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Stefano Serventi


Stefano Serventi Rua são João da Praça, 90 5E Lisbon city, Portugal 1100-521 IT +39 3478747068 PT +351 924192833 stefano.serventi@gmail.com www.stefanoserventi.com

Education M.Sc in Architecture, Politecnico di Milano/Universidad Autonóma de Lisboa, graduated with honors. Thesis “The Transparent Theatre: within Architecture and Utopia” advisers: Remo Dorigati, Inês Lobo, João Gomes da Silva and Joaquim Moreno. Bachelor of Landascape architecture degree, Politecnico of Milan, final mark 103/110. Thesis with Arch. Paolo Belloni and Arch Carlo Nozza, AY 2010. One year of Urban Planning program, Politecnico of Milan, AY 2006. Surveyor High school education, Paciolo-d’Annunzio, Fidenza, Italy, 2005.

Work experience Beyond Entropy Ltd. - Arch. Stefano Rabolli Pansera - Paula Nascimento, London/Lisbon, 2013. Canali Associati Srl - Arch. Guido Canali, Parma, 2009. Longoni Giuseppe studio, Milan, 2007-2008. Nicola Virgenti topography studio, Salsomaggiore Terme, Parma, 2000-2007.

Award and Competitons International Summer School - OC Open City-Living the street, with Luca Molinari and Guya Bertelli, Politecnico of Milano, Piacenza, 2011. Instant House 2010 - Living host cells for the young visitors of the Expo 2015, Milan, 2010 (competiton). “Ridisegnamo Piacenza” - The city that I would, Piacenza, with Arch. Felicita Forte, Arch. Alessandra Bonomini, Arch. Francesco Ravera, Arch Filippo Ravera, (winners), 2009. Archi-Bau award 2009 (competition). 10+10 Architectures for mountain, Conference of Alpine Contemporary Architecture, curator Arch. Gianluca Gelmini, Arch. Marcello Ambrosioni, 2007 (exibition). Prize of Architecture FBM 2007 - an idea for a new Perugia, with Arch. Pietro Cinquegrani, 2007 (competition). Plastic Opacity - Internatioanl concrete design competition, Bauhaus Dessau Masterclass, with Arch. Daniele Ghiglione, 2006. (National italian winner).

Skills Italian mother tongue. English Upper-intermediate level B2 - University of Westminster, London. Portoguese Upper-intermediate Strong capabilities (PC/MAC) in Autocad 2D-3D, 3DStudio Max, Adobe Suite, SketchUp, Office. Strogn capabilities on models making.


Contents Work Experience Mesa à ciel ouvert, 2^Torrão Trafaria, with Likearchitects. 2013. Palazzo del Capitano, Siena, redevelopment as a Museum, Atelier Guido Canali. 2009 Ex. Manifattura Tabacchi Milano, atelier Guido Canali. 2009 Area Portello Milano, real estate development with Cino Zucchi, Guido Canali, Land Srl; atelier Guido Canali. 2009.

Accademic works The Transparent Thetre. within Architecture and Utopia, Thesis M.Sc in Architecture, 2013. Urban Grafting: MMCC_Museum, with Arch. Cino Zucchi, 2012. Tomba Brion by Carlo Scarpa, analysis and intervention hypotheses, with Arch. Andrea Canziani, 2012.

Competiotions/Reserch The Tokyo Prada Store by Herzog & de Meuron, with Sibilla Bonfanti and Viola Gurioli, 2010. “Ridisegnamo Piacenza” - The city that I would, Piacenza, with Arch. Felicita Forte, Arch. Alessandra Bonomini, Arch. Francesco Ravera, Arch Filippo Ravera, (winners), 2009. “Plastic Opacity - Internatioanl concrete design competition”, Bauhaus Dessau, (National italian winner),with Nick Turvey, Paolo Spadafina, Lotte Mettelear and Seda Kurt, 2007.

Exibitions “RE:” Ceci est um parc, exibition of the final work at the Universidad Autonóma de Lisboa, with Emanuel Diogo, André Castro, Marius Waagaard. “10+10 Architectures for mountain”, Conference of Alpine Contemporary Architecture, curator Arch. Gianluca Gelmini, Arch. Marcello Ambrosioni, 2007 (exibition)

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Work Experience Mesa à ciel ouvert 2º Torrão Trafaria. InSITu-Workshop Likearchitects, Porto. 2013

Mesa à ciel ouvert is a project developed during the workshop named IN SITU - Workshop de intervenção em arquitetura curated by Pedro Campos Costa and Filipa Ramelhete A community table developed in coordination with Universidad Autonóma de Lisboa and Universidad ICSTE + VitriviusFabLab. Tuturing by Likearchitects and students form both universities. The main idea was to redefine and so to integrate a portion of the social barrio, normally left outside the urban life. And so to join people to a table, was the most easy and simply act to make. Prefabricated in OBS panels, cut by cnc machine, and then constructed in site, creating a new “urban living-room”; was also a way to work with the community creating a symbolic partecipation.


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Palazzo del Capitano Siena Atelier Guido Canali, Parma. 2009.

The “Palazzo del Capitano” is located in front of the Siena’s Cathedral. The building is on 7 levels. The basement is fully excavated in the tufa cave and has a irregular plan where caves are unrelated between each other. Part of the project involves the construction of a terrace to create a new part of the building that is still not accessible. This terrace has been designed as a small roof garden, with a green roof, like a pergola. Access to the terrace is allowed through the top floor of a small area, and through the installation of three lifts, one of which is positioned to be up to the seventh level. . The basic problem was the relationship between an architectural object new, modern in an ancient context. A classic example of how the architect Guido Canali is specialized in the design of difficult situations, including history and archeology.


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Ex-Manifattura Tabacchi Milano Atelier Guido Canali, Parma. 2009.

The project involves the improvement and recovery of the manufacturing tobacco buildings: one for housing, services and trade, a university residence for 600 people with the provision of all necessary services, and an experimental school of cinema coming from Rome, CSC. The most important work, however, was that the final draft of the university residence that required by the commission was to provide about 600 beds, both for students and for teachers. The project provides 560 seats instead, using the maximum available surface data, with the exception of local dining, study and underground parking. The building interior heights of over 5 meters, which made ​​possible the construction of mezzanines levels inside the apartments. The architectural design is seen here as an intervention of a large scale, where the idea to create a new district inside the city make possible to create a city within a city.


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Area Portello Milano Atelier Guido Canali, Parma. 2009.

The design of the new Portello area in Milan, tin the north area of Milan, sees the studio involved in the design of residential areas (a study of various housing types willing to tower) and the commercial services to be allocated for homes (to be built in a horizontal direction). The main facades are made of metal panels coated with plaster tinted in a dark color, while other parts like the rails are metal and glass and metal panels always smashed shares, but in a different colour. The entire project is then presented as a new proposal for a “living portrait�, where it, pays particular attention to the quality of living aspect that shows attention to detail. The extensive use of green spaces used in small terraces changes in a new idea of living in the vertical way. The project is a result of a partnership with arch. Cino Zucchi, and Land for landscape aspects.


SEZIONE GENERALE A-A 1:200

PARTICOLARE A - SEZIONE POZZO DI AREAZIONE 1:50

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Academic Work The Transparent Theatre within Architecture and Utopia M.Sc. Thesis adivisers. R.Dorigati, J.G.da Silva, I.Lobo, J.Moreno. 2013

“Transparency means a simultaneous perception of different spacial locations. Space not only recedes but fluctuates in a continous activity”.

This job’s soul twists through an accurate landscape’s deconstruction, where landscape means palimsest, both through a written space which is thought of the characters who profundized what theatre is, overstepping the ephemera idea of simple container. I reproved possible corrispondences between antitetichal figures such as architecs, writers, actors, dramatists or musicians. Antonin Artuad, Carmelo Bene, Walter Gropius, Renzo Piano and Luigi Nono are part of this journey. For this reason I designed for this art that becomes architecture a transparent nature, to let it understand and, finally, crossing like a diaphanous body, almost ghostly. The concept of transparency developed by Colin Rowe and Robert Slutzky helps us to understand the double meaning that transparency here assumes: not only an intrinsic characteristic of the material but a property of the form.


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_Palimpset / the politics of palindrome

REVEALING PALIMPSEST 2013-...

EQUIPMENT 1943-2013

PARK WAY 1938-1943

POLITICS OF REFORESTATION 1938

PRODUCTIVE LANDSCAPE 1908-1910


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Toilets

Dressing/control room A

pedestrian bridge Concert area

Central Stage

Theatre

Foyer

A’


Stefano Serventi_Architecture

B’

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MMCC_Museum Design studio 1 Prof. Arch. Cino Zucchi with Enrico Curini 2012

This job’s soul twists through an accurate landscape’s deconstruction, where landscape means palimsest, both through a written space which is thought of the characters who profundized what theatre is, overstepping the ephemera idea of simple container. I reproved possible corrispondences between antitetichal figures such as architecs, writers, actors, dramatists or musicians. Antonin Artuad, Carmelo Bene, Walter Gropius, Renzo Piano and Luigi Nono are part of this journey. For this reason I designed for this art that becomes architecture a transparent nature, to let it understand and, finally, crossing like a diaphanous body, almost ghostly. The concept of transparency developed by Colin Rowe and Robert Slutzky helps us to understand the double meaning that transparency here assumes: not only an intrinsic characteristic of the material but a property of the form.


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PLANS

_Ground floor: permanent exibition/cafe/bookshop _Basement: deposit

Ground floor_scale 1:200

A

Politecnico di Milano | Design studio 1


Porta volta - MIMO Stefano Serventi_Architecture

B’

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-0,60 -0,60

A’ -1,60

-1,60

B

Enrico Curini | Stefano Serven


PLANS

_First floor: temporary exibition/offices/auditorium

First floor_scale 1:200

A

Politecnico di Milano | Design studio 1


Porta volta - MIM

B’

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A’

B

Enrico Curini | Stefano Serv


Tomba Brion arch. Carlo Scarpa Preservation studio Prof. Arch. Andrea Canzianiwith Filippo Minora, Francisco J. Rodriguez, Anna Prokudina. 2012

The work on the Brion’s tomb of Carlo Scarpa was proposed by the prof. Andrea Canzini, Docodomo italian exponent, to put into practice the theories of conservation and preservation for the buildings of the modern era. Following a precise theoretical discourse of intervention, we selected the central corridor of the entrance, the propiluem. A carefully and detailed analysis up to the millimeter has been carried out and allowed us to discover the complexity Carlo Scarpa’s masterpiece. In this project he has placed all its complexity and mystery of his lifework. Once we analyzed the problems due to various factors, of which the experimenting use of cement made by Scarpa has greatly affected the actual situation. After that we proposed solutions for intervention and so the preservation of this enormous artpiece.


_Redrawing detail

Stefano Serventi_Architecture Tomba Brion by Carlo Scarpa

21.45

descriptive drawings_

plan

scale: 1/50

0.87

1.61

7.84

7.77

Sources

Plan provided in the intial student pack Corrections on dimensions measuring on site and from images

1.154

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0.76

0.336

2.25

nico di Milano | Architectural Preservation Studio

Filippo Minora | Anna Prokudina | Francisco J. Rodriguez Perez | Stefano Serventi

10

Block G_159cm specific block

Block I_159cm block with access

0.048 0.135 0.11 0.11 0.11 0.11 0.11 0.11

0.073

0.11 0.11 0.11 0.11 0.11 0.11 0.135

0.055

0.005

0.105 0.85 0.11 0.11 0.11 0.11 0.11

0.11 0.11 0.11

0.09 0.095 0.145

0.005

0.53

0.54

0.005

0.53

0.54

0.005 0.084

0.014

0.035

0.035

0.101

0.013

1.59

1.59

scale 1/20

scale 1/20


process

Decay effectiveness _

STEP 1

internal wall_01

Analysis of Tomba Brion

PRELIMINARY HISTORICAL RESEARCH

- material given by professors - books on Tomba Brion (general topics)

scale 1/50

ANATOMIC ANALYSIS - on-site check of read information - collection of photos and drawings - observation of:- detail elements - textures - measures - colours - light, sound etc...

Does not affect the overall appearance of the wall

methodology_

Convex de formation

Tomba Brion by Carlo Scarpa

“AWARE” HISTORICAL RESEARCH

- references to Carlo Scarpa’s works (Klee-WrightKnossos’ lybirinth, Aztek, funerary architectures) - books on Tomba Brion (specific information) - books on restoration theories REDRAWING - general documents (plans, sections etc.) - detail drawing of key elements - “hypothesis” drawings - matching symbologies and materials

STEP 2

Decay and alteration study DECAY PROCESS STUDY - lecture of Alessandra Ferrighi - books of restoration theories (decay classification) - studies of previuos interventions on Tomba Brion and in Carlo Scarpa’s works DECAY DIAGNOSIS

- on site check and photo report - decay and alteration mapping - decay and alteration causes and sources definition

STEP 3 Intervention

VALUES APPLICATION

- over the whole complex - over surfaces (concrete, plasters, wood, metal etc.) - over single details (cimosa, tiles, blocks etc.) DECAY EFFECTIVENESS EVALUATION

SOLUTIONS

Craquele

- understanding the decay signs as facts (why?) - understanding the effects (effects) - proposal nature abstention (ruin) conservation (preservation) intervention (restoration) implementation technical (actions, materials, etc) behavioural (sensibilisation, use, etc)

Filippo Minora | Anna Prokudina | Francisco J. Rodriguez Perez | Stefano Serventi

2

Diffuses original textures and colours if in combi nation wit hwater

- qualitative and quantitative analysis of decays found - how much decays compromise (or not) key features


Deteriorates permanently surfaces and changes their colour due to oxides coming from muntzmetal

Staining

May cause water infiltra tion and affect longitudi nal preception

Splitting

Not affecting the perception of the wall as as they are not in with water of the canal

Hair crack

Alga

May affect textures and surfases if increasing in dencity

Moss

May hide the pass of time on surfaces

Previous interventions

Coloration of the concrete

Staining

Changescolour of surfaces

Moist area

Affects appearance of textures and colours

_Decay effectiveness / internal wall

Decay efectiveness

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Combiantion of crack and water infiltration cause efflorescence

Crack that provide water infiltration

I

Hair crack

Rivets

Combiantion of crack and water infiltration cause efflorescence

ceiling Affecting strongly the reflective effect of the cut system of the wooden boards

Affecting sligtly the colour of the concrete

changing colour of complete surface

Moist area

may cause a problems if not kept under control

Plants

scale 1/50

May affect the general composition of the munzmetal selvage

Decay effectiveness_

Splitting

_Detail / cimosa

Iron hook

II

Muntzmetal elements III


May cause problems to people if not kept under control

IV

Wasp nest

Crack that provide water infiltration

Hair crack

Combiantion of crack and water infiltration cause efflorescence

Coming from a water infiltration and leaks of rain water

Moist

Coming from a water infiltration causing problems on different aspects and materials

Mould

V

VI Generate from leaks of rain water deteriorationg permanently the surface of the muntzmetal

Staining

Affecting sligtly the colour of the concrete

Causing seriouns damage on the wooden board

Staining on the muntzmetal and crack causing infiltration out of the compluvium it get stain of rust

Staining+hair crack

Infiltration of water create affects other materials

Not affacting the visul perception

Decay efectiveness _Decay effectiveness / ceeling


2.a.d

2.a.e

7.a

5.c.c

2.a.e

2.a.e

2.a.e

5.c.c

2.a.e

2.a.e

7.a

5.c.c

6.b

5.c.c

6.d

Decay_internal wall_02

5.c.d

6.d

2.a.e

5.d.a

6.a

5.d.a

5.a.d 2.a.d

5.d.a

6.a

5.d.a

5.a.d 2.a.d

5.d.a

2.a.d

5.d

5.a.d 2.a.d

5.c.c

2.a.c

scale 1/20

5.d.a

5.c.e 2.a.d 5.c.c

2.a.d 5.d.a

5.d

5.d

2.a.d

5.a.d

6.f

6.f

Decay_ceiling scale 1/20


_Decay analysis / ceeling and internal wall 5.c.e

6.a.a

5.d.a

5.d

5.c.c

5.c.e

5.d.a

Decay diagnosis

1. General terms

2. Crack & deformation

3. Detachment

4.

Features induced by material loss

5. Discoloration & deposit

1.a_Alteration

2.a.a_Fracture 2.a.b_Star crack 2.a.c_Splitting 2.a.d_Hair crack 2.a.e_Craquele

3.a_Blistering

4.a_Alveolization

5.a_Crust 5.a.b_Black crust

1.b_Damage

1.d_Degradation

1.c_Decay

1.e_Deterioration

1.f_Weathering

2.b.a_Convex deformation

3.b_Bursting

3.e_Fragmentation

3.c_Delamination 3.d_Disintegration 3.c.a_Exfoliation

4.b_Erosion 4.b.a_Differential erosion 4.b.b_Rounding 4.b.c_Roughening

5.b_Deposit

3.d.a_Crumbling

3.d.b_Granular disintegration

4.c_Mechanical damage 4.c.a_Impact damage 4.c.b_Cut 4.c.c_Scratch 4.c.d_Abrasion 4.c.e_Keying

5.c_Discolouration 5.c.a_Colouration 5.c.b_Bleaching 5.c.c_Moist area

5.a.c_Salt crust

3.e.a_Splintering

1.f_Peeling

1.g_Scaling

1.g.a_Flaking

1.g.b_Contour scaling

3.e.b_Chipping

4.d_Microkarst

4.e_Missing part

4.f_Perforation

4.g_Pitting

4.e.a_Gap

5.d_Efflorescence 5.d.a_on wood

5.e_Encrustation 5.e.a_Concretion

5.f_Film

5.g_Glossy aspect

5.c.d_Staining 5.c.e_Staining on Muntzmetal 5.h_Graffiti

5.i_Patina 5.i.a_Iron rich patina

5.k_Subflorescence

5.k_Soiling

5.i.b_oxalate patina

6.c_Lichen

6.d_Moss

6.e_Mould

6.f_Plants

7.a_Previous interventions

2.a.d

6.d

7.a

6.a.a

5.d

5.d

5.d

6.b_Alga

6.a_Biological colonization 6.a.a_Wasp nest

Decay diagnosis

7.a

6.b

5.d

5.a.d

5.d 5.c.c

2.a.d 5.d.a

6. Biological colonisation

1. General terms

2. Crack & deformation

3. Detachment

4.

Features induced by material loss

5. Discoloration & deposit

1.a_Alteration

2.a.a_Fracture 2.a.b_Star crack 2.a.c_Splitting 2.a.d_Hair crack 2.a.e_Craquele

3.a_Blistering

4.a_Alveolization

5.a_Crust 5.a.b_Black crust 5.a.c_Salt crust

1.b_Damage

1.d_Degradation

1.c_Decay

1.e_Deterioration

1.f_Weathering

2.b.a_Convex deformation

3.b_Bursting

3.c_Delamination 3.d_Disintegration 3.c.a_Exfoliation

4.b_Erosion 4.b.a_Differential erosion 4.b.b_Rounding 4.b.c_Roughening

5.b_Deposit

3.d.a_Crumbling 3.d.b_Granular disintegration

4.c_Mechanical damage 4.c.a_Impact damage 4.c.b_Cut 4.c.c_Scratch 4.c.d_Abrasion 4.c.e_Keying

5.c_Discolouration 5.c.a_Colouration 5.c.b_Bleaching 5.c.c_Moist area

3.e_Fragmentation 3.e.a_Splintering 3.e.b_Chipping

4.d_Microkarst

1.f_Peeling

4.e_Missing part

1.g_Scaling

1.g.a_Flaking 1.g.b_Contour scaling

4.f_Perforation

5.d_Efflorescence

5.e_Encrustation 5.e.a_Concretion

5.f_Film

5.g_Glossy aspect

5.c.d_Staining

5.h_Graffiti

5.i_Patina 5.i.a_Iron rich patina

5.k_Soiling

5.k_Subflorescence

5.i.b_oxalate patina

2.a.d

5.c.c

7.a

2.a.d

5.c.c

6. Biological colonisation

6.a_Biological colonization

7.a_Previous interventions

6.b_Alga

6.c_Lichen

4.g_Pitting

4.e.a_Gap

6.d_Moss

6.e_Mould

6.f_Plants


Redrawing

Tomba Brion by Carlo Scarpa

details_

1_sliding door

scale 1/20

1 2 3

1_concrete roof tiles 2_waterproof bitumen layer 3_steel pulley 4_steel “constellation pulley” 5_steel cable Ø 3 mm 6_door frame track 7_counter weight track 8_counter weight 9_concrete wall 140 mm 10_cable anchorage (see 1:2 detail) 11_glazing fixing 15x40 mm 12_concrete wall 13_lower door frame 14_water

4

5

10 6

Key

7

11 8 12 13 9

Politecnico di Milano | Architectural Preservation Studio

14

00

Filippo Minora | Anna Prokudina | Francisco J. Rodriguez Perez | Stefano Serventi

22


_Details Redrawing

Tomba Brion by Carlo Scarpa

details_ scale 1/2

1_sliding door

4

1_bronze holder 2_bronze tubular upper frame Ø 60 mm 3_glazing 13mm 4_steel cable Ø 3 mm 5_concrete wall and frame track 6_steel pressure plate 7,5 mm 7_steel allen screw Ø 9 mm 8_steel allen screw Ø 13 mm 9_vertical frame 15x40 mm

5 5 6 7

6

Key 1

8 2

1 2

3 3 9 section

Politecnico di Milano | Architectural Preservation Studio

front view

Filippo Minora | Anna Prokudina | Francisco J. Rodriguez Perez | Stefano Serventi

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Competitions/Reserch Prada Store Aoyama Tokyo Prof. Andrea Rolando with. Sibilla Bonfanti, Viola Gurioli. 2010.

ISOMETRIC VIEW

This work was made as a analysis of the famous building made by Herzog & de Meuron in Tokyo for the main store of Prada. The research conducted was based on analyzing the shape,composition and then the origin of the concept. Then the reserch went deeply to analyse every single specific windows, structure, type glass, geometry shape and stairs.

EXTERIOR VERTICAL SURFACES

ROOFTOP URBAN SIGHTS

AOYAMA DISTRICT

EXTERIOR VERTICAL SURFACES 06

Ayoama Cemetery Tower Tokyo

Ayoama Str.

Height of neighbouring buildings

Omotesando Street


SOLID

DECONSTRUCTION

LAYERS

Stefano Serventi_Architecture

H5

16,85

12,90

α5

β5

L5 H5=1,90 m L5=3,2147 m α5= 26,87 ° β4= 33,19°

GLASSES GEOMETRY-TYPES

11

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GLASSES GEOMETRY-TYPES 14

FLAT GLASS “SMOKY” GLASS

>> only for facades next to other buildings >> hiding/maintaining privacy

“BUBLE OUTSIDE” GLASS “BUBLE INSIDE” GLASS 55 DIFFERENT GEOMETRIES OF GLASSES

OPENABLE GLASS

>> all over the building

>> only ground floor >> shopping windows

>> fire escapes/openings for vertical structures


Ridisegnamo Piacenza La cittĂ  che vorrei Piacenza with. Filippo and Francesco Ravera, Bonomini Alessadnra, Felicita Forte. 2009.

Ridisegnamo Piacenza - La cittĂ  che vorrei was a competition made by the municipality of Piacenza in Italy, where it was asked to produce a general idea for the city thinking about the future. Integrating new and more efficient system of transportation, green economy and a general sustainable system. Our idea was to reflect on what Piacenza has already and rethink of a stregic common plan. Implementing with ecological gardens and new low-emissions pubblic transportation. A global system of sporting activities using the shrinking and abandoned areas. Through our proposed we results winners, and we where invited to make a lacture during a conference to show our proposal to the population.


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Masterclass “PlasticOpacity” - Bauhaus Dessau. curator Hanif Kara. with: Lotte Mattelear, Nick Turvey, Seda Kurt, Paolo Spadafina. 2007.

The Masterclass “Plastic-Opacity” for the third year took place in the Bauhuas school in Dessau, Germany. Curator was the eng. Hanif Kara, and all the stuff in the Bauhaus school. As a national italian winner of the competion I was invited to attend the workshop and with a group of others winners in each country to develop a reserch on the reinforced concrete. We design a fountain-body to symbolize the lightness and at the same time the strength using a partucular reticulate structure, and applying a reinforced concrete to a coarse canvas. The result allowed us to reflect the use of this method in a different, and not usual way. Partecipating critic with: Bjarke Igels, Harry Gugger (Herzoz & de Meuron), Joop Paul, Akihisa Hirata.


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Exibitions “Ceci est um parc” RE: Universidade Autonóma de Lisboa. with Emanuel Diogo, Marius Waagaard, André Castro. invited critics: Inês Lobo, João Gomes da Silva, Joaquim Moreno, Ricardo Bak Gordon. 2013

Ceci est um parc, was a project developed by the students of the last year in the university Autonóma de Lisboa, in which divided by theme group we set up a series of exibition inviting several architectos to discuss with us our proposal. RE: was set up to present a critical scenario about Monsanto Forestal Parc, perceived through a spacial contrast. At first, a space where you can feel lost. Showing a collection of different types of analysis made from different perspectives: historical, topographic, sensorial, geographic and empirical. A huge amount of information with no formal order: lights, sounds, textures, images and words. This “overdose” is what takes you to a “delirious” state, as we first felt analyzing the site and scale relation with the city. Contrasting to this experience, a logical approach comes when you get in space 2. Models, panels and a slideshow will present different possibilities. Different strategies. In common, the works presented in this space tend to achieve and feed the debate about a particular part of Lisbon - Monsanto. Thus, the goal of the exhibition was to generate a critical opportunities for this landscape.

CREATE

RE:

DEFINE VEAL CONNECT USE


Stefano Serventi_Architecture

EXPERIENCING MONSANTO

ENTRANCE

:1

IN

:2 |43

OUT

EXIT


“10+10 architetture per la montagna” Palazzo della Provincia, Bergamo with Gianluca Gelmini, Marcello Ambrosioni 2007

10+10 architetture per la montagna, was a exibition opened during the Alpine architecture conference in Bergamo in 2009. The aim was to sho the works done during the first desing studio at the Politecnico di Milano, in the Landscape course. 10 selected student works where compared to other 10 contemporary alpine architecture masterpiece studied by the student. The exibition was showing models made by the students of prof. Belloni Paolo, Gianluca Gelmini and Marcello Ambrosioni. In this context I have collaborate to the prof. Gelmini to set up, organize and develop the layout for the exibition. My work presented here was the study of the Morassutti’s Holiday House in San Martino di Castrozza, Italy. B’

C’

C

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Stefano Serventi_Architecture

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