DATA Riccardo Bartali 2.11.1990 Born in Volterra (Pisa . Italy). Adress: Via Porta a Mare 33, 56122 Pisa, Italy. Enrolled in Ingegneria Edile-Architettura, Long cycle Master Degree Student (5th year) at Università di Pisa.
CURRICULUM VITAE 2009. First Certificate in English (FCE) achievement (Level B2) 2009. Classic Liceum’s Diploma (graduated with 95/100) 2010 - 2012 - 2015. Children’ Entertainer. Management, Control and Planning 2011 - 2012 Publications in “Quaderno Volterrano XV” e “Quaderno Volterrano XVI” (ED. Plus) , with writed section and creation of some works about the books are 2012. Collaboration with Gabriele Puccini Architect for a requalification competition 06/2012. Collaboration in the set-up of exhibition “Volterra 1997-2012: 15 anni di attività del Laboratorio universitario volterrano” held in Pisa, Palazzo Vitelli’s atrium 2012 - 2013 - 2014 - 2015. Voluntary Collaboration and Didactic Assistance for the operation of survey held by the student in Ingegneria Edile Architettura 2013. Partecipation at the OC: Open City Internation Summer School by Politecnico di Milano 2014. Collaboration with Gianni Pochini Architect. Production of CAD draws and renders 2014. Co-founder of 120g, a student group interested in Arts and Architecture. www.centoventigrammi.it 2014 - 2015. Partecipation at various Architectural Competion for Student in team 2015 - 2016. Didactic assistance for the Teaching of Disegno dell’Architettura 2 e Metodi di Rilievo dell’Architettura held by Marco Giorgio Bevilacqua Engineer 2016. Realization of a new museal complex’s planimetry in Pisa 2016. Realization of “Tuscanyness”, a documentary about Tuscany’s Architecture 2016. Designin of the body of an exhibition about Roberto Mariani Architect in Pisa, Museo della Grafica
SKILLS Adobe Photoshop Adobe Indesign Adobe Illustrator Autodesk Autocad Autodesk 3dsMax Rhinoceros Adobe Premiere Pro
Other Competences in:
Adobe Audition GIS softwares Microsoft Office Pack Use of Leica Total Station
Italiano English (B2) Español (A1) Français (A1)
INDEX UNIVERSITY: 2012. Urban Planning ( II ). Riqualification and architectural design of the historical Village of Montecastello (PISA). Teacher: Roberto Pierini 2012. Architectural Composition ( II ). Design of an Urban Park in an abandoned quarry in Vecchiano (PISA). Teacher: Massimo Fiorido 2014. Interior Design. Trasformation of a farmhouse into an apartment. Teacher: Paolo Galantini 2015. Architectural Restauration. Analysis and Restauration of the St. Michael’s Cathedral in Lucca. Teacher: Pietro Ruschi 2015. Architectural Composition (III). Design of a Public Library in Pisa. Teacher: Domenico Taddei
CONTEST: 2013. Natura in città. Urban Design of an Area of Piacenza. Contest related with the Workshop OC Open City Summer School held by Politecnico di Milano 2014. CPH Modern Library. Design of a Library in the Seaside of Copenhagen. Student Competion by AWR - Architectural Workshop in Rome 2015. Porto Pool Promenade. Design of the Riverside Area in Porto (Portugal). Student Competion held by Ctrl+Space 2015. 120h. Design and Requalification of Svalbard’s ghost city of Pyramiden (Norway). Student Competion held by 120h 2015. Barcellona Temporary Pavillon. Design of a Pavillon in Barcellona (Spain). Student Competion held by Awr - Architectural Workshop in Rome
1. Urban Planning ( II ) Riqualification and architectural design of the historical Village of Montecastello (PISA). Teacher: Roberto Pierini Assistant: Claudia Casini, Stefano Ferretti, Andrea Mannocci, Elisa Massano, Silvia Turchi, Caterina Massei.
Historical Analysis, Urban Analysis, Urban Design.
The project aims to redevelop the historical center of Montecastello, a small city located top of an hills next Pontedera (PISA). The study started with an accurated analysis of the history, enlightened the importance of the settlement as one of the best preserved in the region except for the post-bellic interventions of modernization. Starting from this we decided to make the city more accessible and enhance it, rewriting over the controversial works as the main square or the three city gates. The city lacks of entrances accessible for anyone. The streets are narrow and from the park to the center there are around 50 steps. There are no place for bicicles and overall the inner center is use as a parking spaces for residents. We worked with spotted interventions in these areas. Itâ€™s even difficult to reach the city. So we proposed the creation of a bike path to link with neighboring cities and an improvement of public transports with a timetable more suited to a flow of tourists.
In the surrounding countryside also arise many interesting historical artefacts, both acient and modern. The area is plenty of Etruscan ruins and remnants of the Second World War when the city made part of the German defense line. We designed pedestrian paths to link this important places and make the zone more accessible to every visitor.
To renew the main square we decided to maintain the antiquity of pavement with stone slabs introducing characteristics of contemporaneity in defining the forms and spaces. The streets surrounding the square were covered with irregular tiles, highlighting the continued unfolding of the facades. The use of stone, in the inner area, itâ€™s replaced by concrete aggregate. it describes a shape drawn across the main directions of scenic spots. This, someway, immediately resembles the shape of the courtyard of the villa Torrigiani Malaspina , a landmark building , located exactly on the opposite side of the small village. To reach the top of the hill and the little Church, we designed a ramp in which we collocate a little bar for the residents.
1. Masterplan of the historical center 2. The parking (plan) 3. The main square (plan) 4. The main square
2. Architectural Composition ( II ) Design of an Urban Park in an abandoned quarry in Vecchiano (PISA). Teacher: Massimo Fiorido Assistant: Fabio Candido
Landscape Analysis, Urban Analysis, Park Design.
An abandoned quarry is the pretext for the creation of a park on the edge of the city of Vecchiano, near Pisa. The area keeps itself hidden, showing at the visitors only the rock wall on top of wich dominates the hermitage of Santa Maria. Two accesses were designed to ensure a flow:one on the west,facing the countryside and the old entrance area, the other on the south, through the rocks, linked with one of the historical street of the city. The were projected three zones: on the west a filter for the access, characterized by brown gravel and a white linear path with a rows of three, emphasizing the idea of order and precise aseptic; under rocks an area covered with grass is marked by a sinuous ring path and by threes planted randomly against an elliptical wall; this is a
barrier for the inner area, the core of the project: a green plan area, with the two remnants of the quarry in the middle, geometric centers of shape, and some terraces overlooking the external rocks. With this project i aimed to represent the struggle between human work (ordinary and stressing) and nature (casual and pleasant). The labor is connected with the shape of the cave opposed to the ellipse hidden by the threes. Itâ€™s a sort of Russian doll in which somene access through various filters: the aseptic one, the stray one and at least a wall that close yourself to the outside world using the quarry as a mere background.
2 1. Masterplan of the project 2. Conceptual Schemes 3. The straight line 4. The trees along the wall 5. The inner area: the theatre and the rocks
3. Interior Design Transformation of a farmhouse into an apartment.
Teacher: Paolo Galantini
Interior Design 3
The article in question is located in a transition zone between areas of the river Serchio and the pine forest of St. Rossore , area characterized by the presence of large fields dedicated to agriculture . The design starts from the desire to preserve the preexisting visual as an integral part of the rural texture and local aesthetic habitus. The vertical and horizontal typical of the wooden structure are compositionally supported by new elements that become part of the internal architecture and system areas , defining the most intimate areas of study and relaxation. The area of intersection is a two-tier environment, where light dominates through the skylight on the roof in a scenario between the new and the old , the horizontal and the vertical , the degradation and the novelty.
1. Context 2. Scheme of outdoor and indoor 3. Scheme of linear elements old and new 4. South facade 5. Ground floor 6. First floor 7. Section S-N 8. Section O-E 9. Sitting room 10. Dining room
1. The west facade 2. St. Michael and Lucca 3. Plan: state of affairs 4. Plan: geometric drawing
Architectural Restauration Analysis and Restauration of the St. Michaelâ€™s Cathedral in Lucca. Teacher: Pietro Ruschi Assistant: Gabriele Puccini, Stefania Landi.
Historical Analysis Survey Analysis of the Degradation
The St. Michael Cathedral is placed in one of the most important squares of Lucca, at the crossroads of the ancient Roman Cardo and Decuman,next to the middle of the space,isolated from the borders. Firstly built in the ninth century was rebuilt in the Romanesque style from twelfth thanks to a very substantial bequest to the diocese from a local landowner. The main body of the building was commited to Deotisalvi, the same architect of the baptistery in Pisa. The facade was instead realized by Guidetto da Como, in the early thirteenth century. During the nineteenth century a lot of important interventions were made, expecially on the presbytery, with the realization of new altars.
The west facade, the entrance one, is the most developed. Realized by Guidetto da Como shows five orders of columns. The first from the base it’s similar to the others, with three access to the naves. The others presents a gallery behind the fine carved marble columns individually different each others. Between every row a carved frieze in green and white marble (presenting mythological animals and hunting scenes) and an engraved moulding (with the same subject). The 2nd and 3rd orders are composed by fifteen columns. the last two by 7 (it’s as large as the central nave). High more than the cathedral’s roof, the facade acts like a fifth stage for the square, dominating with its white austerity.
Internally the Cathedral was a latin cross with two lateral naves (separed from the main by archs on columns) and a semicircular apse.The ceiling presents a barrel vault with lunettes. On the left side there is the parsonage, which leads to the priest’s apartment; on the rightside (over the right transept) the bell tower. Outside the base order is composed by semicolumn which hold a theory of archs. Over the string course, on the South and East facade, there is a gallery covered by archs and columns finely carved. In these side walls there are some fragments of the eldest church (9th century).. The north side (the one more close to the other buildings) is less developed, except for a overpass from the parsonage to the near decanate).
We began with the survey operation, either with the traditional method (to define the plan) with tape measure and double standard, and with the digital one with Leica Total Station to define the section and ensure the analogic measure. After we proceeded with a photo campaign by which we rebuilt the state of affairs of the facades adding to the drawings many details. Simultaneously we search in the libraries for information about the history of the building, to gain a complete vision of the work. At last we analyzed the deterioration, recognizing that is mostly caused by a bad discarge of water by the roof. The whole system it’s undersized and dump on the wall causing mildew and invasive vegetation.
5. Architectural Composition ( III ) Design of a Public Library in Pisa. Teacher: Domenico Taddei Assistant: Lucia Giorgetti
Landscape Analysis, Urban Analysis, Architectural Design.
The assigned site is collocated at the border of one peripheric satelitte of Pisa called C.E.P. (in italian Centro Edilizia Popolare - Popolar Building Center, a kind of ante-litteram social housing). Behind the area, charaterized by tall condominiums, there are only fields and rural buildings. On the south, the river Arno flows to the sea calmly. This three elements (the post-war urban agglomerate, the countryside and the river) determine with their force the shape of the library, a continuos rectangle broken deeply by angles. External, on the side facing fields, there are many areas to relax and study outdoor with trees and benches. The entrance is on the side of the streets with two walls that works as gateways and protect the library from traffic.
The perymetral outer walls are covered with bricks on the city side (taking inspiration from the other buildings in the neighborhood); otherside white plaster to keep the relaxing ideal of purity and to not distract people with textures. The space inside is conceived to keep different users in different blocks: the small auditorium itâ€™s apart on the north side; at the ground floor there are the office areas interested by a continuos stream of people (like the bar, the kidsâ€™s area, ...); on the first floor the reading rooms for children and adults, more quiet and studious, even if a terrace allow to see the what happen downstairs.
4 1. Ground floor 2. The terrace 3. The entrance 4. The hall 5. Section 6. West facade 7. East Facade
1. Rediscovered Water Urban Design of an Area of Piacenza. Contest related with the Workshop OC Open City Summer School held by Politecnico di Milano.
This project was made during the Workshop OC: Open City International Summer School “Natura in Città”, organized by the Politecnic of Milan in September. As the title suggest the goal is to investigate the relationship between the city and the nature in its different form: agricoltural fields, industrial fields and the River Po. The Area assigned to my group was the north one, on the borders with the river. We decided to work on an utopia. A city where water, streets and buildings coexist seasonly according to the river’s flood. While the water overrun in the designed buildings (the museum, the research lab, the square, the courtyard of the church), the city invade the river with its lights and a floating theatre. The fluid draws signs on the acient forgotten canals, digging in the ground defining new undeground space design for research activities or merely for recreational purpose (like the museum under Palazzo Farnese). Meanwhile the seasonal island in the middle of Po becomes a landmark with hundreds of poles, a gift for the city from the nature that take back its place extorted by mankind. We rapresented all of this using drawings with a graphic of impact, and dark tones, trying to express the surrealistic behaviour of our project and its will to return to the dawn of humanity when the relationship with nature was more deep, direct and instinctive.
1. Masterplan of the area of Palazzo Farnese 2. The riverview 3. Masterplan (Autumn - Spring) 4. Museum’s First Floor (on the left Palazzo Farnese)
2. Copenhagen modern Library Design of a Library in the Seaside of Copenhagen. Student competition by AWR - Architectural Workshop in Rome
The first point of our study process has been the deep knowledge of the architectural context as well the cultural and social weight of a “hyggelig” situation; then we focused into a site-specific analysis: a long promenade from one of the most famous channel of Denmark, Nyhavn, to the romantic sculpture of the Lille Havfrue, passing near Amaliehaven, gives a series of views, impressions and glances which stratificate and set-up visitors’ mind to the next visual experience. Here the project rises, influenced by sloping roofs, light colors, brick walls... A necessary element between the series of suggestions, in continuity with the surroundings. Recalling the archetypical shape of a sloping-roof house puts the Library in continuity with the volume of the adjacent buildings; its semi-transparent skin is an intermediate step which gradually
brings the visitors’ eye from a light and natural situation given by the Amaliehaven to a heavy and geometric brick-made multifloor traditional building. A modular facade, made from microperfored embossed alloy panels, recalls the geometric arrays of nearby buildings’ windows, sometimes opened, sometime closed: behind the skin, glass or walls change the weight of the module, and the lack of the module opens on free terraces. The color of the skin recalls the streets of Copenhagen: it’s painted by the panorama. Optimizing the space of the area is a necessary step for a project which is respectful of people needs: a library has to be a cozy place where to read and relax, where to meet people and talk: from this considerations we’ve chosen to create a free open-
space at the ground floor connecting one side to the other of the building, reaching the seaside from the garden on Toldbodgade and viceversa. The same philosophy applies to the upper levels, which are permeable vertically by atriums where trees and vegetation grow through the floors creating cozy places where to chat and study. On the seaside of the building two mid-floor are added between the main ones, creating five layers of informal areas. Adjacent to the terrace area on the waterfront side of the building a double staircase connect all the floors and mid floors; on the west side of the building, the first floor host the multimedia area and the kids area.The second floor is a great open-space consultation area; the third hosts a lecture hall which can be divided into subzones with mobile walls that generate multifunctional spaces. The last floor hosts a cafe with a great panoramic terrace.
1. Illustration of the main facade 2. Schemes: flow / panelsâ€™ colours / distribution 3. Render of terraces 4. Render of backside garden 5. Schemes: volumes & function 6. Schemes: volumes & floors
3. Up & Dive Design of the Riverside Area in Porto. Student competition by Ctrl+Space
TEAMWORK http://www.centoventigrammi.it/ppp.html 1
The idea of the project was suggested by local people. When we visited the city of Porto, we realized that children lunging from the bridge could be the key to read the river issue. Their gesture destroys the bridge as a boundary between East and West Ribeira: they dive democratically into both sides. So, the connection between the two part is already present, like something innate in this place, and it neednâ€™t to be built. We just have to figure out the best way to make it effective. Furthermore, this gesture recreates the primordial relationship between inhabitants and the river: the contact with water. The project started from studiyng the material relation between liquid and solid and the physical relation between the city and the river in order to figure out the concept of our project.
The impact generated after thecontact of two elements, like a solid object and the water, creates organic spaces and sinuous shapes, like the citizens diving into the water who generate the typical image drawing by concentric curves in the river surface. This represents the MEMORY of the gesture, in the simpliest and most immediate way. We extruded the waves creating a series of â€œpositive and negativeâ€? volumes: the first ones refer to the messy variations in level of the city above; the latter become swimming pools. All the surfaces become steps that can be covered with grass and people can seat there to relax. Curved shapes also represents the natural movement of people flow: instead of canalize them into only one direction, they can choose a lot of ways. So, they can live this place as a promenade, the continuum of the West Ribeira, or as a complex of spaces with various activities.
The purpose of our project was to create a landscape situation on the river level.That’s why we decided to integrate the functions to the existing embarkment and to put them inside the “little hills”. In fact most of services and commercial activities are deployed under the cycle path, in a series of simple volumes alongside the wall. The only restaurant is located within a hill, the highest one, in the center of the composition, between the point of the lot perimeter. This “allway” lets people go up to the road level and go down to the river level.The need to connect this side of the Douro river with the other one (beyond the bridge) is satisfied withthe extension of the cycling lane along the river bank, passing under the bridge and reaching the farthest pools and the promenade. 2
There are other two high hills that are used as a theatre, with water as a scenery, and a dive platform, with a max level of 4,00mt. The other low hills are lawn with some trees to create a relax area, to be frequented both in winter and in summer, repaired from sunbeams. In the east side of the lot there are piers to let boats dock. It has been choosen to locate piers there in order to separate the social activities from the transit of boats, and make the bathing safer. People can live many kind of experiences through the variable deepness of the pools, having bath in different spaces. The hills are composed of steps with different height, this fact creates situations for many physical exercises, for ones who are looking for a fitness promenade.
1. Render 2. Masterplan 3. Render 4. Schemes 5. Overview
4. Threshold Design and Requalification of Svalbardâ€™s ghost city of Pyramiden (Norway). Student maraton competition by 120h
Even if these lands were discovered 400 years before, Pyramiden was born and dead over only 50 years along the second half of XX century. Pyramiden is community, Pyramiden is work, Pyramiden is family, Pyramiden is ice hockey, Pyramiden is its thousands inhabitants with their hopes and dreams, Pyramiden is life. Pyramiden is identified by people that lived there, for them it has been the Dream that never came true.
Historically this land was inhabited by people that were coming and going like hunters, explorers, scientists, but no one was stopping: it has always been a population zero place, until something extraordinary happened. The Extraordinariness of this place could be found in the fortunate events that led people to live there for 50 years, a very short period of time, but enough to create a community, to settle down a family, a life. Precise circumstances that NOW donâ€™t exist anymore. The thousand people that settled down in the mining situ would have lived there forever despite the harsh weather conditions, they were a young community, full of energy, something was always happening, but suddenly they had to leave that place.
“Something beautiful has come to an end but we never say goodbye forever because Pyramiden is in our hearts.” They left the skeleton of the community, its buildings, the proof of human work, with the forniture and the objects, the proof of a human life. To bring back Pyramiden to life, the city must die, its inhabitants abandoned it, it remains instead, and it will always remain, the malancholy for a lost paradise. We want to preserve the Extraordinariness of an ordinary community that, with its everyday life, has bring human life in an untought place. Today it has become an open-air museum, a tourist attraction, it betrays its own soul of locus amoenus, self-sufficient village. Sperimental preservation is not the restoration of the city as its 2
buildings but it aims to hand down the athmosphere, the spirit, the meaning of a city made of workers, roads, children, chess players, houses, mothers, electrical grids, young men, dreamers. Since we leave the buildings standing in the site there will always be someone aiming to be the witness of the slow decay of the city, of the human absence trough the presence of its work, of the romantic ghost place where the nature is gradually dominating over men’s work. This is the reason why we destroy those buildings, to avoid the city to be just a tourist attraction. Pyramiden will remain a population zero place, until other fortunate events will happen, someone will continue to come and go the same, as it has been along the last centuries. For those explorers, researchers, adventurers that will
go there, we keep the memory of Pyramiden, as a place of life, giving them different snap-shot of everyday community life. We preserve the 50 years of work, amusements, shipping, swimming, trips, learning, all those activities typical of Pyramiden but also common for all the Soviet mining villages, for all the communities, and familiar to us as well. People will be able to experience it in different ways: the complexity of sound gives us the opportunity to reproduce specific scenes like children playing and laughing in the courtyard of the school, and touching materials will add a sensorial meaning allowing to stimulate people’s immagination. 1. Render 2. Scheme, Plan & Section
5. Sails into the wind Design of a temporary Pavillon in Barcelona. Student competition by AWR - Architectural Workshop in Rome
Port Vell is Barcelona’s waterfront and part of Barcelona’s port. It underwent a renewal program in 1992 which converted it from a non-area into one of the focal points of the city. Thanks to all this and thanks to the location of “Maremàgnum”, “IMAX”, and the “Rambla de Mar” Port Vell now is a tourists-must-see. The temporary pavilion is meant to be used both by citizens and tourists. The requirements were an exhibition area, a cafeteria or/and a restaurant, an info point and public toilets. We came to the conclusion to add an open air theatre which can be used for cultural shows and representations. Our project started from the analysis of the area: its development is mostly flat, whit not so many high elements. The main element is the sea. Based on this analysis we chose to start from a platform which has been elevated and decomposed. Decomposing it
permitted the formation of numerous islands, which create many itineraries and recall the idea of the sea. Some portions of the platform were recomposed and raised to an higher share, creating the roofings and the open air terrace. Finally, in order to respect the genius-loci, that is the peculiar style of Barcelona’s buildings, an in order to harmonize our pavilion with the environment, which is mainly composed by the sinuous movement of the waves, we chose to install a second roofing composed by bent pipes and sails. It is not literally a proper roofing, it constitutes more of a solar shading.The sails were deeply influenced by the presence of the boats anchored in the port. We loved the idea of a pavilion extending sea-elements on the earth.
The project: space organization The exhibition area is not unique but it is distributed between the islands, this way the paths created by the presence of the islands become a real exhibition “gallery”. The other services form 3 different blocks, these constitute the only volumes in our project. (in fact all the island are flat, even if placed on a higher share from the plaza level). The location of the 3 blocks is based on their purpose: the info point was placed on the corner of the project area, facing the plaza and the Rambla de Mar, allowing the maximum visibility.The cafeteria was placed nearer to the sea, that in order to create a peculiar atmosphere. Its roofing is an open air terrace which can be used both by customers and spectators of the theatre. 2
The terrace is meant to be an observation point from which one can see all the plaza, Rambla de Mar, the Rambla and the port. Finally public toilets were placed in the outer corner of the project area, this allows it to be easily reachable and prevent it to be in a central area. Regarding the distribution we chose to create an axis, parallel to the sea which permit to distribute the flows. Moreover there are lots of paths surrounding the islands and creating a free circulation flow around the artworks. All the platform are at +60cm from the plaza level, they can be reached using stairs or, in case of handicapped visitors, by ramps. Being at a different share from the plaza, the islands become free benches for citizens and tourists.
Regarding the materials we chose to assign a different one to each axis. We assigned glass to the axis perpendicular to the sea and parallel to the plaza, this allows a complete transparency for the bystanders in the plaza. We decided that parallel to the sea walls would be opaque, so that we could create peculiar views, focused on different targets preventing the eye from wandering and losing focus in the vastness of the sea. Finally all the platform, islands and roofing, that is all the elements on the z axis, are built in wood. We deliberately chose different materials from the one constituting the plaza to highline the temporary aspect of the pavilion which is hosted there and it is not meant to “take roots”. 1. Board: Scheme, Section & Plan 2. Render
1. 2016. Orto Botanico di Pisa, Plan 2.
2016. Versilia, Aerial View with Fabio Santaniello Brunn
3. 2013-14-15. Festival dei Coralmente Abili, Posters 4.
2014-15 Video: 1. “Contrast”, 2014 Link 2. “Macomenai Crew - The Edge of Glory”, 2015 Link 3. “Light Stamp”, 2015 Link
2016. Tuscanyness, Film Project Link
2016. “Roberto Mariani: senza clamore e dissonanze”. exhibition design with 120g
I and Alessandro (a friend of mine), made a promo video for the Makomenai Crew (“Fighters” in acient Greek) an Hip Hop group directed by Marco Semilia, teacher of Dance School “Etoile”. Filming has been a very hard task, because dancers’ movements must by in sincro with music and there is the needing of multiple shots, but the work behind it has been well rewarded by the suggestiveness and the pleasure of being involved in a not common environment.
This video was made for the 2nd edition of the contest “Riprenditi la Città”. It talks about the relationship between hangouts and lights. During a night in Pisa people meet in few places well lightened. This is because something happened there and not elsewhere. I rapresented this starting with a sacrifice (I literally crashed into the wall), an indelible mark designating a place where everyone can spend its time free and safe.
This video was the winner of the Most Original Prize in the Ist edition of the contest “Riprenditi la Città” organized by AIDI Luce, the national association of Lighting. I rapresented the lack of illumination in my home town enhancing the heaviness and solemnity of Stone. I work on frames incresing color contrast. Thanks to rythmic sounds as the heartbeating i achieved my goal of create a surrealistic and dreamy world carved from the city.
TUSCANYNESS - Itâ€™s a video-project about who we are. What is architecture in Tuscany? What will be our future? and mostly, what is our past? We try to discover it through a journey around the main cities of our region with only a camera, some equipments and a lot of wonderful places.
“ROBERTO MARIANI - Senza clamore e dissonanze” it’s an exhibition based on the master degree’s Thesis of Sara Guazzelli, an art historian, edited by Prof. Denise Ulivieri, Sara Guazzelli and Arch. Teresa Arrighetti. 120g takes part as media patner and mostly designing the lightweight structure in wood, the graphic layout. If it’s not enough we even realized the structure by our hands. An hard task wich worths around 200 enthusiastic people at the inauguration.
This portfolio contains works from my third years at university to now. As you can clearly see my architectural and graphic competences raise a lot during this time. They are not the best projects in the world, but they are the way in which i tried to solve the problems that gradually Iâ€™ve to face in the design. I think I really grow up in this period and I take consciusness of my abilities and merits, and even of my duties as a future architect. But Iâ€™m ready to learn new things every day and constantly I search for new challenges to prove myself. I really hope you enjoyed reading my portfolio. Thank you.
Riccardo Bartali +39 349 4775112 firstname.lastname@example.org