Paolo Artini PORTFOLIO 2020

From 2011 to 2020

PA O LO A R T I N I P O R TFOLIO ARCHITECT Florence, ITALY (+39) 334 3771120 architetto@paoloartini.com

From 2011 to 2020

PA O LO A R T I N I P O R TFOLIO ARCHITECT Florence, ITALY (+39) 334 3771120 architetto@paoloartini.com

INDEX

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p.5

p.7

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p.33

Architectural Design The shape of light

CV

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p.37

Architectural Design The wall fragment

Learning

02

p.27

Architectural Design The new ruins

About me

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03

p.11

Degree Thesis The architecture of water

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Sustainability Workshop New body, new skin

p.41

Work

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p.49

Residential building and Hotel Nizza

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p.51

Office building Bordeaux

09 Other projects

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ABOUT ME

Paolo Artini Architect

My name is Paolo Artini and I’m an architect. I was born in 1992 in Empoli (Florence), Italy. I graduated in Architecture in 2019 from the University of Florence with a final grade of 110/110 with honors. My thesis professor was Paolo Zermani and the title of my thesis is “The architecture of water, a thermal bath in Bagno Vignoni”.

This kind of architecture knowledge has taught me to approach an architectural endeavor with great respect for its human and historical environment. It is thanks to this awareness that makes architecture always unique. After my degree, I obtained the license to practise as an architect. Then, in the middle of 2019 I moved to Milan for a new work experience at Cino Zucchi Architetti. Apart from architecture, my interests lie in photography, travelling, art, reading, movies and nautical design. This last passion is a science that I didn’t have the opportunity to study, but find I am very interested in. I consider myself a friendly, easygoing and responsible person. I have always been exceptional good at working with others. I believe in a good working environment where great ideas get realized. I also think that one of the most important things in a team is the empathy felt with other teammates. This is why I am searching for a new job opportunity that will give me the possibility to grow both as an architect and as a person.

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INFO AND SKILLS birth date 13/08/1992 address via Vincenzo Salvagnoli 58, Empoli (Florence) mobile phone (+39) 334 3771120 e-mail architetto@paoloartini.com

Autocad 2D

Rhinoceros

Cinema 4D

SketchUp

Vray C4D

Revit

Paolo Artini k paoloartini e 6

Paolo Artini G www.issuu.com/paoloartini

Archicad

Photoshop

Illustrator

Indesign

Office

Model Making

Italian

English

German

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CV

2011 Bilingual scientific high school diploma English-German

2015 - 2018 Self-employed at various professional offices

2011 - 2019 Five-year degree in architecture at the University of Florence with the title “The architecture of water�

Prof. Paolo Zermani Grade 110/110 with honors 2019 Obtaining of the license to practise as an architect

2019 - 2020 Architect at Cino Zucchi Architetti, Milan

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Learning

“a slow dissolution of architectural elements regulates the project, where the volumes that form the structure have a decreasing dimension�

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DEGREE THESIS

The architecture of water A thermal bath in Bagno Vignoni

Walking through the small streets of the center of Bagno Vignoni, we find ourselves immersed in a jewel of nature, a small village of about 30 inhabitants that PROFESSOR Paolo Zermani Gabriele Bartocci

revolves around the founding element of the city: the tank-square. This imme-

SITE Bagno Vignoni (Siena)

natural element which is first controlled, through the tank, and then immediately

diately suggests the importance that water has in the history of the village. A left to its natural course, shaping the natural environment. Of a strong architectural connotation is therefore the concept of the water as a generating element of forms, as a vector and vehicle of a sediment that over time has created passages, rocks and concretions, like real architectural elements. But that’s not the only important issue. The relationship with the village plays a fundamental role within the project. In fact, the buildings that run from the central square along via dei Mulini, which leads from the village to the main road, the Strada di Bagno Vignoni, seem to continue into a ripercussion of shapes and spaces, resurfacing at the beginning of the descent, until it merges into the topography. The mesh that governs the organization of the village disappears and then reappears, managed by the same rules that have generated it, shaped by the same element that influences the surrounding environment: the water. A slow dissolution of architectural elements regulates the project, where the volumes that form the structure have a decreasing dimension on the long side and on the elevation. We go from a measure related to the city context to a smaller size. The width of the volumes remains constantly the same, inspired by the city buildings, underlining the continuation

External view

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of the street and the village. No less important is what the project says if read in plan: the more we move away from the city center, the more the volumes are increasingly submerged by the water, the shapes undergo deviations from the axis of the road, up to the last volume that is nothing more than a spring, as if to underline the power of water in shaping the territory and architecture according to its rules. The project evokes, through the narration of the architectural space, a process in progress, through which the architectural space dissolves, extinguishing itself and merging with nature. The plan is subject to the topography and echo of the existing urban structure, becoming an interpretation and continuation of the historic settlement of the village.

The design process involved a careful study of the scenography of the films by Andrej Tarkovskij, in particular Nostalghia, partly set in Bagno Vignoni. Great sources of inspiration were the polaroid pictures taken by the director during his travels in Italy, which allowed a careful analysis of the concept of water in his films. Water is conceived as primordial broth, intrauterine liquid, capable of giving life to everything it encounters. It is no coincidence that many scenes of the films portray environments pervaded by water, streams cha12

racterized by the presence of objects of daily life, but also simple jugs or vases containing flowers immersed in water. This liquid thus becomes that element that characterizes every place as a source of life.

“There is only one type of trip: what we do in ours inner world�

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Original polaroid pictures of Andrej Tarkovskij

10 m

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10 m

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Planimetry Project views

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The project area is located just outside the city context, where the urban fabric slowly begins to lose density merging with the surrounding nature. The site, surrounded on the north and west sides by the only access road to the village, the Strada di Bagno Vignoni, shows itself from the first visual approach with the city. Still on the west there’s one of the access routes to the historic center, via dei Mulini, which connects the site directly with the central square. The south side communicates with the park of the mills, a very steep slope, made up of rocks from the sedimentation of the limestone deposits of the thermal water and which has a series of underground mills inside, which in ancient times worked because of the flow of the water used for grinding grain. On the east, the site descends with a slope of Axonometric projection

about 60 meters, up to the Orcia river, thus allowing a view of the panorama of the Val d’Orcia. The area is located in a place where there are numerous underground water veins, which emerge inside natural pools. The project therefore is placed in a strategic position within the urban context of the city. A place that not only communicates with the urban and road layout of the village, but that manages to

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establish a link with nature and the context. The project is divided into six volumes not directly connected, except for the second and fourth, which communicate through an underground path. These have very precise rules, decided first by the measures of the village, then by natural measures. In fact, the first volume has a size of 7.4 x 21 meters in plan, 7.4 meters in elevation. The volumes that follow it have the same width of 7.4 meters, but the length and height decrease, almost constantly, for each volume, up to the final size of the square-shaped external pools. This is to convey the idea of ​​a road that, with the surfacing of water from the underlying aquifer, crumbles until it gets lost in nature. It is also important to dwell on the orientation of the volumes. In fact the last two, the external pools, no Plan

longer follow the orientation of the road, but are supported by the level curves, as if it were nature itself to regulate the measures of the architecture. The thermal experience is therefore conceived as a real path, which starts from the city and ends in nature. The intended use of the various spaces also takes this progression

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into account. The first volume contains spaces that do not require the presence of water, such as body and skin treatment rooms. From the second volume onwards, the aquifer emerges and we can notice how the rooms hold more thermal functions, from the internal pools in heated environment, passing through the internal pools in cold environment, to end up in the external pools. Internally, the layout of the rooms is marked by walls, orthogonal to the axis of the road and adjacent to it, which at first maintain a punctual rhythm, creating perfectly square spaces, then they too, like the rest of the structure, get lost in nature, abandoning the precise rhythm of the city, causing the gradual desappearing of the wall structures increasing the distance between these. From the second volume onwards, the water Ambiental section sketch

covers an ever larger surface area of ​​the built volume, until it is completely filled in the final volumes. Even the elevations follow the same logic that governs the entire project. The closer we are to the village, the more the openings follow a constructed rhythm, until they disappear completely in the last volumes.

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“the theme of ruin is designed through a process of simplification and destruction of a pure volume, making absence the characteristic element of the architecture�

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ARCHITECTURAL DESIGN

The new ruins Museum for the exhibition and projection of the works of Andrej Tarkovskij

The small town of Roccalbegna has only 1000 inhabitants. A very small, extremely quiet village, dominated by the imposing fortress, in which only the flow of PROFESSOR Paolo Zermani

the Albegna river resounds. It is here that Andrej Arsen’evic Tarkovskij wanted

SITE Roccalbegna (Grosseto)

dedicated to him. The site is a plot of steep terrain, just outside the remaining

to build his own house. This was the starting point for the design of a museum historic city walls. As soon as we exit the city gate, we find ourselves immersed in the new project characterized by a square and a staircase, obtained from the crawl space between the two main volumes of the museum, which from the road descends towards the landscape, dispersing itself. Planimetrically, efforts have been made to maintain the alignment of the built zone with the built zone, of the public space with the public space. The external shape derives from a primitive square shape volume, cut on its diagonal and made to collapse in height and planimetry. In this way, a theme dear to the Russian director is also expressed: the ruin. In fact, we try to represent this in a contemporary key, trying to emphasize the passage of time even in a newly built building. So in addition to the square on one side of the staircase, we find the actual museum on the opposite side. Internally, it is designed on three levels characterized by functions such as: reception, services, offices, museum itinerary, library and projection room. The services are located on the perimeter of the structure. In fact, the perimeter envelope has doubled to recreate these spaces around the central space. This is to give the impression of full and thick walls, characterizing the architecture that has generated

External view

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the city over time. Natural lighting takes place through a current skylight on the roof. The skylight‘s shape is repeated on all floors of the museum, in order to illuminate the entire structure as much as possible. The structure is externally covered in stone, respecting the city surroundings and the characteristics of the buildings represented by the director. The theme of the ruin is therefore designed through a process of simplification and destruction of a pure volume, making absence the characteristic element of the architecture.

The theme of the ruin has been carefully analyzed with the study of Andrej Tarkovskij’s filmography, extrapolating themes and images that could be appropriate to the project. In films, ruined buildings, dangerous floors are often framed, and moreover light is often a zenithal light, as if a hole in the floor was the only possible source of natural lighting. It is also important that Tarkovskij’s architecture always forms a unity with nature. In the project we try to express this theme thanks to the external staircase which, going down, gets lost in the landscape until it disappears in nature.

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Planimetry

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Plan Project views

“an area characterized by symmetry and relationships between the spaces”

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ARCHITECTURAL DESIGN

The shape of light A small refuge for meditation

Architecture is the testimony of man’s aspiration to conquer time by raising order in space. This is the sentence of the writer Herman Brock which can assume PROFESSOR Fabio Capanni

a precise meaning if addressed to this project: the meditation room. I have tried

SITE Undefined

metry and relationships between the spaces, so to speak, a sterile architecture.

to circumscribe in space a form that has no time, an area characterized by symThe structure is characterized by the use of modules and the use of some solid ratios such as 1:1 between the height and width of the central hall or 1:2 between height and width of the whole architecture. The entrance is detached from the main building, creating an intermediate passage, intended as a path from an earthly dimension towards a more divine dimension. The path that surrounds the meditation room can be traveled in two directions, both parallel to the central axis, the axis of symmetry that makes architecture free of hierarchies. The path is accompanied by a blade of light, which digs the material and gently wets the wall. The entrance to the main hall is through a door aligned with the central axis. The vault that covers the top of this nucleus is that element which, in my opinion, is suitable for recreating the ideal atmosphere for prayer. A soft, mild intensity light descends from the opposite wall. In this case, the light that enters the main room alludes to the definitive penetration of the afterlife into the mind of the meditator. The central room therefore recalls the concept of the soul, internal to the person’s self but at the same time external to the terrestrial world.

Another tight slot makes the light illuminate the vault in an almost imperceptible

External view

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way, thus highlighting the back of the curve. In fact, through the section, we can see how this is the fundamental element of the project. This seems almost bent by the force of the light that breaks into the room, into the soul of the structure.

This is the demonstration of how the architectural space tries to stimulate a very specific emotional situation, capable of allowing light to immolate itself in the environment, as the divine does in the soul during the act of meditation.

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Plans and sections

“the external path becomes a covered space intended exclusively for the exposure of archaeological finds�

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ARCHITECTURAL DESIGN

The wall fragment A new building for the National Archeological Museum

This project stems from the desire to transfer the National Archaeological Museum of Florence, currently located in piazza SS. Annunziata, to a new location on PROFESSOR Gabriele Bartocci

the outskirts of the city. The site is characterized by a slight slope that descends

SITE Florence

between the Florentine center and the small satellite towns that revolve around

from the housing complex towards the main road, which is a connecting viaduct it. The concept that generated the project was the route, attributable to one of the most important museum structures in the area: the Uffizi Museum. We can see how the plan of the new project is inspired by the classic U-shape of that.

A large staircase allows the visitor to climb the slope until reaching the entrance landing. Here the external path becomes a covered space intended exclusively for the exposure of archaeological finds. The internal path, as well as the exhibition space, is contained within two large partitions containing vertical connections, as if these were the two faces of an ancient wall, the theme that generates the volume. The actual museum is on four levels, arranged from top to bottom containing reception, services, offices, museum itinerary and conference room. About lighting, the roof has been pierced to ensure natural lighting for the spaces. These light wells are repeated on all levels so the natural light can penetrate as much as possible into the exhibition halls. Externally the walls are covered in stone, the space between these two are occupied by large windows which, externally mark the rhythm of the floors, internally allow the view towards the Florentine hilly landscape.

External view

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Planimetry Plan

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SUSTAINABILITY WORKSHOP

New body, new skin Renovation and expansion of the primary school of San Donato

The school is located in the San Donato district of Lucca. On an urban level, it presents modern buildings, houses and villas, located next to the historic courPROFESSOR Paola Gallo

tyards, which characterize the ancient medieval quarter. The site is well connected

SITE Lucca

such as: libraries, video stores, exhibition halls and cinemas, essential not only for

by the main road networks of the city. The area lacks places of public interest school children but for the whole small community of San Donato; the closest are in fact 2.4 km from the neighborhood, such as the State library and the library for children in the historic center of Lucca, the same for cinemas and video stores.

San Donato is not crossed by cycle paths, which are located along the Serchio river and around the walls of Lucca. The project involves the construction of a new building detached from the existing school and connected to it by a closed tunnel. A terracotta coating envelopes the entire building becoming the new skin of this. The renovation must provide a multifunctional space / canteen, with room for cleaning operations and services for staff, a classroom for physical activities, two laboratories of 50 mq each and new toilets. The MIUR guidelines on learning spaces says: “Today there is a need to see the school as a single integrated space in which the micro environments aimed at diversified activities have the same dignity and characteristics of habitability and flexibility capable of accommodating people and school activities at all times and offering features of functionality, comfort and well-being. The school becomes the result of the overlapping of different environmental fabrics: of information, relationships, spaces and architectural

External view

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components, materials, which sometimes interact generating significant emerging states. The spatial structure can also be interpreted as a matrix with points of high specialization (ateliers and laboratories) or medium specialization (standard classrooms) and generic spaces. The sequence of different didactic moments that require different student-teacher or student-student settings and configurations is the basis of a different idea of a​​ school building, which must be able to guarantee the integration, complementarity and interoperability of its spaces. The adaptability of the spaces also extends to the outside, offering itself to the local community and the territory: the school is configured as a civic center capable of acting as a driving force of the territory, enhancing social, educational and cultural needs”.

The aim of the project, from a distribution and architectural point of view, is therefore to comply with these guidelines to create a learning space suitable for today’s needs. About the technological aspect, the objective is to use innovative, ecological and efficient anti-seismic solutions to achieve Class A, also intervening in the existing building with the redevelopment of the architectural envelope, improving its energy and aestetich qualities.

Plan Section

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Work

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//Work/07

Cino Zucchi Architetti

Residential building and Hotel

The work consisted in the study of the structure and volume of the entire building and the creation of a 1: 200 scale study model in polychrome paper.

SITE Nice, France

Team: Arch. Andrea Balestreri, Arch. Giacomo Palomba.

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The description of the following project is omitted beacuse it is exclusive property of Cino Zucchi Architetti

External view

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Cino Zucchi Architetti

Office building

Drawing of carnet of details on a small scale for the tender dossier of the above mentioned project.

SITE Bordeaux, France

Team: Arch. Andrea Balestreri, Arch. Giacomo Palomba, Arch. Alberto Caddeo

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The description of the following project is omitted beacuse it is exclusive property of Cino Zucchi Architetti

External view

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Cino Zucchi Architetti

Other projects

- Masterplan for the former “Isotta Fraschini� Area in Saronno, Italy - Officine ICO renewal in Ivrea, Italy - Competition for the new Hospital in Andria, Italy - Private competition for a former manufacturing building in Chiampo, Italy - Private competition for an office building in Milan, Italy - Public square urban renewal and bench design in Rho, Italy

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Thank you.