloques de Resina Polimérica Pulidas, Pintadas y Barnizadas 71. Perfiles Metálicos en Corte Laser según contorno de Bloques 72. Tirantes Estabilizantes de Cables Corrugados 73. Anclajes de Tirantes a Terreno 74. Perfil Omega Vertical 75. Estructura de Andamio según Normativa y Catálogo 76. Fresnel con Visera Gelatina Ámbar 77. Fresnel con Visera Gelatina Verde 78. Plataforma Elevada Móvil 79. Bisagra 80. Panel Espejo 81. Puerta de Gabinete 82. Pistón Hidráulico 83. Plataforma Elevadora 84. Barandilla de Protección 85. Cercha Triangular Soporte de Estructura 86. Montante Metálico 87. Chapado Metálico + Membrana Impermeabilizante EPDM

88. Substrato de Tierra para Vegetación Baja 89. Textil Flexible Serigrafiado como Fachadas de Oporto 90. Máquina de Humo CO2 500W 91. Tira LED sobre Riel Circular 92. Motor de Rigging Escenográfico Vertical 93. Pantalla LED Full HD proyección de vista exterior 94. Pistón Hidráulico Mediante Railes Descolgado de Truss Escenográfico 95. Cable de Acero Inoxidable Galvanizado 96. Truss Curvo FANTEK EN-AW 6082 T6 1/4 97. Truss Curvo FANTEK EN-AW 6082 T6 1/8 98. Plataforma de Servicio y Emergencia 99. Peldaños Escalera de Servicio y Emergencia 100. Piel Exterior Textil Impermeable 101. Arco Estructural Truss Recto + Truss Curvo FANTEK 102. Ascensor Horizontal + Vertical THYSSENKRUPP 103. Sistema de Araña para Vidrio Estructural 104. Armado de Barras Corrugadas para Cimentación de Pilotes 105. Hormigón HA25P/40/I para Pilotaje 106. Apeos 107. Esperas para Apeos 108. Tuberías Huecas de sección Cuadrada 50x50 mm 109. Lámina Impermeabilizante

EPDM 110. Cazoleta de Desagüe 111. Substrato de Tierra de Terminación 112. Bomba de Impulsión de Agua 113. Armado de Barras Corrugadas para Bataches 114. Hormigón HA25P/40/I para Bataches 115. Armado de Barras Corrugadas para Zuncho Perimetral 116. Hormigón HA25P/40/I para Zuncho Perimetral 117. Tuberías para Canalización de Agua 118. Carpintería Metálica Perfil Omega 50 mm para Espejo 119. Montante Metáico Omega 160 mm para Panel Fibrocemento 120. Panel Vertical Fibrocemento 121. Tirante de Acero Corrugado 122. Pieza Metálica de Unión Tirante-Pilar 01 123. Pieza Metálica de Unión Tirante-Pilar 02 124. Pilar HEB Estructural 125. Pletina de Unión 126. Pieza Metálica de Atado 127. Escarpia 128. Corchete Metálico 129. Textil Envolvente Semipermeable 130. Panel Inclinado de Ferrocemento con Desagüe Incorporado 131. Cazoleta de Desagüe 132. Textil Flexible para Efecto Interior 133. Piezas Aligeradas de DM para Efecto Interior

134. Rieles Mecánicos para Efecto Interior 135. Losa de Hormigón sobre Neoprenos 136. Tuberías Huecas de sección Cuadrada 100x100 mm 137. Viga de Acero Laminado IPE100 138. Carpintería Doble Metálica Perfil Omega 40 mm para Bóveda Descuelgue 139. Luz de Emergencia 140. UTA (Unidad de Tratamiento de Aire) para Climatización Interior 141. Conducto de Impulsión para UTA 142. Conducto de Retorno para UTA 143. Cuadro General de Protección 144. Caja de Distribución 145. Cuadro de Registro 146. Carpintería Doble Metálica Perfil Omega 40 mm para Panel Fibrocemento 147.Tuberías de Regadío por Goteo 148. Pieza de Suspensión con Varilla, Horquilla de Soporte, Conector en Canal y Fijación con Tornillo Autorroscante 149. Impulsión de Aire por Rejilla 150. Impulsión de Aire por Tobera 151. Máquina para Pulverización de Agua 500W

Planta de Cubierta E1:50

Axonometría Explotada de Pantallas LED para Efecto

Planta de Efecto Pistones Hidráulicos E1:50

Alzado de Cerramiento Textil

Planta de Cerchas Soporte E1:50

Axonometría Explicativa de Sistema de Pulverización de Agua

Alzado de Cercha Soporte

Planta de Cimentación E1:50

Cimentación de Cercha Soporte

Sección Completa de Escenario Principal E1:50


The Haunted Mansion. Architecture, Effects and Magic Link to Publication Tutor: Juan Elvira

After the multitude of years experiencing architecture and developing a magicians job, the Haunted Mansion dark ride (Disneyland) came to mind. And so, due to the interest in thematic design, scenic construction and show creation, this publication was born. ‘The Haunted Mansion. Architecture, Effects and Magic’ aims not to mention how the Haunted Mansion works, but to learn from the inherent thematic design. Not only Theme Park Design was studied and reported, but a handful of techniques were thrown into the mix. Techniques such as: magician tricks and inventions (misdirection, timing, logic misguiding...), architectural design (in its construction and developement) and narrative writing (through acts, crescendos, rests and climax). A publication acknowledging not only how a trick is constructed or when it was thought, but taking a step further in research by explaining why it works and how it correlates within the whole system. The work aims to narrate architecture from small to big. First, how every single scene takes place in itself, and later explaining how this placement harmonizes with the rest in the attraction. And so, with all these techniques observed in the Haunted Mansion, the comparison with architecture in its ‘purest form’ is constantly revised. What can we learn from the attraction? Which tricks can be applied to architecture and then create a more compelling experience? What is it that architecture giants can extract from this 15 minutes adventure? With all its complexity, this is just a love letter to the Haunted Mansion, performative architecture, magic and thematic design.

NULA STUDIO + MALTA A selection of works during my time in Nula Studio, from interior, public buildings and imaginary projects

ARCHITECTURE AND ENVIRONMENT VISUALIZATION Renderings and private commissions in a wide range of fields. From interior design and architecture contests to storytelling lectures and set design.

ZOOMORFO was conceived after two experimentation years with 3D printing technology. 3D printed flexible patches attach to your t-shirt in an easy, current and easy to wear fashion. C’mon, hop in the online shop, and give your wardrobe a fresh and unique makeover!

3D PRINTING BUFFOONERY The most annoying Rubik’s cube to solve

Here you can see my friend struggling

iPhone case just for my hand

See the ‘commercial’ here

3D textiles and fashion applications


Pablo Alboran’s Theatre 2021 Tour

Zoomorfo Color Fantasy Photoshoot

Zoomorfo B&W Photoshoot

Zoomorfo Mallorca Summer Photoshoot

What We Want Fashion Film (Vaya Canteo Productions)

Niña Polaca - Joaquin Phoenix Music Video

Las Ginebras - Teatro Circo Price Concert

Niña Polaca - Teatro Lara Light and Set Design Choreography

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