Carlotta Fumagalli Portfolio Progetti Accademia di Architettura di Mendrisio by Architetto Carlotta Fumagalli

CARLOTTA FUMAGALLI ARCHITETTO

Accademia di architettura I

Atelier M.Botta G.cappellato

Meride One project

Intership Freefox architects

Intership ACT architettura

Accademia di architettura I I

Faculdad arquitec FAU

Atelier E.Bonell-J.Gil

A t e N.B.C

Barcelona One project

Por One p

AICO architecture congress at Oporto

2008

2009

2010

de de ctura III UP

Accademia di architettura I V

Accademia di architettura IV

Accademia di architettura V

l i e r Costa

A t e l i e r M.Burkhalter

A t e l i e r A.Mateus

Atelier V.Olgiati

Atelier V.olgiati

Venezia One project

Mantua One project

El Oued One project

Barcelona One project

rto project

W H O KNOWS?

journey between Portugal a n d Spain

2011

2012

2013

Accademia

Architettura 2007/2013 Selected Projects

Mendrisio

Accademia di Bachelor II -

Architettura di Second Semester -

Atelier E.Bonell & J.Gil

Mendrisio 2009/2010

An atelier- house for the artist Carmen Lorente Lucerne

The project for a house responded to a personalized brief in a location where the natural landscape was the decisive factor. The project for a house responded to a personalized brief in a location where the natural landscape was the decisive factor. Conceiving an exceptional exceptional development, an extraordinary onofthe hills of Neuenmoos, entailed Conceiving an development, in aninextraordinary place onplace the hills Neuenmoos, entailed analysing the analysing the relations between theindividual internaland space, individual andexternal protected, the external space, relations between the internal space, protected, and the space,and universal and open, with universal a careful evaluation of theaintermediate spaces and conditions of climate and light. conditions of climate and light. and open, with careful evaluation of the especial intermediate spaces and the especial Equally important, important, designing onon commission, which means understanding the client ( the artist( the Carmen ) and Equally designing commission, which means understanding the client artistLorente Carmen Lotake into consideration a range of needs, to respond to particular desires and reflect on a specific way of life. The artist rente ) and take into consideration a range of needs, to respond to particular desires and reflect on a specific among all projects of the atelierall E.Bonell chose this atelier project.E.Bonell chose this project. way of life. The artist among projects of the

A Little Larger Than The Entire Universe F.Pessoa A Little Larger Than The Entire Universe F.Pessoa My gaze is clear like a sunflower...It is my custom to walk the roads looking right and left and sometimes looking me...And what at each moment is what I never saw before, and I’m very My gaze is clearbehind like a sunflower...It is myI see custom to walk the roads looking right and left and sometimes logood at noticing things. I’m capable of feeling the same wonder...A newborn child would feel if he oking behind me...And what I see at each moment is what I never saw before, and I’ m very good at noticing noticed that he’d really and truly been born. I feel at each moment that I’ve just been born into a things. I’ m capable of feeling the same wonder...A newborn child would feel if he noticed that he’d really and completely new world...

truly been born. I feel at each moment that I’ ve just been born into a completely new world... I believe world asain a daisy, because think is to I believe in in thethe world as in daisy, because I see Iit.see Butit.I But don’tI don’t think about it, about becauseit,tobecause think isto tothink not undernot understand. The world wasn’t made for us to think about it (to think is to have eyes that aren’t stand. The world wasn’t made for us to think about it (to think is to have eyes that aren’ t well)but to look at it well)but to look at it and to be in agreement. and to be in agreement. I have no no philosophy, I haveI senses...If I speakI of Nature not because know what itI isknow but because love it, I have philosophy, have senses...If speak of it’s Nature it’s Inot because what itI is but and for thatI very because thosereason, who love never know orknow why they love, orlove whatorlove is. because love reason, it, and for that very because those what who they love love never what they why or what love is. and To love is eternal innocence, the only innocence is not to think... Tothey lovelove, is eternal innocence, the only innocence is not toand think...

Accademia Bachelor

di II

Architettura ERASMUS

Atelier N.B. Costa

di -

Mendrisio 2010/2011

Learning center Oporto

Leatning center Oporto

The project is located in one of the urban voids of Oporto, near the most important universities of the city, it is The is located one of urbanof voids of Oporto, designed near the most important universities of theincity, it is set in a set inproject a suggestive siteinclose tothe Faculty Architecture, by the architect Alvaro Siza 1995. suggestive site close to Porto Facultyarchitecture of Architecture, designed by the Alvaro in above 1995. the estuary of the Douro The buildings of the school are set on architect a terraced siteSiza high The buildings of the Porto architecture school are set on a terraced site high above the estuary of the Douro River, the River, the learning center in its relationship with this important project (that has undoubtedly marked the learning center in its relationship with this important project (that has undoubtedly marked the history of architecture) is history oftoarchitecture) is designed to that not can hidebethe wonderful views can be enjoyed from the “via designed not hide the wonderful views enjoyed from the “viathat Panoramica” towards the river. The Panoraproject mica” towards the river. The project organized basically of road a foyer which is accessed exclusively the road is organized basically of a foyer which is is accessed exclusively by the above thanks to two entrances, onceby in you can above two entrances, in you can access all of theon activities of boxes varying sizes accessthanks all of thetoactivities these kindonce of boxes in varying sizes depending usage, allthese facingkind the river and theinPonte de Arradepending on usage, all facing the river and the Ponte de Arrabida. bida. The structureconsists consists concrete columns beams, a transparent but “strong” really “strong” builTheextremely extremely simple simple structure of of concrete columns and and beams, a transparent but really building thought in an in empty green space, ruin in anature. ding thought an empty greena space, ruin in nature.

Standby/on

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Exit IR

Journey to Portugal: In Pursuit of Portugal’s History and Culture J.Saramago

Journey to Portugal: In Pursuit of Portugal's History and Culture J.Saramago

“The journey is never over. Only travellers come to an end. But even then they can prolong their voyage in their memories, in recollections, in stories. When the traveller sat in the sand and declared: “There’s nothing more journey is never over. Only travellers come to an end. But even then they can prolong their voyage in their memorito“The see” he knew it wasn’t true. es, in recollections, in stories. When the traveller sat in the sand and declared: "There's nothing more to see" he knew it The end of one journey is simply the start of another. You have to see what you’ve missed the missed the first wasn't true. time, youisalready saw, seeofinanother. the springtime in the summer, in daylight The see endagain of onewhat journey simply the start You have what to seeyou whatsaw you've missed the missed the firstwhat time, you see saw at night, see the sun shining where you saw the rain falling, see the crops growing, the fruits ripen, the again what you already saw, see in the springtime what you saw in the summer, in daylight what you saw at night, see the stone which where has moved, thatseewas there before. sun shining you sawthe theshadow rain falling, thenot crops growing, the fruits ripen, the stone which has moved, the shadow You to go back to the footsteps already taken, to go over again or add fresh ones alongside them. You have thathave was not there before. toYou starthave theto journey traveller once more. ” fresh ones alongside them. You have to start go backanew. to theAlways. footstepsThe already taken,sets to goout over again or add the journey anew. Always. The traveller sets out once more.”

Accademia Master I

di Architettura di - First Semester Atelier M.Burkhalter & Sumi

Mendrisio 2011/2012

A new school for jazz and pop Venice

Today music still plays an important role in Venice. Daily Baroque concerts in churches are usual. On the other Today music still plays an important role in Venice. Daily Baroque concerts in churches are usual. On the other hand, hand, not the opportunities listen to music locations orjazz music for jazz peoplepeople do notdo have thehave opportunities to listen to to music casually. Coolcasually. locationsCool or music clubs for and clubs pop concerts and pop concerts are rare. we awould like to a new school jazzfrom and all pop which are rare. With this project weWith wouldthis like project to establish new school forestablish jazz and pop which bringsfor people over the brings people from all over the world into town study music. Architecture on the water was one of the central world into town study music. Architecture on the water was one of the central themes behind music. Create a new island themes behind music. Create a new and island or about a floating construction in therelation Lagoon and think about the and conor a floating construction in the Lagoon think the connection and spatial between the new building nection and spatial relation between the new building and the island of Giudecca. the island of Giudecca. Create aa new a Music School for Jazz Pop. Think howabout to combine introverted Create newsound soundlaboratorium, laboratorium, a Music School forand Jazz and Pop.about Think how tosmall, combine small,and inindividual rehearsal rooms with big, open and public performance spaces. Study the structural, emotional, spatial and troverted and individual rehearsal rooms with big, open and public performance spaces. Study the structural, functional relations between music and architecture. emotional, spatial and functional relations between music and architecture.

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Of Other Spaces: Utopias and Heterotopias M. Foucault Of Other Spaces: Utopias and Heterotopias First there are the utopias. Utopias are sites withM. noFoucault real place. They are sites that have a general relation of direct or inverted analogy with the real space of Society. They present society itself in a perfected form, or else First there are the utopias. sites with no real place. They are sitesspaces. that have a general relasociety turned upside down,Utopias but in anyare case these utopias are fundamentally unreal tion of are direct inverted analogy within the real space ofreal Society. society in a There also, or probably in every culture, every civilization, places,They placespresent that do exist and itself that are perfected form, or else society turned upside down, but in any case these utopias are fundamentally formed in the very founding of society - which are something like countersites, a kind of effectively enacted unreal spaces. utopia in which the real sites, all the other real sites that can be found within the culture, are simultaneously There are also, probably in every culture, in every civilization, real places, places that do exist and that represented, and inverted...Heterotopias always presuppose alike system of opening closing that are formed incontested, the very founding of society - which are something countersites, and a kind of effectibothenacted isolates utopia them and penetrable. vely in makes whichthem the real sites, all the other real sites that can be found within the culture, In general, the heterotopic site is not freely accessible like a public place...Therealways are others, on the contrary, are simultaneously represented, contested, and inverted...Heterotopias presuppose a system of opening and closing thatsimple both openings, isolates them andgenerally makes them penetrable. that seem to be pure and but that hide curious exclusions. Everyone can enter into Inthe general, the heterotopic sitethat is not freely public arethe others, on that the conheterotopic sites, but in fact is only an accessible illusion we like thinka we enterplace...There where we are, by very fact we trary, that seem to be pure and simple openings, but that generally hide curious exclusions. Everyone enter, excluded. can enter into the heterotopic sites, but in fact that is only an illusion we think we enter where we are, by the very fact that we enter, excluded.

Accademia Master I

di Architettura di - Second Semester Atelier Aires Mateus

Mendrisio 2011/2012

A house, 7 spaces for an art collector Mantua

A place, Bosco fontana, characterized by a natural setting designed by man, which affirms its timeless condition. A specific program, a house for art collector consisting of seven recognizable spaces, three of A which are A place, Bosco fontana, characterized byan a natural setting designed by man, which affirms its timeless condition. specific devoted of art (a van Eyck,consisting a Rothko Serra) and four servants a kitchen, living room, bedroom program,toaworks house for an art collector of and sevena recognizable spaces, three of( which are devoted to works of art ( a van Eyck, a Rothko and a Serra) and four servants ( a kitchen, living room, bedroom and bathroom). and bathroom). Essential in in the of of thethe house waswas the the combination of different types of space, “everyday” and Essential the spatial spatialconception conception house combination of different types of both space, both “everyday” “contemplative”, and the relation they create with the context. The proposal defines clears architectural strategies and “contemplative”, and the relation they create with the context. The proposal defines clears architectural capable ofcapable measuring to the artistic value the collection and qualities of the place.qualities of the place. strategies of up measuring up to theofartistic value of thespatial collection and spatial

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Accademia di Master II

Architettura Summer

di -

Shelter Competition

Mendrisio 2011/2012

Shade of the big tree Shelter competition Shade of the big tree Shelter competition The issue led us to imagine several of the treeâ&#x20AC;&#x2122;s elements including a strong trunk, the link between sky and

earth, the perfect system of movement for all biological mechanisms, the foliage and branches, shelter for The issueand led the us totree imagine several ofwhich the treeâ&#x20AC;&#x2122;s elements including a strong trunk, linkto between skyhe and the animals as a system gathers the vital elements needed forthehim be what is.earth, All these perfect system of movement for all biological mechanisms, the foliage and branches, shelter for animals and the tree as a elements cooperate to form him, a big tree. system which gathers the vital elements needed for him to be what he is. All these elements co-operate to form him, a big Following our train of thoughts, paradigmatically we have developed a reference model, representing it as an tree. archetype: a roof. large roof sets the interaction inside and the representing outside, filtering elements, Following our trainThe of thoughts, paradigmatically we havebetween developedthe a reference model, it as anthe archetype: a collecting rainwater reusing it in everyday life. roof. The large roof sets the interaction between the inside and the outside, filtering the elements, collecting rainwater Areusing singleitpillar forms life. the main structure on which climbs a spiral staircase, and as the only connection between in everyday the ground and living (livingon room, bedroom, reading room), that depart the A single pillar forms the spaces main structure whichkitchen, climbs abathroom, spiral staircase, and as the only connection between thefrom ground central pillar and (living extendroom, to thekitchen, coverage following the trend of theroom), scale. In unusual we propose our and living spaces bathroom, bedroom, reading thatandepart fromsyntax the central pillar and extend to the coverage following the trend of the scale. In an unusual syntax we propose our vision of a tree, a house that vision of a tree, a house that works in order to function as a tree, made entirely of wood and externally coated works in order to function as a tree, made entirely of wood and externally coated with shingles. with shingles.

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Accademia di Master II -

Architettura di First Semester -

Atelier Valerio Olgiati

Mendrisio 2012/2013

A tropical garden Oasi El Oued

The students designed a building starting from a specific generic subject such as, “island”, “enclosure, ” “street”, etc., which became the motto of the workshop for the whole semester. The motto was chosen by the lecturer The students designed a building starting from a specific generic subject such as, “island”, “enclosure, ” “street”, and assistants at the beginning of the semester and was sufficiently “open” to be the source of shared inspiration etc., which became the motto of the workshop for the whole semester. The motto was chosen by the lecturer and assistants for a purposeful yet free development in the project. at the beginning of the semester and was sufficiently “open” to be the source of shared inspiration for a purposeful yet As fordevelopment the dimensions the project, each student was expected to work on a small scale, concentrating on the free in the of project. individual object, or to tackle the large scale. The student the parameters as the As for the dimensions of the project, each student was individual expected to work on aestablished small scale, all concentrating on thesuch individual location briefthefreely. object, orortothe tackle large scale. The individual student established all the parameters such as the location or the brief My MOTTO of theofsemester waswas ISLAND. isrelated relatedtoto themes as Heterotopia or Permeability. freely. My MOTTO the semester ISLAND.This Thisword word is themes as Heterotopia or Permeability. It descri-It describes of otherness...spaces that collectspaces diversity, spaces of exception bes spacesspaces of otherness...spaces that collect diversity, of exception.

My Motto was ISLAND, Island as a place that is an elsewhere far from reality and it is composed of both the content and the container. A constant duality between two worlds one inside and the other one outside, an entity always in antithesis between exclusion and inclusion. That doesn't have logical existence but exists in the consciousness of the beholder who visually perceives physical boundaries while his intellect perceives the spirit as contained defined within the boundaries. I imagine an island as a paradisiac place, themes such as paradise and gardens are extremely connected in religion and if we think that according to the Arabs the desert is a sort of Locus Horridus because it denies water and life it's clear that the opposite reminds of a garden that is of course the extension of the oasis. I chose as a site Oasi El owed El Oued( meaning this name: the River) or Oued Souf is a city, and the capital of El Oued Province, in Algeria. The oasis town is watered by an underground river, hence its name, which enables date palm cultivation . I was fascinated by the paradoxical presence of the green element so defined in the private sphere because each house has a private garden, and from these crops called "agawat", real craters into which date palms grow without problems sheltered from the wind, lie a technique that is opening new possibilities of cultivation and is attracting a large number of inhabitants in a way that are starting numerous development projects. I thought it might be interesting to think about a public excavated garden in a strategic point of the city near the market and the mosque. The construction of this garden is the result of a long process that first involves the excavation of the site to create the morphology of this crater after that the amount of land, due to the excavation, is used to create a hill that protects the environment from the wind and at the same time it hides this reality from the city. To prevent the erosion, to fix the morphology in a way to make possible the cultivation of future plants I covered the crater with geotextile material and I start to plant grass the same as it is used to in the sand dunes fixation techniques. To enable plants to grow in this special environment it's necessary to think a structure which consolidates the soil, this is made by concrete pillars 40x40 cm arranged in a grid 3x3 m (when the slope is steep, in the less steep pillars are more distant) embedded into the ground. This pillars are the only obvious cleverly man artifact that involved the theme of temporality and the ambiguous allegory of memory, a structure that disappears over time and reveals the AMBIGUOUS relation between what originally is there NATURE and what initiated it A MAN STRUCTURE.

So Basically the idea and the identity for this garden is described in section, once in the garden passing through a tunnel you leave the city and you enter a new world. You realize that something is going to happen, you enter and here is not intensive planted and you find only nature that resists the Algerian climate ( the most autochthonous ), as soon you descend (an imperceptible slope) into the crater the nature grows and envelops you until you get end into the deepest part of the section ( 20 m under the city level) and you recognize that plants are totally different and also the microclimate changes. When you return the journey is completely opposite you leave this paradisiac place and leave behind your experience to enter the city again. Here the concept of LIMINALITY used in anthropology understood as a thrice experiences.

Rite of passage Arnold van Gennep Rite of passage

Arnold van Gennep separation, margin (or limen, signifying “thVan Gennep has shown that all rites of passage or “transition”: reshold” in Latin), and aggregation. The first phase of separation comprises symbolic behaviour signifying the Van Gennepofhas that allorrites of passage "transition": separation, margin (or social limen, structure, signifying "threshold" detachment theshown individual group eitheror from an earlier fixed point in the from a setinof comprises symbolic behaviour signifying the detachment of the Latin), and aggregation. The first phase of separation cultural conditions, or from both. individual or group either from an earlier fixed point in the social structure, from a set of cultural conditions, or from both. Means to leave something behind by breaking with the previous routines. During the intervening “liminal” Means to leave something behind by breaking with the previous routines. During the intervening "liminal" period, the characteristics of the ritual subject (the “passenger”) are ambiguous; he passes through a cultural period, the characteristics of the ritual subject (the "passenger") are ambiguous; he passes through a cultural realm that has realm hasoffew none of attributes of the pastThe or second comingphase state.ofThe second phase ofthe transition few orthat none the or attributes of the the past or coming state. transition involves creationinvolof a ves the creation of third a tabula In the thirdthe phase reincorporation, is consummated. The ritual tabula rasa. In the phaserasa. reincorporation, passage is consummated.the Thepassage ritual subject, individual or corporate, subject, individual orstate corporate, is in a by relatively state once and, of bya virtue of this,and has"structural" rights and is in a relatively stable once more and, virtue ofstable this, has rights and more obligations clearly defined obligations of a clearly defined and “structural” type;customary he is expected to behave in accordance with certain cutype; he is expected to behave in accordance with certain norms and ethical standards binding on incumbents of socialnorms positionand in aethical system of such positions. stomary standards binding on incumbents of social position in a system of such positions. GARDEN THAT DOESN'T A FRAME IN THE END LOOKS LIKE ASSTART SOONTO ASGO YOU START TO GO ISIN, YOU FEELBECAUSE THAT IS “A A GARDEN THAT DOESN’T HAVE HAVE A FRAME , IN THE ,END LOOKS LIKE NATURE BUTNATURE AS SOONBUT AS YOU IN, YOU FEEL THAT ARTIFICIAL. OF ARTIFICIAL. BECAUSE OF FACT THE THAT FACTYOU YOUSEE GOPILLARS DOWN, THE FACT YOU SEE PILLARS ARRANGED IN A GRID, CHANGING AND THE FACT YOU GO DOWN, THE ARRANGED INTHAT A GRID, NATURE CHANGING AND SUDDENLY WHENNATURE YOU FIND A PERFECT ROUND SUDDENLY WHEN YOU FIND THAT A PERFECT ROUND OF WATER YOU UNDERSTAND THAT IT IS MAN MADE AND IT IS SOURCE OF WATER YOU UNDERSTAND IT IS MAN MADE ANDSOURCE IT IS ARCHITECTURE.”

ARCHITECTURE.

A FUMAGALLI