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ARCHITECTURE PORTFOLIO Martina Pini Interior Architect

Atlas of projects 2012-2015


« Mes chers auditeurs, reprit-il, à en croire certains esprits bornés – c’est le qualificatif qui leur convient –, l’humanité serait renfermée dans un cercle de Popilius qu’elle ne saurait franchir, et condamnée à végéter sur ce globe sans jamais pouvoir s’élancer dans les espaces planétaires ! Il n’en est rien ! On va aller à la Lune, on ira aux planètes, on ira aux étoiles, comme on va aujourd’hui de Liverpool à New York, facilement, rapidement, sûrement, et l’océan atmosphérique sera bientôt traversé comme les océans de la Lune ! La distance n’est qu’un mot relatif, et finira par être ramenée à zéro. » Jules Verne - De la terre à la lune


Ta b l e of con ten ts

0 Corriculum vitae et studiorum

p. 6

Wor k exp er i en ce:

1 Live. Living the inner city 2 #Nevicata14 3 Santa Maria della Pace. Redescovering a franciscanchurch

p. 10 p. 16 p. 26

Ac ad em i c p roj ec t s:

4 Disapiering. An imaginary atlas on the West Pier 5 Textile atmospheres. Concept store for Luigi Bevilacqua 6 Micro as a conscious choice. A+P Smithsons’s Robin Hood Gardens

7 Stratifications. Museum and exhibition at the Roman Ruins in Desenzano del Garda

8 Polka dots dream. Atmospheres. 1000 human environments

p. 36 p. 58 p. 66 p. 76 p. 84


CO NTACTS AND I NFO

Address E-mail Phone number

40 via Bernina, Chiesa in Val.co 23023, Sondrio (SO), Italy martina.pini89@gmail.com +39 3470671735 P RO FI LE A recent graduate with a first class honours degree in Interior Architecture. Undertook international experiences from which got confidence with different architecture approaches and solutions and worked with people with different background. Due to academic efforts and capabilities was asked to collaborate in projects and competitions developing advanced graphic skills, interest for historic buildings, experience in interior design, public space making and storytelling. She is looking for a stimulating architectural position.

E DU C AT I O N 2012 | September 2015 | July

MSc Interior architecture (2 years’ programme) | First class Politecnico di Milano Thesis title “Disapiering. An imaginary atlas on the West Pier” Authors: Martina Pini and Marco Pioventini Supervisor: Pierluigi Salvadeo Assistant supervisor: Marco Lampugnani

2012 | August 2013 | March

Erasmus experience Avans University, Tilburg, Netherlands International urban planning

2009 | 2012

BSc Architecture | First class Politecnico di Milano Thesis title “Raffaello Giolli’s worldwide architecture” Authors: Martina Pini and Marco Pioventini Supervisor: Damiano Cosimo Iacobone 6


WO R K E X P E R I E N CE 2015 | November

Architectural Consultant Guidarini&Salvadeo + BIANCOstudio (MI, Italy) Participation in the architecture competition «Cascina Merlata». The competiotion is about the design of two residential parcels of about 31.000 sq of gross floor area. - Concept design - Dwellings typologies - 3D model

2015 | March Current

Historic Building Analysis and Study Architect Mariangela Carlessi (BG, Italy) - Research on the Franciscan Church Santa Maria della Pace. - Editing of a publication with all the discoveries about the history of the church, its construction phases and the iconography of the internal decorations.

2015 | September

Architectural Assistant Guidarini&Salvadeo (MI, Italy) Participation in the architecture competition «ABITO. Abitare il centro storico» about the refurbishment of a residential historic building in the centre of Turin. - Study of the new dwellings typologies and their vertical and horizontal flexibility. - Apartments interior design focused on the quality of spaces and the variety of solutions.

2014 | Aug 2015 | May

Architectural Assistant Guidarini&Salvadeo + Interstellar Raccoons (MI, Italy) Collaboration on the design and management of t#Nevicata14 - Production of collages, architectural drawings and presentations - Study of the visual identity of the square. - Management of the project and its promotion through social networks. 7


2014 | June - July

Internship Arch. Ph.D. Mariangela Carlessi (BG, Italy) Researches on the Franciscan church Santa Maria della Pace - Archive research. - Stratigraphic analysis of the north prospect and writing of Harris matrix. - Iconographic analysis of the internal decorations. - Complete photographic campaign.

2012 | September

Internship Architect Marco Caprari (SO, Italy) - Roof replacement project. - Property and garage entrance renovation and balcony extension project of a private house. - Interior renovation of Pedretti Theatre.

E X H I BI T I O N S & OTHER S 2015 | 8th June

Delivery of a talk on the initiative “grandARTour. L’arte fuori dai musei” at the invitation of art critic Jaqueline Ceresoli.

2015 | May

“Rediscovering the Peace” Santa Maria della Pace, Alzano Lombardo (BG)

2014 | September

Workshop Rethink the modular Domaine de Boisbuchet, France Project 50 for USM company anniversary initiative

2013 | November

Athens Program Ku Leuven, Leuven , Belgium Modernity, Interior Architecture and the Home

2014 | May

Collaboration with “Kilometro della Cultura” cultural association (BG). 8


2014 | June

Editing of two online books collecting projects and researches produced by students during a Design Studio about the refurbishment of Smithson’s Robin Hood Gardens in London.

2014 | April

“Atmospheres. 1000 Human Environments” Milan Design week

2013 | Sept- Current

Management of “grandARTour. L’arte fuori dai musei” Facebook page

2012 | April

“Stratifications: historic cities and new architecture” Palazzo Litta , Milano

CO M P UTER S KI LLS

Adobe Suite Office Autodesk 3D programs

InDesign | Illustrator | Photoshop Word | Excel | PowerPoint Autocad 2D Revit SketchUp | Rhinoceros

5 yrs | advanced 11 yrs | advanced 5 yrs | advanced 2 months | beginner 2 yrs | intermediate

LANGUAGES

Italian English French

mother tongue advanced written and spoken basic

I NTERES TS

Music Sport Other

Playing saxophone | Going to concerts Hiking | Climbing | Snowboarding Art | History of architecture I Cinema | Travel | Mountains and nature | Cooking 9


#PROJECT

1

WORK EXPERIENCE Architecture competition Year 2015 Location | Milan Studio | Guidarini e Salvadeo 10


LIVE Living the inner city

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Co l l a b o r ato r i: R icca rd o S pre afico, Luca Va r ve l l o, La ca M a s ie ro, M a r t in a P in i, M a rco P iove n t in i P ro getto s t r utture : F il ippo Va l a pe r t a P ro getto im pia n t i: M a rco R iva P ro getto il l um in ote cn ico : M a rco Po l l ice Co m put i e pre ve n t ivi: Re n ato A n ge l l a Consulenza s t r utture m et a l l ich e e in fis s i: G ius e ppe Fr a n ch i

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La Corte Reale


The project express a different way of living the inner centre of Turin. It reinterprets the distributive elemets of the typical “casa a ballatoio�, but it lets almost unchanged the formal and figurative features of the historic building. The walkway losts its distributive function and it is divided into smallest sectors belonging to the appartaments, without modify the general aspect of the internal courtyard. The walkway is divided with special devices designed to redifine its function and to give new value to the internal prospects of the courtyard. These devices are modular metallic closets with different colours that fit with the original colour of the building but also give to it a more modern and charming aspect. The courtyard becomes a cozy and calm space suggested by the residential identity of the building, but at the same time it also becomes a perfect place to host public events connecting the city with the courtyard and the lower level. The new appartments are designed to avoid the demolition of the bearing walls and especially to guaranteee an high level of horizontal and vertical flexibility. In addition to the main project the competition announcement asked for a second more unconventional solution. For this solution we imagined the courtyard as a big urban interior space. A metallic structure ideally continue the existent roof transforming the courtyard in an hibryd external plae with the features of an interior, both protected from the outside but also open to it.

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#PROJECT

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WORK EXPERIENCE Year 2014/2015 Location | Milan Studio | Guidarini e Salvadeo + Interstellar Raccoons Contacts www.nevicata14.it facebook.com/nevicata14 twitter.com/nevicata14 nevicata14.tumblr.com 16


# N E V I C ATA 1 4 Te m p o r a r y p e d e s t r i a n c o n f i g u r a t i o n o f P i a z z a C a s t e l l o

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In April 2014, with Expo Milano 2015 approaching, the municipality of Milan decided to transform Piazza Castello into a pedestrian area, and launched a call for ideas. The municipality asked Triennale di Milano to start a public co-design consultation for the future of Piazza Castello and eleven Architecture studios were asked to draft a design proposal for the square. #nevicata14 was the winning proposal, developed by Guidarini & Salvadeo in collaboration with a space making agency. The concept of #nevicata14, which is the Italian for “2014 snowfall�, is to recreate what happens when a thick layer of snow covers the city, erasing kerbs, traffics signs, and all the traces left by cars. The concept was inspired by the famous 1985 snowfall, when a one meter thick blanket of snow transformed Milan into an entirely pedestrian city. #nevicata14 is a complex project which works on three levels: - physical: through the design of structures that define the space of the square. - social: through the construction of online/offline processes and services for the involvement and empowerment of the community affected by #nevicata14. - political: through collective definition of a new system of rules for the use and management of the square. #nevicata14 is also a co-authored project: both experts and not, residents and citizens of Milan have contributed to the design process, with their ideas and actions. The project proposes extensive use of public pedestrian space and is intended as an ideal continuation of the Parco Sempione, it is an experiment and verification that will allow to understand more accurately the future of Piazza Castello� after EXPO 2015. #nevicata14 in fact is totally reversible as in November 2015 the space will be available for a new permanent configuration.

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PROCESS #nevicata14 is a collective process that develope a temporary solution for the pedonalization of Piazza Castello in a partecipetive way based on the construction of a community of co-authors. The community is made by online and offline authors which took part to the process in various ways generating a process that is both partecipative and wiki. The proposal for the new asset of the square implicates an hybrid management model that involves both the public amministration and the society with a mixture of tools, functions, events and programmed and balanced uses.

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Postcards

We asked people to draw on this postcard how they imagine Piazza Castello after the nevicata.

Social Media

We opened a FB page in July 2014 in order to document the process and create AN online/offline community.

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MEMOIRES #nevicata14 was first presented to the public as a story, able to create a connection between a natural phenomenon and a project and to talk about all the people involved, the project and its contents. The story is narrated from the future and it tells how the “nevicata� appeared, how citizens discovered and experienced it. It tells about a project of devices designed in order to use the square in various ways allowing people to feel as a part of it. The story represents exactly our design process, because we think that designing a city is not just about functions, needs and efficiency. To design a city is to imagine it. And this needs to be done together with its administration and citizens in order to define a shared identity of the place. This identity will then grow into functions, uses, services, space and people.

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First people discovering “nevicata� on the square.

#nevicata14 reloaded in 2016 by studio Guidarini and Salvadeo.

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FROM IMAGINING TO INHABITING The actual project for the square features 12 islands of white pavement, resembling spots of melting snow and creating different environments suitable for multiple uses. All islands are constructed by the combination of eight different elements of equipment. There are structures creating shade zones in different hours of the day, misting systems for refreshment, vases with different species of trees composing little groves and different benches. To experience some special light atmosphere there are islands with #MyLED lighting system from Philips and A2A. Navigational poles with information banners in three different languages are placed at access points to #nevicata14. All the installations are completely modular and will be dismantled at the end of Expo 2015. 24


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#PROJECT

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INTERNSHIP June | July 2014

Location | Chiesa di Santa Maria della pace. Alzano Lombardo (BG) Studio| Mariangela Carlessi Architect 26


S A N TA M A R I A D E L L A PA C E Rediscover a Franciscan church

27


The internship was about the study of a Franciscan church in Alzano Lombardo (BG) dated back to 1518. The research started from a small existing bibliography and some students’ works and then developed following different methods of analysis: - archive research; - comparison between data coming from books and documents with the ones coming from the direct observation of the building; - stratigraphic analysis of the north prospect and writing of Harris matrix; - iconographic analysis of the internal decorations; - complete photographic campaign. Comparing and studying the data of these researches I found out a lot of unknown informations about the church. In particular I reconstructed its main construction phases and its complicate history during the Napoleonic suppression. I discovered the involvement of important personalities like Virginio Muzio and Luigi Angelini in the history of the church and I conducted a deep analysis of all the church’s decorations, looking for their subjects and their meaning. Great value is found on the decoration of the chancel as it is the first example of neo-gothic style in Lombardia. In the end the observation of building’s external facades revealed the presence of the ancient paintings that were completely forgotten and are now going to be studied. Thanks to the positive outcomes of our work and with the help of Arch. Carlessi the church is being rediscovered by the municipality and the citizens. I am still working on this project to support the works of restoration of the building and the publishing of a book to pass on the discoveries we made.

28


H I S TO R I C A L CO N V E N T R E P R E S E N TAT I O N S 1610 painting of the Convent

1818 Ing. Alessandro Finazzi’s plan

29


S T R AT I G R A P H I C A N A LY S I S

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C H A N C E L’ S I C O N O G R A P H Y The presbitery’s vault was entirely painted by Gian Battista Salvatoni, from Bergamo in 1836. The decorations have great value because they are one of the first and most articulated example of neogothic and neoclassic style in this area. The ribs vault are inspired to the Milan Dome and they are decorated with images of the evangelists and the scholar of the church on coloured tondos. The lunettes are painted in scale of gray and false relief and they all represent Jesus’ miracles, because at that moment the church was no more part of a franciscan convent, but part of a hospital for poor and hill people. The iconography of the scenes is taken from an illustrated gospel from 1507 written by Jeronimo Nadal.

32


Illustrated gospel

33


Healing of a blind man in front of Gerico

Jesus walking on water

Giovanni sends to Jesus two apostles

34


ARCHIVE RESEARCH

1805 inventory, Milano state archive

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#PROJECT

4

THESIS PROJECT Academic year 2014/2015 Location | Brighton Authors | Martina Pini and Marco Pioventini Supervisor | Pierluigi Salvadeo Assistant supervisor | Marco Lampugnani 36


DISAPIERING An imaginary atlas on the West Pier

37


This thesis is an atlas on the imaginary developed around an architecture, the West Pier of Brighton, which since it became a ruin it lost its function and form, assuming new meanings and becoming an imaginary generator. The project has the objective of examining how in contemporary society architecture can be a medium to represent possible imaginaries.

If the medium is the message and architecture is the medium, how can architecture perform this role? The cognitive and aesthetic model of the atlas allowed us to narrate and organize the 17 projects born from the desire to highlight some of the many different imaginaries of the West Pier which inspired musicians, writers, directors and artistic movements. In the last years the pier also became an object of interest for a vast community active both online and offline which keeps being interested in the West Pier and documents its disappearance. From this precondition our intervention should be read like a series of possible scenarios which at a certain point overlap the piers’ life and in different ways interpret the existing imaginaries on the West Pier and put the basis for the generation of new ones. The new terms of this atlas have been divided into four macro-categories - natural phenomena, uses, analogies and social network which organize the contents on the base of the nature of each project. Among the projects a necessary logic, a temporary or thematic link is missing. Instead you can freely move from one line to the other discovering new scenarios and relations which demonstrate the power of the atlas as a narrative method. What we find out at the end of this design process is a small breviary, or rather five possible principles for an architecture which is opening itself to the new scenarios of contemporary society.

38


IMAGINARY Since the pier has become a ruin, losing its form and function, it radically changed his role in the society becoming a huge imaginary generator. With the word imaginary we mean the function and the content of imagination which complement real data with the possible universe and originate from reality and sensitive experience but it goes beyond generating new and unexpected images. The role of imaginary is so important in our all life that it deserve to be investigated also in its relation with architecture, and this is what we tried to do with our thesis. We developed a series of possible scenarios which in different ways interpret the existing imaginaries on the West Pier and foresee future ones.

40


AT L A S Our thesis tries to answer the question “How can architecture produce and catalyse new imaginaries in the new world?� and to do this we choose a method: the atlas. An atlas because it represents an aesthetic and cognitive model in which the observer is encouraged to travel in space and time through a narration that is not closed in itself but it lend itself to the constant research of correspondence between the element it is made of. An atlas where what is near converse with what is far away, the visible with the invisible, the information with the fiction, the personal experience with the collective history. The memory with the oblivion.

41


TA X O N O M I E S The atlas’ contents have been organized in four macro categories that are strictly related with the concept of imaginary. This categories correspond to four lines along which we hang up the atlas’ pages during the thesis exposition. This organization of the contents has many consequences. First of all the drawings communicate with each other in many different ways, allowing the spectator to read his own story, secondly it generates a constant movement of the spectator that should move left and right, backwards and forwards in order to see the details of the drawings and their relations. In the end the horizontal organization gives the idea of a process that doesn’t have a precise starting point and neither an ending one, in fact this is an open process.

42


Hypothesis of thesis exhibition

ÂŤArchitecture design would not be a process of composition but of alchemy, rubbing atmospheres and/or things together to see what sparks they produceÂť. Thomas Mical, Surrealism and Architecture

43


N AT U R A L P H E N O M E N A

Looking at the West Pier’s photography on the internet, and especially on social networks, one immediately notices that most of them show the pier without human presence. The true subjects of these pictures are the pier and the natural phenomena which deeply modify its image. For this reason we selected some of the most common and significant meteorological phenomena of Brighton area and we developed some devices able to interact with this phenomena and with people.

44


la murmuration “Il was morning, and the sun sparkled gold across the ripples of a gentle sea [...] and the word for Breakfast Flock flashed through the air�

Murmuration

Richard David Bach - Jonathan Livingston Seagull

During autumn and winter dark clouds begin to form in the sky above the two piers. These clouds are made of thousands of starlings which turn the sky black. The birds come together in huge clouds, wheeling, turning and swooping in unison. Look at them as they perform their aerial dance is an unique and amazing spectacle. * The best period to observe this phenomenon goes from the mid-September to December, especially in sunny days and in early evenings, just before dusk. Their timing is so precise that in many cases they are like clockwork, you know that at certain time in the evening the sky will start to turn black and it is mesmerizing watching the flock grows and grows. The reasons of starling murmuration are not clear, probably grouping together offer them safety from predators and help them to keep warm at night and to exchange information.

45


Inflatable landscape

46


The surfaced monolith

The low tide reveal the monolith

The high tide transform it into a cliff

47


ANALOGY The projects of this category narrate the imaginaries most related with the dreamlike and surreal dimension of the pier. In the section, as it is in the figure of speech, we applied a process of comparison and combination of images which show the spectacular and dramaturgical dimension of architecture.

48


Hybrid landscape of unexpected botanies

49


50


I TAROCCHI

II TT AA RR OO CC CC HH II

“I “Itarocchi tarocchi sono sonocome immagini immagini psicologiche, psicologiche, simbolicon concui sisigioca, gioca,come come l’inconscio l’inconscio sembragiocare giocarecon coniisuo suo “I tarocchi sono immagini psicologiche, simboli con cui si gioca, l’inconscio sembra simboli giocare con icui suoi contenuti. Essi si com- sembra binanoinincerti certimodi, eeleledifferenti differentidegli combinazioni combinazioni corrispondono corrispondono alalgiocoso giocososviluppo sviluppodegli deglieventi eventinella nellas binano in certi modi, e le differenti combinazioni binano corrispondono almodi, giocoso sviluppo eventi nella storia dell’umanità”.

West Pier tarots

Carl Gustav Jung

E

THE THE WHALE WHALE THE LUNATIC

THE THE LUNATIC LUNATIC

THE JUGGLER

TH TH

RG

THE THE ICEBERG ICEBERG DREAM

THE THE DREAM DREAM

THE DWARF

TH TH

51


USES This category tells about space and places through the uses that people make of them. This uses generate many possible ways of living the pier and experience its different dimensions, without imposing a precise function.

52


e v en TIDE

53


t aPossible v o l a d eobservatories i reperti

Anortite

Ortosilicato appartenente al gruppo del feldspato, strutturalmente tectosilicato, ossia caratterizzato da una struttura di tetraedri.

Costole di balena

Lo scheletro di questo cetaceo ha ispirato molte leggende nel corso dei secoli, ammantandosi di un’immaginario favolistico che ancora oggi affascina.

Palombaro

Subacqueo che per immergersi utilizza un'apposita attrezzatura, detta scafandro, consistente in elmo, tuta gommata e scarponi zavorrati.

Wunderbox

Ambra

Come una concrezione rocciosa emerge dalla sabbia e come una conchiglia ospita al suo interno tesori nascosti.

Resina fossile dal colore giallo-arancione che può presentare resti vegetali e animali inglobati durante il processo di solidificazione.

Canalizzatore di sguardi

Rhinoclavis articulata

Offre un luogo protetto e solenne, ammantato da un senso di abbandono che rimanda a mondi lontani e primitivi.

La sua forma permette ai suoni di rimbalzare contro le pareti interne amplificandosi e dando l’illusione di sentire il rumore del mare.

Casco per immersioni terrestri

Acrosterigma magnum

Indossandolo, permette di osservare il modo in modo diverso, scoprendone nuovi e insapettati scenari.

La presenza di fori sulle conchiglie sono segni di attacchi da parte di predatori che infilzano il mollusco trapassando il guscio per cibarsene.

54

Interferenze

La forma inclusiava accoglie al suo interno persone e cose che sono viste dall’esterno attraverso un filtro colorato.

Macchina per vedere e sentire il mare

Della conchiglia riprende l’aspetto, ma si trasforma in un macchina per osservare il mare e scoprirne la voce.

Conchiglia

Una grande conchiglia incastonata nel terreno presenta un’apertura nella quale trova posto una scala che porta verso il cielo.


m a c c hMachine i n a p e to r vhear e d eand r e observe e s e n tthe i r eseai l m a r e

palace pier

sea

west pier

concrete sctructure 15 cm thick

A frame that works as a lens focusing on a portion of landscape can make us see unespected details and glimpses. A device where the act of observe become also stay and contemplate. In this concrete cone, a lot alike a shell, you can also hear the sea. In fact wind is canalized through it generating the tipical sound of the sea.

55


SOCIAL NETWORK Social network represented a fundamental chapter of our initial study because it made the role of West Pier as an imaginary generator clear. In this category there are both images taken from social networks which inspired in different ways some of our projects and other images that we suppose would be induced online as a consequence of our scenarios.

56


war of nature W or k ha s s ta rt ed on th e a n a ch r o n is tic so u ndi ng i3 6 0 in Br igh ton . Ba ck in th e d a y when the W e st P i er st i l l s t o o d , Ni c k C a ve an d oth er s we r e pr om otin g a g r een s olution f o r the v ener a b l e iro n s ke l e t o n . A u d io r e- ima g in ed it for a pr om o post er . I kn o w w h ic h I ’ d p r ef er t o see gr a c in g t he ci ty s ea sc ape . Nic k C av e a nd A ud io - Tum blr 2014

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#PROJECT

5

INTERIOR ARCHITECTURE DESIGN STUDIO 2 Academic year 2013/2014 Location | Venice Professors | Pierluigi Salvadeo - Chiara Rabbiosi - Andrea Rolando 58


T E X T I L E AT M O S P H E R E S Concept store for Luigi Bevilacqua

59


The project starts from the analysis of Bevilacqua’s brand, which is a very important and antique Venetian textile brand. The study of Bevilacqua products and history allowed me to find out its identity which can be summarised in three words: classical, completed and a-fucntional. This last characteristic means that the brand has such a great historical and sociological values that its importance passes the functional dimension. I identified the brand with time, intended as cultural signs and traces. What I tried to do with this retail project is to combine Bevilaqua's strong temporal dimension with the contemporary dimension and its life trends. The project consists in a series of spaces with different material, stylistic and functional features, all related with a specific temporal dimension. In particular I developed two different temporal spaces, the narrative time which is the slow and suspended time of the classical product, and the real time which is the fast and interactive time of contemporary life. In these different time spaces people can interact with the products in many ways and understand its complex identity. The project also tries to find a way to open the brand to a B2C commerce instead of the present B2B dominant commerce and to demonstrate how the classical and the traditional can interact with contemporary life. Furthermore the store is conceived as a flexible system which can be integrated in existing building, also as a temporary shop or as an exhibition. To demonstrate this I studied a few different configurations that the shop can assume in space with different spatial qualities.

60


F MR O“ MB“ B2B2B2 B”B ” TTOTO OB 2“ BC“ B2 2C C” ” FFRFROROM O M “B 2 B” T O “B 2 C”

s st ot of ffsef teoef ef et et eses ust etusit si u t i

textile

l epelmne emt ni e tni t i a caccecasecsscoesr osi sreio reci ocemocpmloepmm d ’ ad r’ adr r’eardreordeod o

accessories

c o uctcouour uteut ur er e

couture

D I S P O S I T I V I

L’azienda “Luigi purpurdovendo gran Con questo si vuole forma eforma concredei dei nuovi spazi retail riguarderanno la vendita al alandando incontro alla volontà di personalizzazione L’azienda “LuigiBevilacqua”, Bevilacqua”, dovendo gran gran Con questo progetto si vuole dare forma e concrenuovi spazi retail riguarderanno la la vendita incontro alla didipersonalizzazione L’azienda “Luigi Bevilacqua”, pur dovendo Con progetto questo progetto sidare vuole dare e concredei nuovi spazi retail riguarderanno vendita al andando andando incontro allavolontà volontà personalizzazione parte suoi introiti commerciali di di tezza alla volontà deldel brand creare punti dettaglio di tessuti a metraggio per arredamento, che iche nuovi richiedono per prodotti come come parte dei suoiaintroiti a transazioni commerciali ditezza tezza alla volontà deldibrand di nuovi creare nuovi dettaglio di tessuti a metraggio arredamento, chei nuovi i mercati nuovimercati mercati richiedono perprodotti prodotti come partedei dei suoi introiti atransazioni transazioni commerciali alla volontà brand di creare nuovi puntipunti dettaglio di tessuti a metraggio perper arredamento, richiedono per tipo hahascelto ab-abin Italia e all’estero, cheche diano visibilità al al oggettistica e accessori moda. Dalla volontà di of-di di quelliquelli commercializzati da “Luigi Bevilacqua”. tipo Business-to-Business, ha discelto non vendita, ab-vendita, vendita, in Italia e all’estero, che diano visibilità al oggettistica oggettistica e accessori moda. Dalla volontà quelli commercializzati “LuigiBevilacqua”. Bevilacqua”. tipoBusiness-to-Business, Business-to-Business, scelto dinon nondi in Italia e all’estero, diano visibilità e accessori moda. Dalla volontà of-ofcommercializzati dada“Luigi bandonare lalavendita mama di di sfruttare il il marchio, facendone conoscere la storia laequalità frirefrire un frire prodotto unicounico eunico di ealta qualità si è si scelto bandonare la al vendita al dettaglio, ma di sfruttare ilmarchio, marchio, facendone conoscere lae storia la qualità un prodotto di alta qualità è scelto bandonare vendita aldettaglio, dettaglio, sfruttare facendone conoscere la storia la equalità un prodotto die alta qualità èsi scelto Business-to-Consumer per nuovi mercati. deidei prodotti. Le Le attività avverranno all’interno di introdurre anche un’attività sartoriale su misura Business-to-Consumer peraaprirsi a nuovi mercati. dei prodotti. Le che attività che avverranno all’interno di introdurre anche un’attività sartoriale misura Business-to-Consumer peraprirsi aprirsi a nuovi mercati. prodotti. attività che avverranno all’interno di introdurre anche un’attività sartoriale su su misura

D I S P O S I T I V I DS PI AST PI AOL SD IE TV II CVE SI

7

membranes

m e m b r a n em e m b r a n e membrane

visual and physical network

r e t i r ee t ic oe ncno en ns es si so ino ni i v vi issi i vv e reti e connession i visive

61

artificial landscape

s c o csccao cc ocna dci sol ni v edl il si l i v e l l i

scocca con dislivelli

77


SHOP WINDOW

metallic expositor polystyrene glass prefabricated concrete panels

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Interstice Space is silent with raw and monochrome surfaces and spot illumination, the product is showed as traditional, totemic and monolithic and the time is the time of narration, slow and dreamlike.

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Cell Space is dominated by the concept of network as a spatial, expositive, conceptual device and the presence of different heights to create a soft textile landscape. The time of the space is the one of reality: fast, horizontal, relationship-wise, in movement.

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Prada’s foundation temporary shop

Versailles exhibition

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#PROJECT

6

INTERIOR ARCHITECTURE DESIGN STUDIO 1 Academic year 2012/2013 UTO P I A R E LOA DE D Location | London Professors | Francesco Dolce - Gennaro Postiglione - Enrico Scaramellini 66


M I C RO A S A CO NSC I OU S C HOI C E A + P S m i t h s o n’s R o b i n H o o d G a r d e n s

67


After a phase of study on Smithson’s works we came up with the idea that there is a double approach in their design process: one focused on urban scale and the other on domestic scale, both linked to their researches about inhabitants’ needs and life styles. Following a similar approach, the goal of our project is to find a way to act on huge scale through micro and specific actions. The refurbishement of the existent buildings preserve the structural system and introduce architectural devices which suggest different uses of space in order to answer inhabitants’ needs and desires. Future tenants will redesign the spaces of their homes thanks to revolving panels and sliding partitions. On the other side the five towers we designed in the big garden between the two Smithson’s blocks deal on one hand with the minimal impact they have on the ground level and on the other hand with the creation of a new landmark that can dialogue with the projects of Canary Wharf and Tower Hamlets. The towers are connected by a platform roof that funnels fluxes of people and offers a place where inhabitants can design, create and sell objects and products, as a sort of workshop-bazar. With this project we don’t want to impose a way of living but we want to create the possibility for each inhabitant to take possession of spaces and to personalize them.

“Who are we to tell you how to live?” Alejandro Aravena

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U RBAN ANALYSIS

The site

Activities concentration Punctual activities Activities concentration

600

m

Public parks

BARTLETT PARK

1200

m

CAMPI SPORTIVI SCUOLA ELEMENTARE

350 m

SCUOLA ELEMENTARE SCUOLA CATTOLICA

SCUOLA ELEMENTARE BIBLIOTECA

CHIESA CATTOLICA SCUOLA ELEMENTARE

800 m

NEGOZI E RISTORANTI

MERCATO

BAPTIST CHURCH SCUOLA ELEMENTARE

ALL SAINTS CHURCH

COLLEGE

20

NEGOZI

0m

PARCO

CINEMA

DLR STOP

MUSEO

MERCATO

0

m

m

60

1000

700 m

BIBLIOTECA

CENTRO SPORTIVO

32

Functional zones

69

NURSERY


city

inhabitants

objects

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A public space as an heterogeneous habitat where different people with different needs, wonts, interests and cultures can live together.

A bazaar to ... think ...

... do ...

... share

71


The project aims at making the garden a new public space which open itself to the city and will be able to attract fluxes of people. We propose a new heterogeneous habitat in which people with different needs, interests, cultures, habits and traditions can coexist. We tried to activate a design process that starting from the objectual universe, from the infinitely small, should be the input for a new way of living the home, the city and the society.

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CREATO CON LA VERSIONE DIDATTICA DI UNDI PRODOTTO AUTODESK CREATO CON LA VERSIONE DIDATTICA UN PRODOTTO AUTODESK

RHG

NEW

DWELLINGS

Hypothesis I

Hypothesis II

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I NT E RI OR ATMO SPH ERES

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#PROJECT

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ARCHITECTURAL DESIGN STUDIO III Academic year 2011/2012 Location | Desenzano del Garda Professors | Massimiliano Roca - Maddalena D’alfonso 76


S T R AT I F I C AT I O N S Museum and exhibition at the Roman Ruins in Desenzano del Garda

77


The aim of the project is to design a new museum for the ruins of a Roman villa in Desenzano del Garda. The shape of the museum has its origin in the analysis of urban morphology and the formal and typological analysis of the project area. The identification of a double axis system which characterized the Darsena area, in the city centre, gave birth to the idea of reintroducing this system of axis in the ruins’ site in order to create a formal connection with the city and to generate a new vital area functionally related with the life of the city. The new building museum tries to constitute itself as a city’s crux with a functional and formal re-shaping of the area, able to attract new fluxes from the city. The project is generated by the intersection of two systems, which have different materials and styles, but work together in the creation of a complex machine made up of exhibition and public spaces which can function together or separately. The museum building, that contains temporary exhibition spaces and a permanent museum about the roman villa, is a translucent volume that turns to the lake, raises and ends with a big transparent prospect. On the other hand the museum of the ruins is a massive structure lower than the first and with punctual visual connection with the city, which creates an intimate relation between history and visitors. The plan and the sections of the building underline the relation with the roman ruins, which tries to be less invasive as possible and at the same time it proposes a re-connection, protection and revalorization of the ancient villa. Around the L structure of the ruins we designed a new green area open to the city and connected to the lakeside.

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79


Double system: from the city to the museum

80


First floor plan

81


Public space out of the Roman ruins

82


Exposition detail

83


The theme of the exhibition was the creation of a particular atmosphere into a 25x25cm Plexiglas cube using whatever materials. Polka dots dream is the name of the atmosphere I imagined for the exhibition and it express some spatial qualities I often look for in my projects. Colours, shapes and materials I have used to realized this maquette have a precise meaning and are all part of a story. Polka dots are made of felt because they should represent private or semi-private space where you can fell safe, warm and comfortable. Moreover they are dots and not other shapes because the circle is a symbol for perfection, eternity, continuity and protection. Polka dots are kind of a thinking place made of perfect geometries and warm materials where anything can divert you from your dreams. Polka dots are not on the ground, they are suspended with tiny green lines and they have different heights from the soil. This is because a thinking place must be far from reality to see it in from a different point of view and also because dreams are suspended in a dimension that is not real. The green colour of the lane represents calm and harmony and thinking over. The distance from reality and the dreaming atmosphere is underlined by the yellow animals that seem flying around polka dots, creating a surrealistic atmosphere and an ambiguous location. Are they in the air, in the water or where else? There is no answer because this is a polka dots dream, and everyone can have his favourite dream.

84


POLKA DOTS DREAM Atmospheres. 1000 human environments

MILANO DESIGN WEEK April 2014

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Thank you! Please feel free to contact me with any questions and comments about the works.

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