DE LAZZER_Portfolio_IUAV by Diego De Lazzer

DIEGO DE LAZZER

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DIEGO DE LAZZER

EXTENSIVE KNOWLEDGE

GOOD KNOWLEDGE

PRIOR KNOWLEDGE

BORN IN PADUA, 30/04/1992

- ADOBE PHOTOSHOP

- AUTODESK 3DS MAX

- ADOBE AFTER EFFECTS

MAIL: D.DELAZZER@GMAIL.COM

- ADOBE ILLUSTRATOR

- AUTODESK MUDBOX

- MAXWELL RENDER

SUPERIOR SCIENTIFIC HIGH SCHOOL DIPLOMA AT ISTITUTO STATALE “I. NIEVO” OF PADUA.

- ADOBE INDESIGN

- AUTODESK CIVIL 3D

- LIGHTWAVE 3D

PNI PROGRAMME / NATIONAL PROGRAMME IN I.T. FOR MATHS AND PHYSICS.

- AUTODESK AUTOCAD

- AUTODESK MAP 3D

- CINEMA 4D

- AUTODESK MAYA

- SOLIDWORKS

- ZBRUSH

BACHELOR IN ARCHITECTURAL SCIENCES AT IUAV - VENICE. SPECIALIZED IN THE USE OF ADVANCED TRIDIMENSIONAL MODELING SOFT-

- RHINOCEROS

- BLENDER

- QGIS

WARE, HD 3D PRINTING AND PHOTOREALISTIC RENDERING. FREELANCE GRAPHIC DESIGNER WITH REMARKABLE EXPERIENCES IN THE FIELD

- GRASSHOPPER

OF MARKETING AND PUBLISHING, ESPECIALLY IN THE AREAS OF FASHION DESIGN AND ADVERTISEMENT.

- MENTAL RAY - VRAY IN JUST ABOUT 4 YEARS HE DEVELOPED

LANGUAGES: ITALIAN, ENGLISH, SPANISH, AND A BIT OF FRENCH.

40 PROJECTS, CONCERNING AT LEAST 6 DISCIPLINES, FOR OR WITH 30 DIFFERENT

LANGUAGE AND SOFTWARE CERTIFICATIONS:

INSTITUTIONS AND FIRMS AROUND THE •

MS WINDOWS EUROPEAN COMPUTER DRIVING LICENCE (ECDL 2010).

•

UNIVERSITY OF CAMBRIDGE ESOL EXAMINATIONS – CERTIFICATE IN ESOL INTERNATIONAL (FCE 2012). TAKING EXAMS FOR IELST.

WORLD. SOME OF THE EXTRACURRICOLAR JOBS:

6 MONTHS LLP ERASMUS PROGRAMME / ARCHITECT, GRAPHIC DESIGNER FOR SOME/THINGS, PARIS (FR)

4 MONTHS INTERNSHIP / ADVANCED 3D VISUALIZER FOR CORVALLIS HOLDING, PADOVA-MILANO (IT).

PRIVATE LOFT RESTORATION AND INTERIOR DESIGN COMMISSION FOR A PRIVATE LOFT IN PARIS

ARCHITECTURE

13. BIENNALE DI ARCHITETTURA GOLDEN DEER PRIZE - RUN AFTER DEER BY ARATA ISOZAKI KLAK IDEAS COMPETITION FOR A MULTI-TYPOLOGICAL STRUCTURE IN VENICE STOREFRONT FOR ART AND ARCHITECTURE HYPERINSULA PROJECT STUDIO LAURA ALVAREZ PROSOPLASIA PROJECT X-ATELIER WORKSHOP PIXEL[ISM] THE SEVEN SINS SCENOGRAPHY DESIGN AND VIDEOMAPPING FOR A PLAY [IN FIERI]

PRODUCT DESIGN

ARTEMIDE VESTIRE LA LUCE WORKSHOP - 4 NEW ILLUMINATION SYSTEMS PROPOSAL BAPTISMA PROJECT IUAV FASHION DESIGN / DAINESE - STUDY FOR A 3D PRINTABLE BODY ARMOUR RICK OWENS A/W 2013 CAMPAIGN CREATIVE ASSISTANCE AND PRE-PRINTING FOR GQ MAGAZINES

FASHION DESIGN

G70 TECHNICAL TRIDIMENSIONAL REDRAWING OF THE PRODUCTS, CATALOGUE AND RE-BRANDING BOCCONI UNIVERSITY DIGITAL MOCKUPS FOR A NEW TRAVELLING APP SITU ISLAND RESORT BROCHURE

MARKETING

SHUTTERHOUSE BRAND IDENTITY PROPOSAL FOR A PHOTOGRAPHY STUDIO IN LONDON LOGHI LOGO DESIGN FOR 5 DIFFERENT FIRMS BUNKER POSTERS AND FLYERS FOR 2 SEASONS OF EVENTS

GRAPHIC DESIGN

BUSINESS CARDS GRAPHIC DESIGN FOR THE JAPANESE MARKET ÉCAL CHRONOLOGICAL REPRESENTATION OF THE ARCHITECTURE IN THE MOVIE CLERKS, 1994 A+A GALLERY TOOLKIT FESTIVAL WORKSHOP - CURATING OF AN EXHIBITION BY SILO

ART

DISCRIT 89+ FONDAZIONE SANDRETTO RE REBAUDENGO - SERPENTINE COMPETITION NOMADIC VIOLENCE FIRST PRIZE FOR 2016 SCHOLARSHIP AT NABA, MILAN - STUDY OF A SLIME MOULD DREAMROOMS SERIES OF MIXED MEDIA PICTURES [IN FIERI]

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AND MORE

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INDICE

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TEORIA DELLA PROGETTAZIONE ARCHITETTONICA MANO LIBERA BOOK

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DISEGNO DIGITALE TADAO ANDO’S 4X4 HOUSE STUDY AND NARRATIVE RE-DRAWING

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RAPPRESENTAZIONE E RILIEVO DELL’ARCHITETTURA EX-CONVENTO DELLE TERESE, VENICE

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LABORATORIO INTEGRATO 1 ONE PAVILLION FOR VILLA FLORIDIANA PARK, NAPLES

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BIENNALE DI ARCHITETTURA - COMMON GROUND RUN AFTER DEER BY ARATA ISOZAKI

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KLAK KALEIDOSCOPE - LOCATION - AGGREGATION - KLUBB

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W.A.VE 1 PROSOPLASIA PROJECT

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VALUTAZIONE ESTIMATIVA DEL PROGETTO REAL ESTATE ECONOMICAL COMPUTATION

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RESTAURO EX-PSYCHIATRIC HOSPITAL RESTORATION AND URBAN REGENERATION, ROVIGO

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LABORATORIO INTEGRATO 3 WWI SCENARIOS - MUSEUM AND GUEST HOUSES, MOUNT CENGIO

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TIROCINIO CONVENZIONATO CORVALLIS HOLDING S.P.A, PADOVA

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TIROCINIO LLP ERASMUS - INTERIOR DESIGN FOR A PRIVATE SOME/THINGS AGENCY, PARIS

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TEORIA DELLA PROGETTAZIONE ARCHITETTONICA / MANO LIBERA.

THEORY OF THE ARCHITECTURAL PROJECT IS DEFINETELY ONE OF THE FIRST COURSES IN WHICH A STUDENT CAN RELATE HIMSELF TO THE DEEP REASONS BEHIND DESIGN CHOICES AND PROCESSES. THE NECESSITY TO LEARN HOW TO JUSTIFY YOUR OWN COMPOSITIONAL PROCESS APPEARS SINCE THE FIRST EXERCISES, THROUGH A SERIES OF LECTURES MARKED BY TYPE AND BASED ON RELEVANT OPERAS BROUGHT AS EXAMPLES. THE COURSE OFFERED A SERIES OF DIFFERENT HISTORICAL PERIODS, IN WHICH THE SINGLE STUDENT HAD TO FACE A KEY FIGURE. BEST WORKS WOULD HAVE BEEN PUBLISHED, AND MINE WAS ONE OF THEM. THE CHOICE WENT FOR THE ROMAN ARCHITECT

ADALBERTO

LIBERA,

EMINET

FIGURE OF ROMAN MODERNISM / RAZIONALISMO. HIS HISTORY WAS ADRESSED CONSULTING A WIDE BIBLIOGRAPHY, RECONSTRUCTING ALL THE PHASES, FROM CHILDHOOD UNTIL THE LAST WORKS. THE ANALYSIS DONE DURING THE COURSE HAD ALSO OTHER OUTCOMES BESIDES THE PUBLICATION, ONE ESPECIALLY WAS TO PRESENT A SERIES OF “APOCRYPHAL SKETCHES” BASED ON THE STUDY OF THE HISTORICAL ARCHIVES, FINDING OUT AND CLONING THE MAIN DRAWING METHODS BELONGED TO THE AUTHOR.

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HERE BELOW YOU CAN SEE THREE PAGES EXTRACTED FROM THE “THOUGHTS” CHAPTER. LIBERA’S THEORETICAL FOUNDATIONS ARE EXTREMELY PURE: AS IN ALL HIS YOUTH, HE WILL ALWAYS BE SAVED BY MISTAKES WHICH WERE VERY COMMON DURING THOSE YEARS BY A CERTAIN “NAIVETY”. THIS WON’T PREVENT HIM (OR MAYBE WILL ENSURE HIM) TO BE ABLE TO CHOOSE UNCOMMON PATHS, REGISTERING SOME INCREDIBLY PRESENT-DAY THOUGHTS, BEING A STUDENT, BEING AN ARCHITECT, BEING A TEACHER.

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HERE ABOVE YOU CAN SEE SIX PAGES

HERE TWO EXTRACTS FROM THE SECTION

EXTRACTED FROM THE BIOGRAPHICAL

RELATIVE TO THE PRODUCTION OF THE

SECTION. SOME OF THE KEY PERIODS OF

“APOCRYPHAL” SKETCHES. IT WAS REAL-

HIS LIFE WERE DEFINETELY THE ADOLES-

IZED A SERIES OF COPIES AND DESIGN HY-

CENCE, CONCERNING HIS VOLUNTARY AT-

POTHESIS VERY SIMILAR TO THE DESIGN

TENDED COURSES UNDER THE MATH UNI-

SKETCHES HE WAS PRODUCING DURING HIS

VERSITY, THE WAR DAYS AND THE REGIME

YOUTH, AND AN HYPOTHETICAL LETTER

PERIOD (WHICH WILL MAKE HIM DEFINE

SENT TO MARIO RIDOLFI, USING THE SAME

HIS YOUTH AS “ANOTHER LIFE”) AND HIS

VINTAGE PEN, INK, AND CALLIGRAPHY OF

LATE ARCHITECTURAL PRODUCTION.

THE ORIGINALS. HERE ON THE LEFT YOU

HIS MEETINGS WILL TRULY CHANGE HIM,

CAN FIND ONE OF THE PAGES DEDICATED

HE KNEW SOME OF THE MOST RELEVANT

TO THE WIDE REFERENCE BIBLIOGRAPHY

FIGURES OF THE TIME INDEED.

AND WEBOGRAPHY.

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DISEGNO DIGITALE / STUDIO E RIDISEGNO

DELLA 4X4 HOUSE DI TADAO ANDO. AFTER GETTING THE 101 OF FREEHAND GEOMETRICAL REPRESENTATION DURING THE FIRST ARCHITECTURAL COMPOSITION COURSE, ONE OF THE MOST IMPORTANT PHASES WAS SURELY THE ONE OF FACING THE MAIN DIGITAL DRAWING TECHNIQUES IN THE SECOND AND THE THIRD DIMENSION. THE COURSE WAS PROPOSING A SERIES OF TESTS AND PARTIAL EXAMS THAT WOULD ADRESS EVERY ASPECT OF TOOLS GETTING MORE AND MORE NECESSARY IN THESE DAYS

ARCHITECTURAL

MARKET.

THE

COURSE STARTED WITH A FREEHAND TEST INDEED, THEN ADRESSING PHOTOGRAPHY, LIVE ARCHITECTURAL SURVEY. AND REDRAWING. USING A VARIETY OF HISTORICAL PRINTED SCRIPTS, A CHOICE BETWEEN BUILDINGS BY RELEVANT ARCHITECTS WAS PROPOSED, JOHN PAWSON, TADAO ANDO AND CARLO SCARPA AMONG OTHERS. THE FINAL EXAM CONSIST OF A PANEL PRINTED THROUGH REALLY UNUSUAL PROPORTIONS, 40 X 200 CM, CHOSEN TO FORCE THE STUDENTS TO FACE A NARRATIVE REPRESENTATION OF A WHOLE PROJECT, INSTEAD OF A SIMPLY COMPILATORY ONE. THE CHOSEN PROJECT WAS THE 4X4 HOUSE BY TADAO ANDO, KOBE, JAPAN.

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ABOVE ON THE LEFT YOU CAN SEE THE

THE FINAL PANEL CONSISTED IN JUST ONE

FIRST TEST DONE: A TOTALLY FREE-HAND

BIG PAPER SIZED 40 X 200 CM, PREPARED

RE-DRAWING OF THE ROTONDA BY VIN-

TO BE PRINTED VERTICALLY OR HORIZON-

CENZO SCAMOZZI, DONE WITHOUT ANY

TALLY, THAT WOULD TELL THE PROJECT

ORTHOPEDIC SUPPORT. THE CONVERSION

THROUGH ALL THE NECESSARY DRAW-

BETWEEN VICENTINIAN FOOT AND MET-

INGS, FOLLOWING A NARRATIVE FLOW.

RIC SCALE WAS DONE THROUGH A SERIES OF ESCAMOTAGES.

THE CHOICE WENT OF COURSE FOR A VERTICAL DISPOSITION, CONSIDERING THE

ON THE RIGHT AND ABOVE ARE PRESENT-

VERY NATURE OF THE 4X4 HOUSE. HIS

ED THE RESULTS OF THE DELIVERY CON-

READING STARTS LIKE IN JAPANESE TEXTS;

CERNING PHOTOGRAPHY: ONE “HARD TO

FROM THE ONE WHICH IS CONSIDERED THE

FRAME AND TO DESCRIBE” CONTEMPO-

BOTTOM BY WESTERNERS: FROM THE BOT-

RARY ARCHITECTURE IN VENICE.

TOM TO THE TOP, FROM THE LEFT TO THE RIGHT. THE PROPOSED ORDER SO IS HEADING, SKETCH, CONTEXTUAL PLACEMENT, SECTIONED ISOMETRIC, PLANS, FACADES, AND RENDERED VIEWS, ALL CHARACTERIZED BY THE REQUIRED FLUID LEGIBILITY.

HERE ON THE LEFT THERE’S THE FIRST PARTIAL EXAMS TO BE ADMITTED TO THE FINALS, DONE DURING THE CLASS, THAT WENT THROUGH A FAST SURVEY OF THE WINDOWS TO BE REDRAWN IN DIFFERENT SCALES, WHILE USING JUST A LONG THREAD AND TWO USUAL BRACKETS. DURING THE GIVEN TIME, JUST AFTER THE EIDOTYPES, A DIGITAL RE-COMPOSITION HAD TO BE DONE AND PRINTED IN AN A3 PAPER CONTAINING AS MANY DRAWINGS AS POSSIBLE, USEFUL FOR THE TECHNICAL DETAILING AS POSSIBLE AND EXAMINED BY ON-SITE TECHNICIANS.

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IN THE FINAL RENDER) WHICH PRESENTS

THE

ROOMS

DISTRIBUTION.

THE MAIN DIFFICULTY DURING THE REDRAWING OF THE EXECUTIVE DOCUMENTS GIVEN BY THE COURSE WAS THE TYPICAL THE BOTTOM OF THE PANEL PRESENTS THE HEADING AND THE VERY FIRST MOMENT OF THE PROJECT, THE FAST SKETCH BY ANDO; PUT BESIDE THE COMMISSIONING AND CONTEXTUAL DATA. FRAMING AND POSITIONING IN THE KOBE BAY FOLLOWS, WITH A FIRST SECTIONED ISOMETRIC VIEW, SCALED IN ITS SECTION TO DESCRIBE THE FLOOR AND STAIRCASES DISPOSITION. CONCERNING

THE

PLANES,

BESIDES

A COMPLETE REDRAWING OF THE INTERIORS

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(WHICH

ACTUALLY

APPEAR

JAPANESE

NATURE

THE

PLANS AND THE SECTIONS, EXTREMELY DENSE, COMPLEX AND RICH IN DETAILS, AND IN ITS TRANSLATION TOO. THREE ECT

KEYWORDS

CERNING

UP,

THE

PROJ-

ESPECIALLY

CON-

QUARTERDECK

PAT-

TERNS AND THE COMPOSITION OF THE FRONT

AND

THE

REAR

ELEVATION.

THE FINAL RENDER, BASED ON THE TRIDIMENSIONAL RECONSTRUCTION OF THE WHOLE BUILDING, COULD HAVE BEEN PHOTOREALISTIC OR CONCEPTUAL, POINTING

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AT THE GEOMETRIES. WALLS ARE SEMI-TRASPARENT THEN, TO PERMIT TO THE INTERIORS TO MAKE THEMSELF VISIBLE. THE PLATFORM ON THE BEACH WAS REPRODUCED, WHILE THE SEA WAS RENDERED THROUGH A LIQUID, REFLECTIVE MATERIAL; THE INTERIOR FURNISHINGS, TO AVOID ANY CONFUSION, WERE SLIGHTLY UNDERLINED BY A RED COLOUR, FOLLOWING THE CHROMATIC TRENDS OF THE ENTIRE PANEL, BASED ON THE JAPANESE FLAG APPEARING AT VERY THE END OF THE WHOLE NARRATION. THE FONTS USED FOR THE JAPANESE WORDS ARE THE SAME USED BY ANDO’S ATELIER, WHICH EVERY NAME AND INDICATION WAS TAKEN FROM. RAPPRESENTAZIONE E RILIEVO DELL’ARCHITETTURA

/ L’EX-CONVENTO DELLE TERESE A VENEZIA E UNA CAPPELLA DI FAMIGLIA NEL CIMITERO MONUMENTALE DI PADOVA. THE ARCHITECTURAL SURVEY COURSE IS THE MAIN ONE IN WHICH HISTORY AND DRAWING CONCEPTS MEET REALITY THROUGH A DIRECT, SITE-SPECIFIC COMPARISON.

FROM THE FIRST MEASUREMENTS AND DRAWINGS, IT COMPARES THE DESIGN PROCESSES WITH THE EXECUTIVE ONES, MAKING US ABLE TO PERCEIVE THE NECESSITY OF PLACING A BUILDING IN ANY HISTORICAL CONTEXT, BESIDES THE SPATIAL ONE. THE DIFFERENT PERCEPTION OUTCOMING FROM IT BECOMES FUNDAMENTAL TO ANY FURTHER COMPOSITIONAL EXERCISE, IN ADDITION TO ANY KIND OF PROJECT WHICH WILL REQUIRE AN ANALYSIS OF THE PRE-EXISTENCE. HERE PRESENTED, YOU CAN FIND THE PART OF THE COURSE CONCERNING THE ASSIGNATION OF 4 ANGLE SPANS OF THE EX-MONASTERY,

PARTICULARLY

CHAL-

LENGING FOR THE ABSENCE OF ANY REFERENTIAL SIMMETRY. THEN, IT’S PROPOSED A SUMMARY OF THE SURVEY ACTIVITIES RELATED TO A FUNERARY CHAPEL BELONGING TO THE OLIVIERI FAMILY, SITUATED INTO THE MONUMENTAL CEMETERY OF PADUA.

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THE

EX-CONVENT

TERESE,

BUILT

DURING THE HALF OF THE 17TH CENTURY AND RECENTLY RESTORED, HOSTS THE HEADQUARTERS OF INDUSTRIAL DESIGN AND VISUAL ART FACULTIES, THE HEAD OF IUAV, THE THEATER SCHOOL AND VISUAL/MULTIMEDIA COMMUNICATIONS RESEARCH FACILITIES, THE ADMINISTRATIVE OFFICES AND THE RECEPTION, THE EX-CATHEDRA CLASSES, THE I.T. LAB AND OTHER SERVICES.

PIANTA 1:100

THE AREA TO DEVELOP THE ARCHITECTURAL SURVEY ON WAS ASSIGNED TO OUR GROUP ON THE CORNER SPACE, SPECIFICALLY, CONSIDERING 4 SPANS AND THEIR

REGARDING THE ELEVATION, THE SURVEY WAS MUCH MORE COM-

INTERSECTION, HERE HIGHLIGHTED IN

PLEX. BEING ABLE TO COUNT ONLY ON THE HORIZONTAL MEASURES

RED.

AND ON FEW TOOLS, WE NEEDED TO FACE CROOKED OR SLANT SURFACES IN MORE THAN JUST ONE DIMENSION, CHANGING EVERY SINGLE LINE.

DURING THREE DIFFERENT ON-THE-SPOT INVESTIGATIONS, A COMPLETE RE-DRAWING OF THE BUILDING WAS ORGANIZED TO

WE DECIDED, IN VARIOUS STEPS, TO TREAT THE CURVE WARPING OF

RESULT IN A MAIN PLAN, TWO SECTIONS,

THE PLANS AS DIFFERENT FLAT SURFACES, JUST TO DISCOVER THAT

TWO FACADES AND MANY DETAILS. THE

AT THE END OF THE DAY THE SCRAPS WERE INCONSIDERABLE. SO

REDRAWING PHASE WAS PRECEDED BY A

STARTING FROM THE FIRST MEASUREMENT, THE DIRECTIONAL ANGLE

DIRECT SURVEY, FREQUENTLY NOT EVEN

OF THE PAVING WAS CHECKED WITH ONE SINGLE RUBBER TUBE FILLED

POSSIBLE WITHOUT GEOMETRIC ESCA-

WITH WATER.

MOTAGES AND AD HOC REFERENCES, ESPECIALLY NECESSARY REGARDING THE ELE-

FINDING OUT THAT THE ANGLE WAS ACTUALLY MONO-DIRECTIONAL,

VATION DEVELOPMENT.

ABLE TO PUT “ON-THE-BUBBLE” THE LASER METER, ADAPTING THE PLAN ON THE RESULT.

TO VERIFY ALL THE MEASUREMENTS, WE

THIS TIME ALSO WE PREFERRED STARTING

USED A LONG RIGID STICK THAT COULD

FROM A GIVEN REFERENCE, TO PROCEED

PERMIT TO PROJECT (“ON BUBBLE”) A SPE-

RADIALLY RATHER THAN LINEARLY WITH

CIFIC LENGTH ON A SURFACE; THE TYPICAL

OUR SURVEY, IN ORDER TO HAVE THE UT-

CASE WAS THE ONE OF THE LITTLE SEATS

MOST LIMITATION OF ERRORS.

ON THE INTERNAL WALLS OF THE COLONNADE. USING THE SAME METHOD WE

TO FIND THE CENTER OF THE CROSS VAULT,

TRANSFERRED ON PLAN THE WINDOW PO-

AND IN ORDER TO PROJECT IT ON THE

SITIONS. THE MAIN ELEMENTS TO DETECT

FLOOR LEVEL, WE USED THREADS, CREAT-

WERE PRESENTING THEMSELF AS DETERIO-

ING A TENSION CROSS STARTING FROM THE

RATED; WHILE MAINTAINING THE PROJECT

SUSPENDED METAL TIE-BEAMS.

Crociera Piano d'imposta Parete Tiranti metallici Filo a Piombo

LINES (“RE-DRAWING IT AS DESIGNED”) THE WORST PERISHED PARTS WERE USUALLY

STARTING FROM IT WE CAST THE WIRE

CONSIDERED. DRAWING THE PLAN WE

LEAD, GIVING US THE POSSIBILITY TO CRE-

ADOPTED A BETTER PRECISION (<1MM) IN

ATE A REFERENCE, AND TO FIND THE NEC-

RELATION TO THE IMPORTANCE OF IT TO

ESSARY FIRST MEASUREMENT TO BUILD UP

VERIFY THE ELEVATIONS. THE MEASURE-

THE SECTIONS (TO DISTINGUISH BETWEEN

aste

MENTS WERE DONE ALWAYS BY AT LEAST 2

THE CROSS AND THE GROINED VAULT IT-

PEOPLE TO AVOID THE POSSIBLE PARALLAX

SELF). WE CONNECTED EACH OTHER ALL

MISTAKES.

THE CENTERS OF THE VAULTS, VERIFYING FURTHERLY ALL THE PLAN SIZES.

FINDING OUT SO FEW PERPENDICULARITIES THROUGH THE MEASURES, WE EVAD-

ED THE ACCUMULATION OF MEASURE-

TIE-BEAMS WITH THE BASE OF THE ARCHES

MENTS (BASED ON THE PREVIOUS ONES,

WITH OUR LASER DISTO, CONSIDERING

E.G. SITUATED ON THE SAME STRAIGHT

THE INACCESSIBLE HEIGHT OF THE VAULTS

LINE) LIMITING THE SPREAD OF ERRORS.

018

WE CHECKED THE COINCEDENCE OF THE

x+a

x+a+b

Corde

APEXES.

019

za dei tiranti con la base delle arcate, e si è poi veriﬁcato il tutto con il disto laser, vista l'altezza inaccessibile dell'apice della volta.

PROSPETTO 1 1:100

HAVING THE LENGTH OF THE THREAD AS FIXED AND HAVING A PRECISE FLOORPLAN (ADAPTED TO THE PAVEMENT WARPING) WE COULD PROCEED WITH THE MEASUREMENTS OF THE INTERNAL WALLS ANGLE, FINDING OUT IT WAS INCONSIDERABLE

SEZIONE 1 1:100

UNTIL THE FIRST FLOOR, SAME WITH THE MISALIGNMENT OF THE COLUMNS. FOR SOME MEASURMENTS WHERE WE AC-

Pianta 1:100

TUALLY WOULD HAVE NOT DAMAGE THE ARCHITECTURE, WE PLACED NAILS IN EQUAL DISTANCES, BINDING A HORIZONTAL THREAD, TO VERIFY THE TRUE OFFSET OF SOME SURFACES.

Sezione 2

FOR THE UPPER FLOORS WE COULD JUST FIX A SERIES OF LASER AIMS, CHOSEN UPON THE ARCHITECTURE ITSELF; THE SAME AIMS WOULD HAVE LATELY VERIFIED THE REDRAWING BY CAD, STARTING FROM THE ORTHOPHOTOS.

Prospetto 2

PROSPETTO 2 1:100

THE PHOTOS WERE SHOT IN LOCO, ONE PER SPAN, AND THEY WERE REGULARLY STRAIGHTEN UP THROUGH PHOTOSHOP. TO AVOID THE SOFTWARE MISTAKES, WE MULTIPLIED THE SOURCES TAKING NEARER PICS, TO BE FOUND OUT THE WOULD HAVE BEEN COMPATIBLE WITH THE CAD DRAWINGS. THEY WERE TAKEN IN THREE DISTANCE RANGES FROM THE VERY OBJECT.

Sezione 1

Prospetto 1

IN ALL THE DIFFERENT CASES, THE LIMIT WAS THE MOST EXTERNAL POINT ON THE COLUMNS BOTTOM.

020

SEZIONE 2 1:100

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7,60 m 7m 5m 3,375 m 0,375 m

Inserimento contestuale

1,20 m

Sezione longitudinale mediana

6m Prospetto Nord THE REQUEST WAS TO MAKE A SURVEY AND TO COMPLETELY REDRAW A FUNER-

Prospetto Est

Prospetto Ovest

ARY FAMILY CHAPEL. THE OBJECT WE HAVE CHOSEN FOR OUR ANALYSIS WAS THE OLIVIERI FAMILY CHAPEL, SITUATED ON THE HALF OF THE EASTERN WING OF THE CIMITERO MAGGIORE IN PADUA. IT IS REMARKABLY RELEVANT IN HISTORICAL TERMS, REPRESENTING A PERFECT EXAMPLE OF THE FORMAL CLEANNESS TYPICAL OF THE 30S’ AND 40’S DURING THE LAST CENTURY, WHILE MAINTAINING A DISTINCTIVE GRANDEUR AMONG THE CONTEXT IN WHICH IS PLACED.

Pianta

THE ORDERLINESS AND THE PRECISION OF ITS PROPORTIONS WERE ACTUALLY

Viste interne

STANDING OUT AMONG THE OTHERS, LIKE THE STATE OF ITS FINISHINGS, SURVIVED THROUGH THE YEARS. STARTING FROM THE PHOTOGRAPHICAL WITH

STRAIGHTENING OF THE MAIN 9 VIEWS,

NON-REINFORCED CONCRETE, COVERED

WE PREPARED THE EIDOTYPE AND THE

WITH TWO DIFFERENT QUALITIES MARBLE

FACADE REDRAWING, CONFIRMING THE

SLABS (2,5 CM THICK); THE DARKER QUAL-

ANALYSIS OF THE INTERNAL AND EXTER-

ITY DRAWS A LATIN CROSS ON THE MAIN

NAL PLAN MEASUREMENTS.

THE

CONSTRUCTION

BUILT

FACADE, CUT BY A WINDOW AND THE ENTRANCE.

GIVEN THE STRONG SIMMETRY OF THE WHOLE SYSTEM, WE ONLY HAD ONE USE-

THE APSE IS THE ONLY ELEMENT WITHOUT

FUL DOUBLE-CHECKED SECTION (THE SAG-

SLABS, IT’S PLASTERED AND REMARKABLY

ITTAL ONE), WITH WHICH WE HAVE BEEN

HIGH, GIVING SOLEMNITY TO A BUILDING

ABLE TO CONFIRM THE THICKNESSES FOR

WITH A REALLY SMALL PLAN.

THE TRIDIMENSIONAL REDRAWING.

Prospetto Sud

022

023

LABORATORIO INTEGRATO 1 / UN PADIGLIONE PER IL PARCO DI VILLA FLORIDIANA.

THE FIRST ARCHITECTURAL COMPOSITION COURSE IS DEFINETELY THE MOST IMPORTANT OCCASION TO FACE THE REAL INTENTIONS OF YOUR PROCESS, CONSIDERING THE FEW THEORETICAL BASES WE ARE GIVEN. UNDER THE CATHEDRA OF THE FAMOUS ARCHITECT FRANCESVO VENEZIA, OUR COURSE WOULDN’T HAVE AS USUAL TO DEVELOP A SIMPLE, DETERMINED TYPOLOGY (LIKE, E.G., THE HOUSE) BUT WANTED TO ADRESS THE COMPOSITION ISSUE IN A MUCH MORE POETIC, PURE, ABSTRACT WAY. THE PROJECT WAS INDEED BASED ON THE IDEA OF AN OPEN PAVILLION, PLACED INSIDE THE PARK OF VILLA FLORIDIANA IN NAPLES, WITH THREE DIFFERENT THEMES; AN AREA FACING THE VILLA, A SUSPENDED HERE SOME EXTRACTS FROM THE FINAL PANEL. THEY CONSIST IN AN AXONOMETRIC EXPLODED VIEW OF THE DIFFERENT GEOMETRIES, AND 4 RENDERED VIEWS FROM DIFFERENT POINTS OF VIEW. WE RECONSTRUCTED THE TEXTURE OF THE TWO MARBLES AND THE PLASTERINGS STARTING FROM THE ORTHOPHOTOS, PAYING ATTENTION TO THE BEHAVIOR OF DAYLIGHT REFLECTION.

AREA ON THE ANCIENT BOUNDARY WALLS, AND AN AREA IN FRONT OF THE “TEATRINO DELLA VERZURA” (THEATER OF THE GREENS), THE REMAINS OF A LITTLE 17TH CENTURY THEATER AMONG THE TREES. CONTEXTUALIZATION WAS THE MAIN ISSUE, HAVING CHOSEN THE LAST THEME: WE HAD TO TELL ABOUT MIMESIS AND DISTINCTION WITH THE CONTEXT, THE IDEA OF THE “READY-MADE RUIN”, THE RELATION WITH WATER. BESIDES THE EXTREMELY REMARKABLE OPERA BY FRANCESCO VENEZIA, WE WERE ASKED TO QUOTE WORKS BY MIES VAN DER ROHE, KARL FRIEDRICH SCHINKEL, SVERRE FEHN.

024

025

026

027

PROSPETTO NORD 1:200

PROSPETTO OVEST 1:200

PROSPETTO SUD 1:200

PROSPETTO EST 1:200

PIANTA 1:200

THE LINES OF THIS LITTLE PAVILLION WERE DIRECTLY GENERATED BY THE FACING TEATRINO DELLA VERZURA, HAVING TWO DIFFERENT CEILINGS AT DIFFERENT LEVELS, RECALLING THE IDEA OF AMPHITHEATER. THE LINE OF FORCE PASSING THROUGH THE TEATHER, FROM THE ENTRANCE, WAS KEPT AS EXTREMELY RELEVANT, DIVIDING THE PAVILLION IN TWO DIFFERENT SPACES DEFINED BY THE CURVED WALLS. ONE ORTHOGONAL WALL IS PLACED ON THE AREA ABOVE THE SO CALLED GROTTE DEI LEONI (“LIONS’ CAVES). THE PASSAGES DRAW THREE MAIN FLUXES, THAT KEEP THE ORIGINAL PATHWAYS OF THE PARK. A BLACK RAIN WATER POND IS PLACED BEHIND THE BUILDING. MODELLO

028

VISTE RENDERIZZATE

029

BIENNALE DI ARCHITETTURA - COMMON GROUND - GOLDEN DEER PRIZE / RUN AF-

TER DEER BY ARATA ISOZAKI. DURING THE 14° MOSTRA INTERNAZIONALE DI ARCHITETTURA OF LA BIENNALE DI VENEZIA, ARATA ISOZAKI STUDIO ORGANIZED AN IDEAS COMPETITION NAMED RUN AFTER 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 ZHENGZHOU WAS COMPLETELY ASSIGNED TO ARATA ISOZAKI’S STUDIO, THAT HAD TO BUILD A NEW CITY FROM SCRATCH. 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.

030

031

THE WHOLE CITY HAS ITS CENTRAL POINT INTO THE SUB CBD, THE WHOLE COMPLEX OF SKYSCRAPERS AND HIGH-RISES FOR THE

塔

水上庆典广场

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

龙湖

TECHNICAL

AND

ACTERISTICS,

双塔地区

FUNCTIONAL

REGARDING

水上庆典广场

CHAR-

ESPECIALLY

DIMENSIONS, FLOOR AREAS, MEANS OF TRANSPORT. 圆形竞技场型

IN THE SECONDARY SERIES OF BUILDINGS INSTEAD, THERE WAS A FREE AREA, TO BE

外环地区

水上庆典广场

内环地区

舞台

DEFINED BY OUR COMPETITION, WHICH

圆形竞技场型

WAS THE FIRST ONE.

内环地区 GROUPS FOUND THEMSELF TO ADRESS THE PROJECT WITH DIFFERENT APPROACHES: THE HIGH-TECH ONE, THE TRADITION-

城市的门地区

AL ONE, THE FORMALIST ONE AND OUR

[湖心区域]

GROUP’S ONE, STRICTLY RELATED TO UR-

文化设施

BAN PLANNING. THE FIRST IDEA WAS ACTUALLY THE ONE TO “INFLUENCE”, JUST AS A VIRUS, THE WHOLE PATH PROPOSED. 水上庆典广场

WE CHOSE A GEOMETRY 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

娱乐设施

MAIN STRUCTURAL SYSTEMS TO STICK TO WERE IMPOSED BY THE STUDIO’S MASTERPLAN. CONSIDERED THE MEANS OF TRANSPORT, THE HEIGHTS THAT WERE FORCEDLY HAD

[运河区域]

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. 办公

办公

THE LEVELS RELATED TO THE FLOORS HAD TO BE KEPT ON THE VERY SAME HEIGHT,

商业

BUT THEY COULD VARY FOLLOWING THE CROSS DIRECTOR LINES.

032

033

TATSUO MATSUDA 東京大学 | Todai

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,

Area of intervention

8th ﬂoor

Mass

7th ﬂoor

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

Mass

6th ﬂoor

5th ﬂoor

Void

Central core

Void Gap

4th ﬂoor

Mass

3rd ﬂoor

Buildingʼs connection

Mass

DOUBLING THE GREEN AREA.

Mass

2nd ﬂoor

THE REMAINING CEILINGS ARE IN FACT WALKABLE, AND ASSIGNED AS GREEN OR EATERY AREA.

1st ﬂoor

Ground Floor

Void

MODELLO DI CONCORSO

Gap

Subway level

AFTER THE PRIZEGIVING, WE HAD TO FINISH THE CURATING OF THE WHOLE EXHIBI-

Parking

TION IN PALAZZO BEMBO, ON THE GRAND CANAL, WHICH OCCUPIED 3 BIG ROOMS. WE HAD A VIDEOMAPPING PROJECTION INTO THE FIRST ONE, BASED ON THE VISI-

Basement

TORS’ 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.

CONCEPT DI PARTENZA

034

SEZIONE MASTERPLAN 1:500

035

MAIN PLAN 1:1000

036

ARATA ISOZAKI DURANTE LA PREMIAZIONE

037

PARTECIPAZIONE AD UN CONCORSO DI RIUTILIZZO DI CONTAINER PER URBAN DESIGN - PROGETTO K.L.A.K

038

039

W.A.VE 1 / PROSOPLASIA PROJECT.

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. MODELLI DI STUDIO AL 1000 E AL 200

040

041

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 INSOLATION 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.

SEZIONE 1:1000

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. 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

MASTERPLAN 1:2000

SCHEMA DI CRESCITA DELLA COLONIA

USED AS A REFECTORY.

042

LAURA ALVAREZ Laura Alvarez Architecture

Height

Growth of 043 the colony

SISTEMA COSTRUTTIVO DEI PANNELLI

RENDER GENERALE

SCHEMA DELLE FUNZIONI

RENDER GENERALI CON GREEN TRUNK

THIS JUXTAPOSITION, STARTING FROM THE FIRST AREA BASED ON THE FUNCTIONS, VERTICAL CLOSURES SO CAN BE DIVIDED

CAN CREATE A SUSTAINABLE GEOMETRY

IN 4 SQUARED PANELS, WHEN POSSIBILE,

JUST BECAUSE IT’S BASED ON EXTREME-

THAT CAN BE REPLACED IN THE UPPER

LY SMALL INTERNAL SPANS, AND ON A

PART WHEN EXTERNAL, OR IN ALL THEIR

DENSE ENSEMBLE OF SPARSE PUNCTIFORM

PARTS WHEN INTERNAL.

ELEMENTS. IN THE CASE OF CANTILEVERS OVERCOMING THE TWO MODULES, WILL

THE IDEA OF A LITTLE CLENCHING THAT

REACH THE FLOOR PLAN.

LOCKS THE DIFFERENT PANELS BRINGS TO SURPRISING CONSEQUENCES FOR WHAT

THE IDEA WE GOT IN THE FINAL RESULTS

CONCERNS THE INTERNAL DISTRIBUTION.

PERMITS

DIFFERENT

INTERPRETATIONS;

FROM THE MOST POSITIVE TO THE WORST IF, AND ONLY IF THE CLENCHING IS OPENED

ONES, WHICH WAS THE INITIAL CONCEPT

FROM BOTH SIDES (FOR A COMMON WILL-

PROPOSED BY THE WORKSHOP. THIS IS DUE

INGNESS OF THE NEIGHBORS) THEN THE

TO THE VERY NATURE OF A TEMPORARY

SPACE CAN BE SHARED.

DETENTION CENTER: IT IS A CROSSING POINT, AND IT CAN BE LIVED BOTH AS A

IT WOULD BE POSSIBLE TO MAKE YOUR

SHELTER AND A JAIL.

OWN RESIDENCE BIGGER AND COLLECTIVE, EVEN “ONE PANEL AT A TIME”.

THE VISION THAT TOOK FORM BRINGS THE CONCEPT OF PRIVATE, SEMI-PUBLIC AND PUBLIC SPACE TO THE LIMIT.

VISTA CONCETTUALE

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. SISTEMA DI CHIUSURA DEI PANNELLI IN COMUNE

044

045

VALUTAZIONE ESTIMATIVA DEL PROGETTO / STIMA SOMMARIA E COMPUTO METRICO

ESTIMATIVO DI UN PROGETTO. THE ECONOMICAL SURVEY COURSE IS ANOTHER OCCASION TO FACE THE REALITY OF ARCHITECTURE, THAT HAS A COST, A PRICE, AND A MARKET THAT DEFINES IT. DURING MOST OF THE BACHELORS IT’S USUALLY CONSIDERED SUBSIDIARY, AND MANY UNIVERSITIES DON’T EVEN CONTEMPLATE IT. THE COURSE CONCERNED THE VERY THREE MOMENTS IN WHICH MONEY APPEARS IN AN ARCHITECTURAL PROJECT: THE PRELIMINARY SUMMARY ESTIMATE, BEFORE THE PROJECT; THE EVALUATION OF AN EXISTING BUILDING BASED UPON THE MARKET TRENDS, AFTER THE CONSTRUCTION; AND A COMPLETE MARKET ANALYSIS. HERE I PROPOSE THE < PRELIMINARY SUMMARY ESTIMATE.

046

047

PIANTE 1:00 THE SINGLE FAMILY COMPLEX DESIGNED TAKES PLACE IN A WIDER PROJECT, THAT AIMS TO CONSTITUTE A GROUP OF LOFTS IN MILAN NEAR TO PARCO ARGELATI, VIA G.PASTORELLI. IT IS MADE OF TWO BUILDINGS TWO STORIES HIGH FOR A MIXED DESTINATION: PRODUTTIVA

RESIDENZIALE

(HOME),

(ATELIER), COMMERCIALE

(SHOWROOM).

• SUPERFICIE LOTTO 324 M²

PROSPETTI 1:500

• SUPERFICIE LORDA COMPLESSIVA 227 M² SUDDIVISA IN: ATELIER

GIARDINO

RESIDENZA

SHOWROOM

RESIDENZIALE 72 M²

PRODUTTIVO 90 M²

COMMERCIALE 65 M²

•

GIARDINO 97 M²

•

VOLUME 942 M³

THE

BUILDINGS

ARE

BUILT

WITH

LOAD-BEARING STRUCTURES MADE WITH REINFORCED CONCRETE PLUS THE INTERNAL WALLS. THE FINISHINGS ARE AVERAGE (PLASTERS, PINE PLANKS PAVING, PVC CARPENTRY). PLANT ENGINEERING IS REFERRED TO THE APPLICABLE STANDARD. THE COST FOR THE RESIDENTIAL PART, COMPUTED ASIDE, IS OF 2.189,15 EUROS PER SQUARE METER. IN ORDER TO DO THE PRELIMINARY COMPUTATION WE REFERRED TO TWO BIGGER AND SMALLER FLOOR AREAS (CONCERNING THE RESIDENTIAL PART - THE ATELIER AND THE SHOWROOM WERE COMPUTED UPON THE FINISHINGS) IN THE AREA OF P.TA GENOVA IN MILAN, NEAR OUR BUILDING SITE, ESPECIALLY FOR THE ZONES 6 AND 7. SCHEMA FUNZIONALE

048

RENDER

INSERIMENTO CONSTESTUALE

049

7 6 5

LOFT E SHOWROOM IN CENTRO

SVILUPPO: 227 MQ

VOLUME: 942 MC

LAVORAZIONI

COSTI IN EURO

INCIDENZA PERCENTUALE

1 SCAVI, RINTERRI E SPIANAMENTO

2.805,84

4,48 %

2 OPERE MURARIE CON STRUTTURA IN C.A.

32.062,19

51,20 %

3 ISOLAMENTO E IMPERMEABILIZZAZIONI

1.758,24

2,80 %

4 RIVESTIMENTI

10.297,04

16,44 %

5 SERRAMENTI

15.686,87

25,05 %

TOTALE

62610,18

100%

4 3 2 1

COSTO TECNICO DELL’OPERA A MQ : 275,81

10 11 12 13 14.

COSTO TECNICO DELL’OPERA A MC : 66,46 CRONOPROGRAMMA

10 15 11 13 16 7

LEGENDA:

CTC: 62.610,18 € CC = 78.262,71 €

10 * 7 = 70 GIORNI

INCIDENZA MEDIA MDO = 45% CC = 35.218,21

CALCOLANDO FERIE (F) E GIORNI CATTIVO

€

TEMPO (GCT) OTTENIAMO I GIORNI NATU-

RALI CONSECUTIVI (GNC)

≈ 70 + 50 + 30 = 150 GNC

(1.173,94 H)/(8 H/G) = 146,74 UG ≈ 146,74 UG

150 GNC = 21,42 SETTIMANE ≈ 21 SETTIMANE

(UOMINI GIORNO)

= 4 MESI + 4 GIORNI

SQUADRA TIPO: 3 UOMINI ≈ 146,74/3 = 49

DATA

GIORNI LAVORATIVI

01/06/2014

(49 G)/5 ≈ 10 SETTIMANE

DATA DI TERMINE: 05/10/2014

COSTO MEDIO MDO = 30 €/H ≈ (319.500 €)/(30 €/H) = 1.173,94 H

CONGLOMERATO CEMENTIZIO ED ARMAT-

17. PANNELLI DI FIBROCEMENTO

URA IN RETE ELETTROSALDATA

18. INFISSO IN ALLUMINIO CON VETRO BAS-

Fasi

1. SCOSSALINA METALLICA

8. INFISSO IN ALLUMINIO CON VETRO

SO EMISSIVO IN LASTRE DA 6MM E VETRO-

Impianto cantiere

2. COLLO DI CALCESTRUZZO RETINATO

STRATIFICATO IN TRE LASTRE: DUE DA

CAMERA DA 12MM

3. IMPERMEABILIZZAZIONE

4MM, UN’ANIMA DA 6MM CON FILM PRO-

19. VOLUME VETRATO CON INFISSI IN AL-

Opere provvisionali

4. GHIAIA

TETTIVI INTERPOSTI

LUMINIO E VETRO BASSO EMISSIVO DI SI-

Calcestruzzo

5. MASSETTO DI PENDENZA 2% CON GUAINA

10. TAVOLATO D’ABETE AMERICANO

CUREZZA IN LASTRE DA 6MM.

BITUMINOSA

11. MORALETTI

6. ISOLANTE IN POLISTIRENE 60MM E BAR-

12. PANNELLO FONOASSORBENTE

SONO QUI OMESSI PER MOTIVI DI SPAZIO I

RIERA AL VAPORE

13. SOTTOFONDO

SINGOLI E.P.U. RELATIVI AI DIVERSI NODI E

Impianti

7. SOLAIO A TRAVETTI TRALICCIATI CON

14. SOLETTA DI CALCESTRUZZO ARMATO

GLI INTERI FOGLI DI CALCOLO NECESSARI

Malte

FONDELLO IN LATERIZIO, PIGNATTE IN

15. ISOLANTE IN POLISTIRENE 60MM

PER IL COMPUTO METRICO ESTIMATIVO.

LATERIZIO, GETTO DI COMPLETAMENTO IN

16. MASSETTO

QUI DI SEGUITO LA STIMA SOMMARIA.

050

D’INIZIO

LAVORI

(IPOTETICA):

DATA

D’INIZIO

LAVORI

(IPOTETICA):

2013 01

Scavi Strutture di fondazione

Ferro Strutture verticali in cls Strutture orizzontali Coperture Murature

Pavimenti Finiture Smobilizzo

051

RESTAURO / RESTAURO E RIQUALIFICAZI-

ONE DELL’EX OPP DI ROVIGO. THE RESTORATION COURSE IS PROBABLY THE ONE IN WHICH THE ABILITIES ACQUIRED THROUGH THE STUDIES START TO CONCURR AT THE SAME TIME. THE RESULTS HERE PROPOSED COME FROM A RESTORATION COURSE COMPLETE IN EVERY PART, RANGING FROM THE ON-SITE INSPECTIONS TO THE GEOMETRICAL SURVEY, TO THE HISTORICAL ANALYSIS AND ITS CHEMICAL DECAY, TO THE STRATEGIES TO FIX IT AND TO THE FINAL DESIGN PROJECT TO REGENERATE IT. THE THEME IS SO PARTICULAR AS IT IS INTERESTING, CONCERNING THE EX-PROVINCIAL PSYCHIATRIC HOSPITAL IN THE ITALIAN ROVIGO PROVINCE, NOWADAYS ABANDONED, AFTER THE VERY FAMOUS “BASAGLIA” LAWS. THAT ONE IN ROVIGO IS ACTUALLY AN EXTREMELY AVANTGARDE MENTAL ASYLUM FOR THE TIME, WHERE THE MOST RECENT THEORIES ABOUT PERSONAL PATIENTS RECOVERY (NOT THE SIMPLE IMPRISONMENT) WERE APPLIED. THE COMPLEX WAS IN FACT ORGANIZED TO HOST A VARIETY OF WORK ACTIVITIES OF THE ILL, LIKE POULTRY AND CULTIVATION OF SEVERAL RARE VEGETAL SPECIES, LEAVING A HUGE BOTANICAL FORTUNE. WE REVIVED ITS HERITAGE THROUGH ITS REDEVELOPMENT.

052

053

PIANTE 1:200

054

FOTORADDRIZZAMENTO E PROSPETTO 1:500

055

THE BUILDING ASSIGNED TO US WAS THE LAUNDRIES FACILITY, ACTUALLY THE CENTRAL ONE OF THE WHOLE COMPLEX. REDRAWING ITS WHOLE PLAN AND FACADES WITH

ADVANCED

PHOTOGRAMMETRY

TECHNIQUES WE WERE ABLE TO REDRAW THE COMPLEX INTO TECHNICAL DETAILS OF THE EASTERN FACADE. WE HAD TO DEEPLY ANALYZE THE BUILDING TECHNIQUES OF THE TIME, RECONSTRUCTING A LOT OF FALLEN APART SECTIONS OR LOST DOCUMENTS, E.G. TO CREATE THE 3D MODEL OF THE MAIN CEILING STRUCTURES.

MATERIALI 1:200

FOTOSIMULAZIONE 1:200

STARTING FROM THE MATERIAL AND DECAY ANALYSIS WE COUL PASS TO AN INTERVENTION STRATEGY USEFUL TO RESTORE THE CONDITIONS OF THE WHOLE BUILDING. INITIALLY, BEFORE THE ACTUAL DESIGN PHASE, WE ORGANIZED A PRELIMINARY PHOTOSIMULATION. AFTER IT, WE DESIGNED A WHOLE NEW LIFE FOR THE SINGLE BUILDING, TO BE PUT INTO A REGENERATION OF THE EN-

FOTOSIMULAZIONE 1:500

TIRE URBAN COMPLEX, JUST PERFECT TO HOST AN AGRICULTURAL SCIENCES COLLEGE CAMPUS, WHICH THE CITY IS STILL MISSING. DEGRADI 1:200

PIANTA DI PROGETTO DELL’EDIFICIO 1:500

056

STRATEGIE D’INTERVENTO 1:200

057

PROSPETTO DI PROGETTO DELL’EDIFICIO 1:200

MASTERPLAN DI PROGETTO DELL’EDIFICIO 1:500

058

059

LABORATORIO INTEGRATO 3 SCENARI DI GUERRA - MUSEO E FORESTERIE PER IL MONTE CENGIO

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 THE URBAN REGENERATION WAS DIRECT-

LOT, WHICH CONNECTS THE HISTORICAL

ED TO THE ITALIAN MODEL OF “AGRIPOLIS”,

GALLERIES TO A VOTIVE CHAPEL ON THE

A SORT OF AGRICULTURAL UNIVERSITY

PEAK, AND A FLAT AREA DECLINING IN A

THAT PROVIDES FACILITIES FOR ANY KIND

CLIFF, OFFERING VIEWS AMONG THE MOST

OF VETERINARY AND AGRI-FOOD SECTOR.

INTERESTING OF THE WHOLE TOWN.

WE HAD TO CREATE A NEW ROAD MAP

THE GOAL WAS TO DESIGN A PERMANENT

THAT PERMITS TO REACH EVERY FOCAL

MUSEUM, AND A SERIES OF ECO-FRIENDLY

POINT, BASED ON THE NEW DIFFERENT

GUESTHOUSES, AS A SHELTER (AUTONO-

FUNCTIONS, KEEPING IN MIND THE SPE-

MOUS AND UNMANNED) FOR THE HIKERS.

CIAL URBAN POSITION RELATIVELY TO

THEY WERE TWO REALLY DIFFERENT DES-

THE NEAR CITY AND ITS CONNECTION IN

TINATIONS ARCHITECTURALLY, TECHNO-

TERMS OF MEANS OF TRANSPORT.

LOGICALLY AND AESTHETICALLY SPEAKING.

THE ATTENTION TO THE NATURAL PROP-

THE MAIN DIFFICULTY, IN ADDITION TO

ERTIES OF THE AREA, SINCE THERE’S NOT

THOSE OFFERED BY THE THEME ITSELF,

ONLY A MONUMENTAL/HISTORICAL PRO-

WAS CERTAINLY THAT OF HAVING TO JUS-

TECTION, BUT ALSO A LANDSCAPE PRO-

TIFY EVERY MANUFACTURING PROCESS,

TECTION BY THE ITALIAN SUPERINTENDENCE.

060

ASSONOMETRIA DEL MASTERPLAN

SINCE THE AREA IS EXTREMELY UNUSUAL AND ISOLATED.

061

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.

062

063

Impianto fotovoltaico 0,5 kWp 5 mq

Inverter CC - CA -

Riscaldamento Radiante perimetrale / 18°

AA’

BB’

CC’ DD’

Fase 1

Fase 2

Fase 4

Fase 5

Impianto micro-eolico 0,5 kWp -

Cottura Piastra a induzione 2,5 kw

Prese elettriche connettività / comunicazione

Accumulatori 8 Batterie 8000 Ah

Illuminazione LED esterno LED interno

Raccolta acque [vedasi schema]

Attacco a terra 4. Gabbie in rete di acciaio zincato a caldo (6 mm, maglie da 5 x 20 cm) 70 x 70 x 100 cm 5. Struttura in profilati angolari 80 x 80 mm per collegamento gabbie 6. Pietrame di vario formato (tra i 15 e i 20 cm) reperito in loco

Fase 3

Fase 6

Tamponature

Vano tecnico

Materie prime utilizzate

Struttura 1. Lamellare 12 x 4 cm 2. Lamellare 12 x 8 cm 3. Tiranti di controventamento in tondi di acciaio (d = 20 mm)

Esploso assonometrico

Dettaglio struttura

064

Traverso doppio, puntone semplice, montante in 3 parti

Pompa idraulica potabilizzazione UV

Cisterna accumulo 1,3 mc

Pozzetto prima pioggia 0,7 mc

1. TAVOLATO IPÈ (SPESSORE 20 MM)

THE SMALL GUESTHOUSES HAD TO BE DE-

2. CLIPS DI GIUNZIONE IN PLASTICA

SIGNED SO THAT A MAXIMUM OF TWO

3. MAGATELLI IN ABETE (SPESSORE 22 MM)

PEOPLE COULD USE THEM INDEPENDENT-

4. GOMMINO DISTANZIATORE

LY, WITHOUT THE USE OF PERSONNEL

5. BARRIERA AL VAPORE

AT HIGH ALTITUDE. THEY SHOULD HAVE

6. PANNELLO COIBENTE IN FIBRA DI LEGNO

ALSO BE AUTONOMOUS FROM THE ENER-

(SPESSORE 40 MM)

GETICALLY SPEAKING, AND REVERSIBLE IN

7. STRUTTURA PORTANTE IN LEGNO DI

TERMS OF CONSTRUCTION, IN CASE THEY

ABETE

COULD LOSE THEIR SHELTER FUNCTION IN

8. PANNELLO COIBENTE IN FIBRA DI LEGNO

THE FUTURE, OR TO BE REPLACED.

(SPESSORE 40 MM)

HERE YOU CAN SEE PART OF THE MANY

9. COMPENSATO DI BETULLA (SPESS. 20 MM)

TECHNICAL DRAWINGS, FOLLOWED BY

10. VITI DI GIUNTURA

SOME INTERNAL RENDERED VIEWS.

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TIROCINIO 2 / CORVALLIS HOLDING SPA.

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.

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HERE ON THE LEFT 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. AT THE TOP OF THE 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. HERE ON THE RIGHT WE CAN SEE A 3D MODEL OF ONE OF THE COMPANYâ&#x20AC;&#x2122;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 3D SCANS, ESPECIALLY FOR LARGE OBJECTS AND LIDAR TECHNOLOGY.

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TIROCINIO LLP ERASMUS - INTERIOR DESIGN FOR A PRIVATE SOME/THINGS AGEN-

CY, PARIS. 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.

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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.

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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.

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