LET TER OF INTE NT /
THERE ARE THREE DEFINITIONS OF WHAT ARCHITECTURE IS AND WHAT AN ARCHITECT SHOULD DO THAT REALLY SUIT MY WORK, AND THEY ALL ACTUALLY TURN AROUND THE SAME CONCEPT. "[...] DAL CUCCHIAIO ALLA CITTÀ" (FROM THE SPOON TO THE CITY) BY GIÒ PONTI, "[...] THAT MASON WHO KNOWS LATIN" BY ADOLF LOOS, AND THE ETIMOLOGICAL ONE OF THE VERY WORD ARCHI-TECTURE, WHICH GOES FOR "OVER-ABOVE [AS ITS FIRST MEANING] THE TECHNIQUE". ARCHITECTURE IS A DISCIPLINE WHICH INCLUDES A WIDE RANGE OF KNOWLEDGES, CONNECTING THE REALM OF IDEAS TO THE REAL WORLD. MY CHOICE TO BECOME AN ARCHITECT HAPPENED EXACTLY DUE TO THE VARIETY OF THE PRACTICE, SINCE I'VE ALWAYS LOVED THE CREATIVE PROCESS ITSELF, NO MATTER WHAT WAS THE OBJECT OF THE DESIGN PROCEDURE, NOR THE TOOL. THAT ALWAYS BROUGHT ME TO FACE AS MANY DISCIPLINES AS I COULD, USING ALL THE TOOLS I GOT THROUGH THE YEARS, ESPECIALLY STUDYING AT AN "OLD SCHOOL" SUCH AS THE IUAV INSTITUTE OF VENICE; WHILE ALWAYS BEING AWARE OF THE TECHNICAL MATTERS THAT COULD INFLUENCE A PROJECT. SO, WHILE BEING OBSESSED BY THE TECHNICAL FEASIBILITY AND THE WAYS OF BUILDING A NETWORK TO EXPLORE ALL THOSE DISCIPLINES I WAS FASCINATED BY, I HAD THE OPPORTUNITY OF DISCOVERING WHAT I REALLY WANTED TO COME OUT FROM THOSE PROJECTS, AND WHAT MY REAL AIMS WHERE. THESE AIMS CONCERN ESPECIALLY THE IDEA OF TIME, AND HOW SOME PROCESSES CAN SURVIVE THE ZEITGEIST, AND LEAVE A TRACE OR A VALUABLE HERITAGE; BOTH IN THE CONTEXT IN WHICH THEY ARE DEVELOPED, AND IN THE PERSON OR PEOPLE WHO’S ACTUALLY DEVELOPING THEM. THEREFORE, IN THIS LIMITED SELECTION YOU MAY FIND NOT THE PROJECTS IN WHICH I PUT THE BEST EFFORTS, OR THAT I LIKE THE MOST, NEITHER THE MOST TECHNICAL CHALLENGING OR THE BIGGEST ACADEMICAL OR PROFESSIONAL “SUCCESSES”. INDEED YOU WILL FIND THOSE WORKS WHICH CHANGED ME THE MOST, AND ACTUALLY LEFT A REALLY VALUABLE TRACE FOR THE FUTURE IN THOSE WHICH I WAS WORKING WITH AND ME.
THERE ARE STILL LOTS OF MATTERS I REALLY WANT TO ADDRESS DURING THIS PATH. IN THEORETICAL TERMS, I WOULD LIKE TO EXPLORE ALL THE FORGOTTEN AND YET UNKNOWN POLITICAL IMPLICATIONS OF ADVANCED ARCHITECTURAL DESIGN; WHILE ALWAYS FINDING SOME WAY TO PONDER AND LEARN ABOUT ITS FEASIBILITY: IN TERMS OF TECHNIQUE, REPRESENTATION AND DEVELOPING, FOR ME IT’S TIME TO FACE A REALLY INTERESTING CONCEPT, THE ONE OF “DUST”. TODAY’S TECHNOLOGY OFFERS US AN UNPRECEDENTED SET OF DESIGN TOOLS THAT FINALLY LET US THINK IN SOME EXTRAORDINARILY COMPLEX WAYS, YET THE DESIGN RESULTS ARE STILL TOO CLEAN IN COMPARISON TO THE REALITY; SO IF I WOULD HAVE TO CHOOSE ONE SPECIFIC INTENT IN TERMS OF MERE DESIGN, I WOULD SAY THAT I WOULD REALLY LOVE TO DEAL WITH MORE MATERIAL, “DIRTIER” DESIGN OUTCOMES IN THE NEXT FUTURE. HOPING YOU’LL ENJOY THIS SELECTION, AND THANKING YOU FOR YOUR CONSIDERATION,
DAT A DIEGO DE LAZZER BORN 300492
d.delazzer@gmail.com +39 3381887589
| CERTIFICATES - CAMBRIDGE ESOL - ADVANCED (CAE)
| EDUCATION | BACHELOR IN ARCHITECTURAL SCIENCES, IUAV, VENICE,
- MS EUROPEAN COMPUTER DRIVING LICENCE (ECDL)
| INTERNSHIPS
WITH A MARK OF 103/110
|
SCIENTIFIC HIGH SCHOOL DIPLOMA NATIONAL PROGRAMME FOR ADVANCED I.T. IN PHYSICS AND MATH, LICEO IPPOLITO NIEVO, PADUA
| SKILLS | EXTENSIVE KNOWLEDGE - ADOBE PHOTOSHOP - ADOBE ILLUSTRATOR - ADOBE INDESIGN - AUTODESK AUTOCAD
|
MULTIDISCIPLINARY CONSULTANCY AGENCY BASED IN PARIS WHICH BOASTS A PORTFOLIO RANGING BETWEEN COMPANIES LIKE SAMSUNG, INTEL, NIKE, ASTON MARTIN, RIDLEY SCOTT ASSOCIATES, THE CERN, AND SOME OF THE MOST INFLUENTIAL ARCHITECTS AND FASHION DESIGNERS AROUND THE WORLD
|
AS ONE OF THE FIRST I.T. GROUPS IN ITALY, IT IS SPECIALIZED IN THE FINANCIAL AND INSURANCE SECTORS. WORKING WITH ITS CARTOGRAPHIC DEPARTMENT WHICH IS NOW ORIENTED TOWARDS HIGH-DEFINITION 3D PRINTING, WE PATENTED FOR THE ITALIAN ARMY A SOFTWARE FOR FAST PROTOTYPING OF COMPLEX URBANIZED OROGRAPHIES, STARTING FROM MERE GEOSAT/GIS DATA, AS WELL AS MANY OF ITS APPLICATIONS IN THE PUBLIC SECTOR
- AUTODESK MAYA - RHINOCEROS - GRASSHOPPER - MENTAL RAY - VRAY
| DISCRETE KNOWLEDGE
| WORKSHOPS AND COMPETIONS WA.VE IUAV - STOREFRONT FOR ART AND ARCHITECTURE WA.VE IUAV - LAURA ALVAREZ STUDIO
- ADOBE PREMIERE - AUTODESK 3DS MAX - AUTODESK MUDBOX - AUTODESK CIVIL 3D - AUTODESK MAP 3D
WA.VE IUAV - PITTINI GROUP 13. BIENNALE DI ARCHITETTURA - RUN AFTER DEER TOOLKIT FESTIVAL WORKSHOP - SILO DESIGN FOR A+A VESTIRE LA LUCE WORKSHOP - ARTEMIDE X-ATELIER - PIXEL[ISM]
- SOLIDWORKS - BLENDER GAU:DI EUROPEAN STUDENT COMPETITION - KLAK
| PRIOR KNOWLEDGE
SERPENTINE GALLERY - DISCRIT 89+ ECAL - ARCHITECTURE IN MOVIES
- ADOBE AFTER EFFECTS - MAXWELL RENDER - LIGHTWAVE 3D
| PRIZES
- CINEMA 4D - ZBRUSH - QGIS
| LANGUAGES - ITALIAN (NATIVE SPEAKER) - ENGLISH / C1 - SPANISH / B1 - FRENCH / A2
RUN AFTER DEER BY ARATA ISOZAKI - GOLDEN DEER PRIZE NABA MILANO - FIRST PRIZE FOR A MASTER SCHOLARSHIP
WOR KS
IN JUST ABOUT 4 YEARS HE DEVELOPED ALMOST 40 PROJECTS, CONCERNING AT LEAST 6 DISCIPLINES, FOR OR WITH 30 DIFFERENT INSTITUTIONS AND FIRMS AROUND THE WORLD.
FIRM S DI SCI PLIN ES ARCHITECTURE
PRIVATE LOFT COMMISSIONED RESTORATION AND INTERIOR DESIGN OF A PRIVATE LOFT IN PARIS 13. BIENNALE DI ARCHITETTURA GOLDEN DEER PRIZE AT RUN AFTER DEER BY ARATA ISOZAKI KLAK IDEAS COMPETITION FOR A MULTI-TYPOLOGICAL PUBLIC SPACE IN VENICE STOREFRONT FOR ART AND ARCHITECTURE HYPERINSULA PROJECT STUDIO LAURA ALVAREZ PROSOPLASIA PROJECT X-ATELIER WORKSHOP PIXEL[ISM]
PRODUCT DESIGN
THE SEVEN SINS SCENOGRAPHY DESIGN AND VIDEOMAPPING FOR AN OPERA ARTEMIDE - VESTIRE LA LUCE WORKSHOP 4 NEW LIGHTING SYSTEMS BAPTISMA PROJECT IUAV FASHION DESIGN - STUDY FOR A NEW KIND OF 3D PRINTED BODY ARMOUR
FASHION DESIGN
RICK OWENS A/W 2013 CAMPAIGN CREATIVE ASSISTANCE AND PRE-PRINTING FOR GQ MAGAZINES G70 TECHNICAL TRIDIMENSIONAL REDRAWING OF THE PRODUCTS, CATALOGUE AND RE-BRANDING BOCCONI UNIVERSITY, MILAN DIGITAL MOCKUPS FOR A NEW TRAVELLING APP SITU ISLAND RESORT NEW BROCHURE FOR A RESORT IN MADAGASCAR
MARKETING
SHUTTERHOUSE BRAND IDENTITY PROPOSAL FOR A PHOTOGRAPHY STUDIO IN LONDON LOGOS LOGO DESIGN FOR 4 DIFFERENT FIRMS BUSINESS CARDS GRAPHIC DESIGN FOR THE JAPANESE MARKET
GRAPHIC DESIGN
ÉCAL CHRONOLOGICAL REPRESENTATION OF THE ARCHITECTURE IN THE MOVIE CLERKS, 1994 A+A GALLERY TOOLKIT FESTIVAL WORKSHOP - CURATING OF AN EXHIBITION BY SILO DISCRIT 89+ FONDAZIONE SANDRETTO RE REBAUDENGO - SERPENTINE COMPETITION NOMADIC VIOLENCE FIRST PRIZE FOR 2016 SCHOLARSHIP AT NABA, MILAN - STUDY OF A SLIME MOULD
ART
DREAMROOMS SERIES OF MIXED MEDIA PICTURES
AND MORE
INDE x
6
X|ATELIER WORKSHOP _ PIXEL[ISM]
TEAR/TEARS PROJECT
11
SECOND INTERNSHIP
PATENTING AN AUTOMATED PROTOTYPING PROCESS
WA.VE 3 _ STOREFRONT FOR ART AND ARCHITECTURE
HYPERINSULA PROJECT
PROSO
14
22
WA.VE 1 _ STUDIO LAURA ALVAREZ
PROSOPLASIA PROJECT
28
FABIO QUARANTA
BAPTISMA TECH
33 39
LABORATORIO INTEGRATO 3
SEGNI DI GUERRA - EXTREME ARCHITECTURE FOR A WWI MUSEUM VESTIRE LA LUCE WORKSHOP
PROPOSALS FOR NEW LED LIGHTING SYSTEMS
41
RUN AFTER DEER BY ARATA ISOZAKI
GOLDEN DEER PRIZE
45
WA.VE 2 _ PITTINI GROUP
48
SPONGE VS. MEMBRANE NABA MILANO _ APPLICATION FOR A MASTER SCHOLARSHIP
FIRST PRIZE _ STUDY OF A SLIME MOULD IN COMPLEX 3D ENVIRONMENTS
PRIVATE COMMISSION FOR AN INTERIOR DESIGN PROJECT + SOME ARTSY FUN.
52 57
TEARS ARE MADE OF WATER AND SALT, BUT AS MANY SCIENTIFIC STUDIES SHOW, THE SLIGHTLY DIFFERENT COMPOSITION IN TERMS OF HORMONES AND SUBSTANCES IN THE SINGLE TEARDROP CHANGES THE MORPHOLOGY OF ITS CRYSTALIZATION. IN FEW WORDS, EMOTIONS WHICH GIVE YOU TEARS CHANGE THE OUTCOMES OF HOW IT DRIES UP, THEREFORE THE GROWTH OF THE SALT VOXELS. GOING FOR THE “HOPE” TEARS, I WORKED ON ITS MICROSCOPICAL DRIED FORM, SEPARATING THE LIQUID GEOMETRY FROM THE MASS, TO RE-CREATE A MEMBRANE WHICH COULD HOST STRUCTURAL VOXELS, TO RESULT INTO A SUPER-LIGHT HUNG COMPLEX. ON THE NEXT PAGE YOU WILL SEE THE SINGLE STEPS.
STARTING IMAGE
MEMBRANE
LIGHTING
WIRING
STRUC TURE
ADHERENCE
FACET S
TATTO O
THE RESULT OF THE PROCESS IS A STRUCTURE HUNG IN DIFFERENT SCENARIOS, IN WHICH PEOPLE CAN WALK IN AND LOOK AT THE SURRONDINGS THROUGH THE TATTOED MEMBRANE. THE CUBICLES ARE PERFECT TO CONNECT SKYSCRAPERS AT DIFFERENT HEIGHT LEVELS, BUT THE FINAL RESULT CAN SUIT ANY FLOATING SPATIAL SCENARIO, SUCH AS UNDERWATER, OR NO-GRAVITY ENVIRONMENTS. THE IDEA OF PIXEL[ISM] SHOWS UP IN BOTH FORMAL AND THEORETICAL THEORETICAL TERMS, THINKING ABOUT A TEARDROP AS ITS MADE BY LOTS OF SALT CRYSTALS. THE NAME TEAR/TEARS COMES FROM THE CONCEPT OF “TENSION”, SINCE THE FINAL OUTCOME LOOKS LIKE ITS BEING RIPPED OUT BY ITS COMPONENTS.
6
1
4
2
8
3 9
1
5
8
2 7
THE COMPANY IS NOW ONE OF THE BIGGEST I.T. GROUPS IN ITALY, MAINLY ENGAGED IN THE FINANCIAL AND INSURANCE FIELDS, IT WAS BORN FROM ITS CARTOGRAPHY SECTOR WHICH IS STILL ACTIVE IN VARIOUS WAYS. CUSTOMERS ARE GENERALLY GOVERNMENT AGENCIES SUCH AS NATURAL PARKS, MILAN EXPO, OR THE ITALIAN ARMY’S CARTOGRAPHY DEPARTMENT. FOR EXPERIMENTAL GOALS THE COMPANY BUYS A STATE OF THE ART, BIG-SCALE 3D PRINTER IN THE SUMMER OF 2015, FROM WHICH THEY CAN START NEW PROJECTS TO SETTLE IN DIFFERENT MARKETS. HENCE THE IDEA TO UNITE THE COMPANY’S DECADES OF EXPERIENCE IN THE WORLD OF CARTOGRAPHY TO THAT OF AUTOMATIC PROTOTYPING, BY SEEKING EFFECTIVE AND REPLICABLE PARADIGMS TO PRODUCE THREE-DIMENSIONAL MODELS. THE INVESTIGATED FIELDS ARE THOSE OF ARCHITECTURAL PANELS FOR THE BLIND, THE PRODUCTION OF SCALE MODELS FOR URBAN PLANNING STUDIES, RAPID PROTOTYPING IN THE FOOTWEAR SECTOR, THE THREE-DIMENSIONAL SCANNING AND FURTHER 3D PRINTING OF ARCHAEOLOGICAL FINDS. HERE ON THE PAGE IS SHOWN PART OF THE PROCESS, PATENTED THERE THROUGH NUMEROUS TESTS; IN ORDER TO HAVE AN AUTOMATIC MODELING OF A COMPLEX TEXTURED OROGRAPHY, STARTING FROM A SINGLE HIGH DEFINITION POINT CLOUD, TO BE ABLE TO PRINT A PHYSICAL MODEL WITHOUT MODIFYING IT. WE ALSO ACHIEVED TO CREATE A SYSTEM THAT COULD EXTRUDE THE ELEVATION OF AN ENTIRE VILLAGE PROJECTED ON THE GEOMETRY STARTING FROM GIS DATA. THE EXTRUSION HAD HOWEVER TO STOP TO RECTANGULAR BUILDINGS, WITHOUT COMPLEX FACADES. IN THE NEXT PAGE IS VISIBLE A PART OF THE BRAIES LAKE MODEL, RECREATED FROM SATELLITE PHOTOS, THAT COULD BE USED FOR A 3D RENDERED VIDEO OF THE WHOLE CANYON AND A 3D MODEL OF ONE OF THE COMPANY’S HEADQUARTERS TO BE PRINTED IN SCALE, REDRAWN FROM THE EXECUTIVE DRAWINGS; AND A 3D MODEL OF THE COLISEUM TEXTURE-MAPPED WITH AN ADAPTATION FOR EACH POINT. THE MOST INTERESTING AREA WAS ARCHEOLOGY INDEED, THROUGH THE USE OF 3D SCANS, ESPECIALLY FOR LARGE OBJECTS AND LIDAR TECHNOLOGY. THE PATENTING OF THIS TECHNOLOGY WILL BRING GREAT ADVANTAGES TO MANY FIELDS, LETTING DESIGNERS OF ANY KIND TO PRODUCE HIGH-DEFINITION MODELS OF UTMOST COMPLEX OBJECTS, REDUCING THE TIME OF PRODUCTION TO THE MERE PROTOTYPING MACHINE TIME. THAT WAS OUR VERY IDEA: I’VE GOT GIS OR SAT DATA EVERYWHERE I WANT, HOW CAN I TRANSFORM IT DIRECTLY INTO A PHYSICAL MODEL, WITHOUT ANY EFFORT?
THROUGH THE CODING INTO VARIOUS LANGUAGE, THE OUTCOMES BROUGHT THE RESEARCH INTO ANOTHER GREAT MINDFUCK FOR ARCHITECTS, RENDERING. HAVING ORTOPHOTOS TAKEN FROM SATELLITES, AND A CLOUD POINT TO BUILD A MESH, MEANT THAT WE CERTAINLY HAD A DIGITAL MODEL READY TO PRINT. SO THE BIGGEST STEP THE COMPANY IS FACING NOW IS HOW TO AUTOMATE THE RENDERING PROCESS, OF COMPLEX OBJECTS, ESPECIALLY IN TERMS OF COMPLEX TEXTURE MAPPING.
G
G
E
O O
FIRS T PHA SE
harbour analy s:
the iss
SEC OND PHA SE
harbour analy s:
marghera
HISTORY Y
ENERG Y
Harbour archeology
NATUR
designing an hyperinsula
THIR D PHA SE
E
Marghera analoga
CREATION OF A LOOK-A-LI KE
Higher buildings Lower buildings Convex Hull Scheme Canals
DESIGN PROCESS
RESULTS
PROSO
THE PROJECT RELATED TO AN EXTREMELY PRESENT TOPIC: TO REDEFINE THE CPT (TEMPORARY DETENTION CENTER) TYPOLOGY FOR THE FIRST RECEPTION OF REFUGEES, THAT IS USALLY REDUCED TO A NORMAL JAIL. THE PROJECT HAD TO FACE ALL MIGRANTS’ NECESSITIES (LONG WAITS, THEIR CONTROL, THEIR SECURITY) EVEN IF THE SCENARIO WOULD HAVE BREAK BAD, RESULTING IN A COMPLETE SELF-MANAGEMENT OF THE WHOLE COMPLEX - A SCENARIO ACTUALLY HAPPENED JUST 2 YEARS LATER, IN THE SO-CALLED “JUNGLE” OF CALAIS. THE DEVELOPMENT HAD TO CONSIDER ALL THE INTERACTIONS WITH THE LOCAL SOCIETY, AND THE ACTUAL RELATIONSHIP THEY COULD HAVE CREATE; HAVING IN MIND THE CONCEPT OF AUTUNOMOUS BUILDING HAS THE BASIC FOUNDATION OF “RESIDENCE”, STARTING FROM THE IDEA THAT FOR MANY OCCUPANTS THAT SHELTER COULD BE THE ONLY BELONGING.
LAST, BUT NOT THE LEAST, THE LOCATION: IT IS SACCA S.BIAGIO, A FORGOTTEN ISLAND OF THE VENETIAN ARCHIPELAGO, LITERALLY MADE OF GARBAGE. THE CONSTRUCTION OF A MINIMUM SHELTER FOR THE SURVIVAL BROUGHT TO IMPLICATIONS BETWEEN UTOPIA AND DISTOPIA. AFTER A LONG WORK ON THE IDEA OF MINIMAL SPACE, WE GOT TO DEFINE A METABOLIST- LIKE
STRUCTURE BASED ON CUBIC MODULES: EXACTLY RESEMBLING A TREE OR A LICHENE. THE DIFFERENT ZONES OF THE ISLAND PREPOSED TO THE DIVERSE DESTINATIONS BECAME “TRUNKS”, JOINT BY A “FOLIAGE” OF MODULES THAT COULD HAVE BEEN CONJOINT INTERNALLY BY HAND, AS LONG AS THE FUNCTIONAL SUBDIVISION OF THE TRUNK SURVIVED.
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TAPERING DOWN THE AGGREGATIONS, WE COULD KEEP THE PERIMETER EXTREMELY LIMITED, AND TO CONTROL THE PEOPLE COMING IN AND COMING OUT FROM THE WHOLE COMPLEX. TO AVOID THE TRANSFORMATION INTO A GHETTO, THE GROUND FLOOR HOSTED A WIDE PUBLIC PARK. HERE ABOVE YOU CAN SEE A TRUNK USED AS A REFECTORY.
THE CONSTRUCTION SITE ON AN ISLAND GUARANTEES AN ALMOST TOTAL DETACHMENT FROM THE LOCAL CITIZENS, WHILE KEEPING THE FUNCTION OF PIER FOR THE INCOMING LANDINGS. BECOMING A HUB FOR THE ENTIRE CITY OF VENICE, THE WHOLE COMPLEX DOESN’T PREVENT THE NSOLATION OF THE UNDERLYING PARK, GETTING MORE SPARSE THE FARTHER FROM THE BIG STRUCTURAL PILLARS..
THE INTERNAL SPACES CAN BE MODIFIED ALMOST FREELY JUST FOR THE RESIDENCES; THE IDEA OF THE AGGREGATIVE FORM ORIGINATES ANALYZING THE USUAL GROWTH OF BRASILIAN FAVELAS OR AFRICAN BIDONVILLES.
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VERTICAL CLOSURES SO CAN BE DIVIDED IN 4 SQUARED PANELS, WHEN POSSIBILE, THAT CAN BE REPLACED IN THE UPPER PART WHEN EXTERNAL, OR IN ALL THEIR PARTS WHEN INTERNAL. THE IDEA OF A LITTLE CLENCHING THAT LOCKS THE DIFFERENT PANELS BRINGS TO SURPRISING CONSEQUENCES FOR WHAT CONCERNS THE INTERNAL DISTRIBUTION. IF, AND ONLY IF THE CLENCHING IS OPENED FROM BOTH SIDES (FOR A COMMON WILLINGNESS OF THE NEIGHBORS) THEN THE SPACE CAN BE SHARED. IT WOULD BE POSSIBLE TO MAKE YOUR OWN RESIDENCE BIGGER AND COLLECTIVE, EVEN “ONE PANEL AT A TIME”.
THIS JUXTAPOSITION, STARTING FROM THE FIRST AREA BASED ON THE FUNCTIONS, CAN CREATE A SUSTAINABLE GEOMETRY JUST BECAUSE IT’S BASED ON EXTREMELY SMALL INTERNAL SPANS, AND ON A DENSE ENSEMBLE OF SPARSE PUNCTIFORM ELEMENTS. IN THE CASE OF CANTILEVERS OVERCOMING THE TWO MODULES, WILL REACH THE FLOOR PLAN. THE IDEA WE GOT IN THE FINAL RESULTS PERMITS DIFFERENT INTERPRETATIONS; FROM THE MOST POSITIVE TO THE WORST ONES, WHICH WAS THE INITIAL CONCEPT PROPOSED BY THE WORKSHOP. THIS IS DUE TO THE VERY NATURE OF A
TEMPORARY DETENTION CENTER: IT IS A CROSSING POINT, AND IT CAN BE LIVED BOTH AS A SHELTER AND A JAIL.THE VISION THAT TOOK FORM BRINGS THE CONCEPT OF PRIVATE, SEMI-PUBLIC AND PUBLIC SPACE TO THE LIMIT. THE MAIN DIFFICULTY IS OF COURSE TO ENVOLVE THE POPULATION, IN ORDER FOR THE PLACE NOT TO BECOME A GHETTO: THAT’S WHY THE UPPER LEVEL IS GIVEN TO THE VENETIAN POPULATION. THE HIGHER PARTS OF THE TRUNKS WILL HOST EVENTS FOR THE GENERAL PUBLIC, THAT WILL BE ABLE TO REACH THEM PASSING THROUGH THE CENTRAL TRUNK.
THE AREA OF THE TABLELAND OF ASIAGO REPRESENT ONE OF THE BEST GROUP OF HISTORICAL EVIDENCES OF CONSTRUCTIONS AND DESTRUCTIONS OF THE WORLD WAR I. NUMEROUS GALLERIES, TUNNELS, TRENCHES AND REMAINS OF MANY OUTPOSTS ON THE MOUNTAINS SURROUNDING THE AREA. ONE OF THE MOST RELEVANT THEMES WAS DEFINETELY THE ON OF MOUNT CENGIO. AN EXTREMELY COMPLEX LOT, WHICH CONNECTS THE HISTORICAL GALLERIES TO A VOTIVE CHAPEL ON THE PEAK, AND A FLAT AREA DECLINING IN A CLIFF, OFFERING VIEWS AMONG THE MOST INTERESTING OF THE WHOLE TOWN.
THE GOAL WAS TO DESIGN A PERMANENT MUSEUM, AND A SERIES OF ECO-FRIENDLY GUESTHOUSES, AS A SHELTER (AUTONOMOUS AND UNMANNED) FOR THE HIKERS. THEY WERE TWO REALLY DIFFERENT DESTINATIONS ARCHITECTURALLY, TECHNOLOGICALLY AND AESTHETICALLY SPEAKING. THE MAIN DIFFICULTY, IN ADDITION TO THOSE OFFERED BY THE THEME ITSELF, WAS CERTAINLY THAT OF HAVING TO JUSTIFY EVERY MANUFACTURING PROCESS, SINCE THE AREA IS EXTREMELY UNUSUAL AND ISOLATED.
THE MUSEUM AREA, WHOSE STRUCTURAL DESIGNED PROVED TO BE A REAL CHALLENGE, IS THE ONLY ONE TO RISE ABOVE THE GROUND LEVEL, THROUGH A PRISM INSPIRED BY THE ARCHITECTURE OF THE BUNKERS AND THE BALLISTIC SYSTEMS OF THE TIME. IT HAS A LONG “CUT” WINDOW THAT RUNS ON THE CEILING AND THE FRONT, WHILE BEING SURROUNDED BY A WALKWAY PROTRUDING ON THE CANYON. THE INTERIOR PLAY OF THE LIGHT, CREATED BY THE BROKEN LINES AND THE PROGRESSION LOW-LIGHT/HIGH-DARK, CREATES A GLOOMY, DEEP, SACRED ATMOSPHERE. THE MUSEUM AREA IS SUPPORTED ACCORDING TO THE COMPLEX TOPOGRAPHY OF THE PLACE, EVEN FROM THE RECEPTION ENTRANCE, SERVICES, BAR, WHILE THEY’RE NOT VISIBLE FROM THE PARKING LOT.
A NUMBER OF TRIANGULAR “BLADES” MADE IN COR-TEN RECALLS THE DISPOSITION OF THE LITTLE GUESTHOUSES, INSERTED INTO A SORT OF “CARTRIDGE” SYSTEM. THIS LINE OF PANELS IS DECREASING IN SIZE, GRADUALLY, TOWARDS THE ENTRANCE OF THE HISTORICAL GALLERIES. SO THERE ARE TWO MAIN FLOWS, RESEMBLING THE FIRING LINES OF THE SHOOTERS DURING THE WAR. DESPITE THE FLAT AREA DIDN’T HAVE A PARTICULARLY LUSH VEGETATION, WE DECIDED TO KEEP IT INTACT AS REGARDS THE TWO RELIEFS ON THE SIDES OF THE COMPLEX.
KLEIN FAMILY IS A GROUP MADE OF A TABLE LAMP, AN ON-STICK LAMP, AND TWO CABLE LAMPS. EVEN IF THE FORM CAN SEEM REALLY COMPLEX, IT’S BASED ON A CURVED CABLE STRUCTURE UNDER THE STRIP OF LED LIGHTS, WHICH GIVES THE EXTERNAL TEXTILE THE TENSION NEEDED, SO IT’S ACTUALLY REALLY CHEAP TO REALIZE. THE STARTING POINT WAS A KLEIN BOTTLE SOLID, SO IN EVERY LAMP THERE’S NO ACTUAL DISTINCTION BETWEEN THE INSIDE AND THE OUTSIDE, CREATING SOME REALLY COOL LIGHTING GAMES.
THE SPHERICON FAMILY IS MADE OF FOR TABLE LAMPS, WHICH CAN BE BUILT IN BIGGER SIZES IF NEEDED. THE CONCEPT BEHIND IT IS THE SPHERICON, AN OMOANGULAR FIGURE. THE DECONSTRUCTION OF A MAIN SPHERICON BRINGS TO FOUR DIFFERENT SHAPES THAT HAVE DIFFERENT GRADES OF ROTATION AND STABILITY. THERE ARE ACTUALLY NO LEDS INSIDE OF THEM, SINCE THE LIGHT IS DIFFUSED FROM THE CORNERS: THE REFLECTING VERTEXES ARE OBTAINED THROUGH LASER-EDGING.
THE THEATER FAMILY ANSWERS TO THE “SIMPLICITY” TASK, WHICH AIMED FOR SIMPLER, ORHTOGONAL DESIGNS. IT CAN BE APPLIED TO ANY FORM OF LAMP, AND ITS MADE THROUGH FOUR ORIENTABLE PANELS IN WHICH RESIDES A REFLECTIVE, TRANSPARENT FILM. THE PANELS ON THE BASES EMIT LIGHT WHILE GRADIENTING IT, SINCE THE PLASTIC HAS A STRONG OPACITY TO HIDE THE LEDS INSIDE THEM.
DURING THE 14° MOSTRA INTERNAZIONALE DI ARCHITETTURA OF LA BIENNALE DI VENEZIA, ARATA ISOZAKI STUDIO ORGANIZED AN IDEAS COMPETITION NAMED RUN AFTER龙湖 DEER. OUR GROUP WON THE GOLDEN DEER PRIZE, WHICH WAS GIVEN TO THE BEST PROJECT THAT WOULD HAVE START A SERIES OF REWORKS BY DIFFERENT STUDENTS AROUND THE WORLD, TO INSPIRE THE COMPOSITION OF THE ACTUAL BUILDING. THE BUILDING OF THE SUB CBD (CENTRAL BUSINESS DEPARTMENT) OF LONGHU, A CITY PLACED IN THE CHINESE REGION OF 外环地区 ZHENGZHOU WAS COMPLETELY ASSIGNED TO ARATA ISOZAKI’S STUDIO, THAT HAD TO BUILD A NEW CITY FROM SCRATCH.内环地区 IN THIS GIANT CIRCULAR COMPLEX ARE BEING BUILT SEVERAL BUILDINGS DESIGNED BY SOME OF THE MOST FAMOUS STUDIOS IN THE WORLD, LIKE SANAA, EDOUARDO SOUTO DE MOURA, B.I.G., KLOTZ ASOCIADOS, ASYMPTOTE ARCHITECTURE AND MANY OTHERS. WE ALSO CURATED THE ENTIRE EXHIBITION, GOING THROUGH A WORKSHOP TO DESIGN WITH JAPANESE STUDENT THE VERY FIRST BUILDING OF THE SERIES. THE WHOLE CITY HAS ITS CENTRAL POINT INTO THE SUB CBD, THE WHOLE COMPLEX OF SKYSCRAPERS AND HIGH-RISES FOR THE TERTIARY SECTOR SURROUNDING A BIG LAKE. THIS WILL BE THE VENUE FOR MANY EVENTS, AND THE ACTUAL HEART OF LONGHU DOWNTOWN. THE GIVEN DATA ARRIVING FROM ISOZAKI’S STUDIO PREDISPOSED MOST OF THE TECHNICAL AND
FUNCTIONAL CHARACTERISTICS, REGARDING ESPECIALLY DIMENSIONS, FLOOR AREAS, MEANS OF TRANSPORT. 双塔地区
水上庆典广场
城市的门地区
IN THE SECONDARY SERIES OF BUILDINGS INSTEAD, THERE WAS A FREE AREA, TO BE DEFINED BY OUR COMPETITION, WHICH WAS THE FIRST ONE. THE GROUPS FOUND THEMSELF TO ADRESS THE PROJECT WITH DIFFERENT APPROACHES: THE HIGH-TECH ONE, THE TRADITIONAL ONE, THE FORMALIST ONE AND OUR GROUP’S ONE, STRICTLY RELATED TO URBAN PLANNING. THE外环地区 FIRST IDEA WAS ACTUALLY THE ONE TO “INFLUENCE”, JUST AS A VIRUS, THE WHOLE PATH PROPOSED. WE CHOSE A GEOME内环地区 TRY THAT COULD WORK AS A GATE FOR THE ENTIRE FLUXUS, AND THAT COULD “INFECT IT” THROUGH A SERIES OF 3 HORIZONTALLY WAVY VOLUMES. THE BASIC GRIDS FOR PILLARS AND THE MAIN STRUCTURAL SYSTEMS TO STICK TO WERE IMPOSED BY THE STUDIO’S MASTERPLAN. CONSIDERED THE [湖心区域] MEANS OF TRANSPORT, THE HEIGHTS THAT WERE FORCEDLY HAD TO BE DESCENDING GRADUALLY TO THE LAKE, THE COMMERCIAL DESTINATION ON ONE HAND, AND THE OFFICE DESTINATION ON THE OTHER, THE SCHEME APPEARED CLEAR BOTH TO THE ITALIAN AND THE JAPANESE STUDENTS. THE LEVELS RELATED TO THE FLOORS HAD TO BE KEPT ON THE VERY SAME HEIGHT, BUT THEY COULD VARY FOLLOWING THE CROSS DIRECTOR LINES.
[运河区域]
文化设施
塔
水上庆典广场
水上庆典广场
水上庆典广场 娱乐设施
圆形竞技场型
舞台 圆形竞技场型
办公
办公
商业
Area of intervention
8th floor
Mass
7th floor
Mass
6th floor
5th floor
Void
Central core
Void Gap
4th floor
Mass
3rd floor
Buildingʼs connection
Mass Mass
2nd floor
1st floor
Ground Floor
Void
Void Gap
Subway level
Parking
Basement
HERE COMES THE IDEA OF THE VIRUS, AND THE NAME OF THE WHOLE WINNING PROJECT, 4D (FOR THE) CONNECTIONS. THE ARRAY OF FLOORS STACKED REGULARLY WAS DIVIDED INTO THE FUNCTIONS THEY NEEDED TO HOST, AND THEN IT WAS VARIED FOLLOWING THE MASS-VOID DIAGRAM PROPOSED HERE ON THE RIGHT. AS VISIBLE THROUGH THE SECTION, THIS HAS GIVEN US THE POSSIBILITY TO GET A TRILITHIC FORM AT THE ENTRANCE, WHICH SLIGHTLY CURVES INTO THE PATHWAY, CREATING THE IDEA OF A CROWDED, BIG GATE. WE GOT ANOTHER RESULT BY OFFSETTING THE FLOORS, WHICH WAS TO KEEP THE CLOSED FLOOR AREA ASSIGNED, WHILE DOUBLING THE GREEN AREA.THE REMAINING CEILINGS ARE IN FACT WALKABLE, AND ASSIGNED AS GREEN OR EATERY AREA. AFTER THE PRIZEGIVING, WE HAD TO FINISH THE CURATING OF THE WHOLE EXHIBITION IN PALAZZO BEMBO, ON THE GRAND CANAL, WHICH OCCUPIED 3 BIG ROOMS. WE HAD A VIDEOMAPPING PROJECTION INTO THE FIRST ONE, BASED ON THE VISITORS’ MOVEMENT, AND A GIANT MODEL CREATED TO MEET WITH THE JAPANESE GUYS, ANALYSING LONGHU’S ROAD SYSTEM, PLACED INTO THE THIRD ONE. IN THE MAIN ROOM WE HAD THE BIGGEST MODEL, SPECIFICALLY DEDICATED TO THE SUB CBD AND ALL THE DIFFERENT ITALO-JAPANESE TEAM PROPOSALS FOR THE COMPETITION.
THE GIVEN CONTEXT WAS A GIANT SKELETON OF CONCRETE IN THE INDUSTRIAL AREA OF PORTO MARGHERA, IN VENICE. THE PROJECT ADRESSED THE IDEA OF CREATING A CITY HUB IN THE GREAT PARK IN WHICH THE SKELETON WAS SITUATED. A PARASITIC APPROACH TOOK PLACE TO CREATE A STAIRS-LIKE STRUCTURE THAT COULD SOLVE THE FUNCTIONS OF PUBLIC MEETING POINT, COMMERCIAL CENTER, CONFERENCE ROOM AND RESTAURANT.
WE EXPLORED TWO DIFFERENT WAYS OF DEVELOPMENT, CONFRONTING THE IDEA OF MAINTAINING THE SKELETON WITH THE IDEA OF CLOSING IT. ON THE LEFT, AS YOU CAN SEE, THERE’S A COMPARISON BETWEEN THE FIRST IDEA, THE ONE OF A “CLOSED SPONGE”, AND THE FINAL ONE, SOME SORT OF A FACETED MEMBRANE TO THE CITY. BOTH IDEAS WERE APPRECIATED, BUT WE WENT FOR THE SECOND ONE SINCE THE VALUE OF THE SKELETON (WHICH STILL HAS ITS ORIGINAL STABILITY) IN FORMAL TERMS WAS UTMOST, MERGING WITH THE FACETED STRUCTURE WITH SHADOWS AND BROKEN VIEWS. THE IDEA ORIGINATED FROM THE NICKNAME OF THE STRUCTURE: BY LOCALS IT’S CALLED “THE CATHEDRAL” FOR ITS HUGE SIZE; SO WE TOOK THE IDEA OF THE ORIGINAL CHURCH SIMMETRY AND LEVEL DESIGN, WITH THE IDEA OF A TERRACE SUCH AS THE MATRONEO IS FOR CHURCHES. THE SECOND OPTION IS MORE LIKEABLE FOR OTHER FACTS TOO, SINCE THE FACETED CONFIGURATION MAKES IT CHEAPER AND SIMPLER TO BUILD.
NOMADIC VIOLENCE IS THE WINNING PROJECT FOR THE SCHOLARSHIP AT NABA - NUOVA ACCADEMIA DELLE BELLE ARTI OF MILAN, AT THE MASTER IN PHOTOGRAPHY. IT IS A RESEARCH PROJECT ABOUT THE SLIME MOULD PHYSARUM POLYCEPHALUM, AND AN ON-GOING PROJECT FOR A PHOTOGRAPHICAL BOOK. THE IDEA IS TO MAKE THE SLIME MOULD GROW ONTO COMPLEX GEOMETRIES, TO SEE ITS BEHAVIOR AND ITS RESPONSES UNDER DIFFERENT LIGHT CONDITIONS. 5 CONTEXTS WERE BUILT: A SYSTEM OF SECTIONED FOAM, A TUNNEL MADE OF BURNT X-RAY PANELS, A SYSTEM OF OAT FLAKES POWDER LINES, 6 PETRA DISHES FILLED WITH ELECTRONIC GARBAGE, AND A BIG SERVER DISUSED MOTHERBOARD. HERE YOU CAN SEE A VERY LITTLE EXTRACT OF THE FIRST THREE SECTIONS OF THE BOOK: “SUPERFICIAL SEEDS”, “NURTURING DARKNESS”, AND “ABYSS”. THEY ARE DEVELOPED IN THREE LIGHT CONDITIONS RESPECTIVELY, DAILY LIGHT, PENUMBRA, AND ULTRAVIOLET RAYS.
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DURING MY INTERNSHIP AT THE MULTIDISCIPLINARY AGENCY SOME/THINGS IN PARIS, I WAS DIRECTLY ASKED BY A PRIVATE TO DESIGN THE RESTORATION AND THE INTERIORS OF A LOFT IN MONTCALN. THE LOFT COULD HAVE BEEN RECOVERED BY A CONSTRUCTION COMPANY OF ACQUAINTANCES, AND THEN BE USED AS A SHOWROOM FOR A JEWELRY BRAND. THE DEMANDS WERE PRETTY CLEAR: FURNITURE USING BURNISHED STEEL OR PAINTED BLACK WOOD, A LARGE OPEN SPACE, BREAKING DOWN ALL INTERNAL PARTITIONS. I IMMEDIATELY REALIZED THE GREAT VALUE OF THE CENTRAL OPENINGS, SO I STARTED THE WHOLE PROJECT KEEPING THE “STRIPED LIGHT” AS A CENTRAL THEME. THE PIECES HAD TO ALWAYS BRING SOME KIND OF “OPTICAL ILLUSION” TO THE USER, PLAYING ON SHARP GEOMETRIES, KEEPING THE KITCHEN WHILE RENEWING THE COUNTER. THEREFORE, WE HAVE HERE PRESENTED 5 DIFFERENT PIECES TRYING TO JOIN SPACE MANAGEMENT, POETRY AND EXHIBITING FUNCTIONS. THE CONSTRUCTION HAS STARTED AND IT’S STILL UNDERWAY.
THE FIRST PIECE OF FURNITURE IS A LONG TABLE WITH ITS SUPPORTS THAT SEEM TO BE ONLY ONE PART FROM SOME POINTS OF VIEW, BUT THEY ARE ACTUALLY TWO TRIANGULAR STEEL PIECES, WHICH CAN ACTUALLY BE COMPOSED IN SEVERAL WAYS. THE SECOND PIECE IS A VERY LARGE WARDROBE, WHICH PRESENTS ONE GREAT “CUT” FOR THE PRODUCTS TO BE EXHIBITED, CLOSED BY SLIDING RETRACTABLE PANELS OF WOOD. IT HAD TO COVER THE ENTIRE WALL. THE THIRD PIECE IS SOME KIND OF A TEA TABLE; THE REQUESTS OF THE CLIENTS WERE TALKING ABOUT A “BASIS” ABLE TO SUPPORT BIG, TALL PRODUCTS. THE HEIGHT FROM THE GROUND AND THE HIDDEN SUPPORT, MAKE IT LOOK LIKE IF IT’S FLOATING IN MID-AIR. THE FOURTH PIECE IS SOME KIND OF CUPBOARD, PRESENTING A DESCENDING SYSTEM OF DRAWERS. ONCE AGAIN, CONSIDERING THE TRIDIMENSIONAL CUT, IT COULD SEEM A SINGLE PIECE, BUT THERE ARE ACTUALLY TWO OF THEM. THE FIFTH PIECE, PROBABLY THE MOST RELEVANT ARCHITECTURALLY SPEAKING, IS A SYSTEM OF SHELVES APPEARING SUSPENDED, ACTUALLY SUPPORTED BY TINY STEEL CABLES. IT HOSTS THE PLANTS SUPPORTS OF THE MAIN VERRIERE.
HERE YOU GO WITH SOME FUN TO REST YOUR EYES, THIS IS AN EXTRACT FROM MY BUNKER SERIES OF ARTPIECES, TO BE PUT ON FLYERS AND POSTERS FOR A CLUB NIGHT. HOPE YOU ENJOYED!