Architecture Portfolio 2020 by Bruna Salvati

PORTFOLIO Bruna Salvati selected works 2019-2020

CURRICULUM VITAE

EDUCATION Sept - Jul T.Tasso Classic High School, Salerno (Italy) 2010 2015 Classic High School Diploma 100 cum laude/100 Oct - Feb Politecnico di Milano, Milan (Italy) 2015 2019 Bachelor Degree in Architectural Design 107/110 Feb - on Politecnico di Milano, Milan (Italy) 2019 going Master Degree in Architecture Built Environment Interiors

B RUN A SA L V A T I 11th april 1997

SKILLS Languages Italian

Native

English

FCE | TOEIC: 940/990

Macedonian

Colloquial

Software Photoshop

Illustrator

ArchiCAD 21

DIALux evo

InDesign

Autocad 2D

Revit 2020

SketchUp

Basic knowledge of Rhinoceros 6 and Lightroom Classic

linkedin.com/in/bruna-salvati instagram.com/bruna.salvati behance.net/brunasalva32ae issuu.com/brunasalvati1997

EXPERIENCE Internship May - Jun Department of Architecture and 2018 2018 Urban Studies at Politecnico di Milano (Architectural Preservation)

Research work on preventive conservation methods of built heritage; diagnostic analysis, data collection and processing on the study cases of “San Nicolao Church” in Bellano and “Palazzo Pallavicino-Ariguzzi” in Cremona.

Activities Feb - Jun History and Theory of Contem2019 2019 porary Architecture at Politecnico di Milano

Research work on “Architectural Review” magazine; analysis of the contents, layout, covers, articles and projects discussed throughout an eight-years period.

ACHIEVEMENTS Oct Photographic publication on “Poet 2017 Architecture” website

MISCELLANEOUS Art Cinema Literature Music

Photography Reading Sports Travelling 2

Feb “Corners” exhibition at Politecnico di Mi2019 lano

TIMELINE

BACHELOR 2015-2019

MASTER 2019-on going Reflections of Palladio Design of Major Exhibitions and Musealisation Vicenza, Italy Prof. P.F.Caliari with: L.Piva, M.Rota

Project for Lambrate Architectural Design Studio I Milan, Italy Prof. L.degli Esposti with: A.Sangiovanni, A.Serafini, V.Signorelli

(pages 4-13)

Frame it! Architecture of Interiors Design Studio Arezzo, Italy Proff. M.Cassani, E.Rotta with: M.Rota, Z.Zandgheshlaghi

Viale Tunisia Architectural Design Studio II Milan, Italy Proff. M.G.Caja, C.Zappone, M.Bruggi

(pages 14-18)

Baccanti Scenic Design Syracuse, Italy Prof. P.Salvadeo with: Y.Cleopazzo

COhouse, COliving, COmmunity Building Technology Studio Milan, Italy Proff. M.Lavagna, A.Siciliano

(pages 19-30)

Disfigurement and transcendence Lighting Design Turin, Italy Prof. P.Palladino with: Y.Cleopazzo

In the attics of Mantua Cathedral Historical Buildings Preservation Studio Mantua, Italy Proff. A.Adami, L.Aliverti with: M.Rota, C.Santelli

(pages 31-38)

Corners Architectural Design Studio Brussels, Belgium Proff. G.Floridi, A.R.Lunati, M.Z.Jones with: Y.Lou, M.Rota

Project for the new IUAV library in Venice Architectural Design Studio III Venice, Italy Proff. M.Roca, I.L.Russo with: M.Rota

(pages 39-43)

REstitch, REstreet Design and Construction studio Milan, Italy Proff. G.Novati, A.Zanelli with: M.Rodriguez, M.Rota

The Wash House Final Design Studio Cazzago Brabbia (VA), Italy Proff. P.Gasparoli, F.Albani, F.Zangheri with: S.Dellâ&#x20AC;&#x2122;Oca, M.Rota

(pages 44-48)

AuthenticAntikytherA Thematic Studio Antikythera, Greece Proff. Laura Daglio, Stamatina Kousidi with: L.Magni, M.Menduni

Wood and architecture The wood cladding in 28 examples of contemporary architecture Bachelor Thesis Prof. M.Lavagna

(pages 49-63)

Trotti Palace Architectural Preservation Studio Vimercate (MB), Italy Proff. L.Cantini, M.Previtali with: Y.Luo, M.Nadalini, B.A.Polito, M.Rota, L.Tannir

Architectural Review History and Theory of Contemporary Architecture Prof. G.Caramellino with: Y.Cleopazzo, M.Rota

works displayed inside the portfolio. (Note: the drawings are out of scale) 3

QUATTRO LIBRI + UN PAIO DI OCCHIALI

RIFLESSIONI DI PALLADIO REFLECTIONS OF PALLADIO Il progetto and Musealisation Design of Major Exhibitions Year IV First semester Laura Piva, Marta Rota, Bruna Salvati

Vicenza, Italy Prof. P.F.Caliari with: L.Piva, M.Rota the exhibited objects. The set-up itself, indeed, suggests the path, guiding the visitor towards its understanding and comprehension. The fundamental concept behind the design of the exhibition is to promote a dynamic interplay between two principles: on one hand the Palladian symmetry, which is recomposed by means of mirrored surfaces, on the other Scarpa’s asymmetric composition, which gathers the exhibited architectures, somehow, unexpectedly. The project additionally included the design of a brand logo, graphic posters, brochures, tickets, website page and merchandise for the exhibition. The design of this exhibition eventually aims to highlight the strict –even though apparently distant– relationship between Andrea Palladio’s architecture and Carlo Scarpa’s set-up principles.

The goal of this exhibition was to display several artworks as well as studies carried out by Andrea Palladio through the set-up principles and modalities of Carlo Scarpa. By studying and analysing Palladio’s works, as well as his architectural vision and style, it was possible to identify some guiding principles which were essential for the preliminary project development: the harmonic composition of parts, integrated and arranged hierarchically and proportionally, is one of them. This principle is then articulated through a collection of wooden models reproducing some of the most well-known Palladian architectures. The same principles were embraced through Scarpa’s eyes for the set-up design, although with different modalities: the interiors are articulated through several heights, materials and colours to promote

PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO 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PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO 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PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO 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PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO 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PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO5 PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO DIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PAL PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO PALLADIO

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La Basilica palladiana è l’edificio simbolo di Vicenza. Rinomata per il loggiato a serliane, progettato dal grande architetto Andrea Palladio, che circonda il medievale Palazzo della Ragione, è stata inserita dall’Unesco nella lista dei beni patrimonio dell’umanità nel 1994. Tra il 2007 al 2012 la Basilica è stata oggetto di un complesso ed articolato intervento di restauro architettonico, funzionale ed impiantistico grazie al fondamentale contributo della Fondazione Cassa di Risparmio di Verona Vicenza Belluno e Ancona. È stata riaperta il 5 ottobre 2012 in concomitanza con l’inaugurazione della grande mostra “Raffaello verso Picasso. Storie di sguardi, volti e figure”. Oggi è apprezzata sede di mostre, eventi culturali, pubblici e privati.

Telefono: 0444222850 E-mail: basilicapalladiana@comune.vicenza.it

INDIRIZZO Piazza dei Signori 36100 Vicenza (VI)

QUATTRO LIBRI + UN PAIO DI OCCHIALI Riflessioni di Palladio

BIGLIETTI Residenti a Vicenza e provincia........................€ 2 Non residenti........................................................€ 4 Scolaresche...........................................................€ 2 Under 14...........................................................gratis

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www.basilicapalladiana.vi.it

SULLA MOSTRA L’architettura di Andrea Palladio è universalmente nota per la sua armonia compositiva, frutto di una sapiente GERARCHIA delle parti, intesa come sistematico crescendo degli elementi subordinati dell’edificio fino a convergere in un centro focale. Tale disposizione si traduce in un’INTEGRAZIONE delle parti stesse, mediante il principio della proporzionalità, bidimensionale e tridimensionale. L’equilibrio è raggiunto con il COORDINAMENTO tra esterni ed interni, ovvero attraverso la proiezione dell’organismo interno al di fuori del corpo.

Questa rassegna di opere architettoniche vuole guidare il visitatore attraverso i Quattro libri dell’architettura di Palladio, le sue ville, i suoi palazzi, mettendo in risalto rapporti e corrispondenze inattese.

L’indiscussa perfezione simmetrica attribuita all’architetto è, tuttavia, imperfetta.

“Palladio considerava come letteralmente innaturale l’uniformità assoluta[...]” da “Palladio” James Ackerman

Guardando alla simmetria inesatta, manchevole, del corpo umano, Palladio dà origine alle proprie architetture, privilegiando un centro, un asse, rispetto ad altri.

Basilica Palladiana Piazza dei Signori 36100 Vicenza (VI)

SU PALLADIO Andrea di Pietro della Gondola nacque a Padova nel 1508. Fu il suo maestro, Trissino, ad attribuirgli l’appellativo di Palladio, nel senso di «colui che è sacro a Pallade Atena», divinità greca protettrice delle arti. Architetto rinascimentale, con i suoi progetti per ville, palazzi e chiese, ha influenzato la storia dell’architettura occidentale fino all’Ottocento, dando vita al movimento del Neopalladianesimo, emulazione del suo stile. Base della sua architettura sono lo studio e la nuova interpretazione dei canoni classici, appresi dalla fontamentale opera di Vitruvio ed attraverso i suoi numerosi viaggi nella capitale, dove l’architetto ebbe modo di studiare e disegnare i monumenti dell’antichità, ma anche le recenti architetture dei maestri rinascimentali.

“Di me stesso non posso prometter altro che una lunga fatica e gran diligenza, ed amore, che io ho posto per intendere e praticare quanto prometto”.

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Piazza dei Signori 361000 Vicenza (VI)

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Baslica Palladiana Piazza dei Signori 361000 Vicenza (VI)

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Baslica Palladiana Piazza dei Signori Contatti Vicenza (VI) 361000

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“[...] Onde perche gode da ogni parte di bellissime viste, delle quali alcune sono terminate, alcune più lontane,& altre, che terminano con l’Orizonte; vi sono state fatte le loggie in tutte e quattro le faccie [..]”

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Baslica Palladiana Piazza dei Signori Baslica 361000 Vicenza (VI) Piazza

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Palladiana dei Signori 361000 Vicenza (VI)

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Sections | daylight

A A’

Plan | daylight

B B’

PIANTA NOTTURNA

Plan | evening light

C’

1 C

9 7 SEZIONE AA’ DIURNA

Sections | evening light

A A’

B B’

2 C’

1.Entrance; 2.Gallery of mirrors; 3.Gallery of the orders; 4.Room I: Palaces; 5.Room 12II:-- Ingresso Palaces and Galleria degli specchi 3 - Galleria 7.Gallery degli ordini Villas; 6.Room III: Villas; 4 - Sala I: Palazzi 5 - Sala II: Palazzi e ville of Rotonda Villa; 8.The Rotonda 6 - Sala III: Ville 7 Galleria della Rotonda Villa; 9.Exit 8 - La Rotonda 9 - Uscita

Gallery of mirrors

Gallery of orders

Room I: Palaces

Room II: Palaces and Villas 12

Room III: Villas

Gallery of Rotonda Villa

The Rotonda Villa 13

FRAME IT! Architecture of Interiors Design Studio Year IV Second semester Arezzo, Italy Proff. M.Cassani, E.Rotta with: M.Rota, Z.Zandgheshlaghi elements –platform, lamp, seat, frame– and materials –concrete, marble, brass– with colours specific to each team. Every stage depicts the entry threshold of each “contada”, leading to an interior where all the elements characterising the neighbourhood are displayed. In fact, the stage acts as a miniature of the square itself, capturing and abstracting from it its typical elements. Besides these permanent, all-year stages, other movable, ephemeral objects have been designed with a double configuration depending on whether they are going to be used during the Giostra or throughout the year. They are indeed thought both as independent objects –that can be moved through the square along rails– and as tangrams, with each object that can be slotted into the other.

The project aims to design a dynamic set-up for Piazza Grande in Arezzo. Piazza Grande, more specifically, is remarkably known as theatre for the “Giostra del Saracino”, the knightly tournament which has its roots in Middle Ages. It happens twice a year and consists of a horse race where the knights belonging to the four neighbourhoods of the city confront each other in the game against the Burattum, the enemy of Christian West. Being this tradition so important for the inhabitants of Arezzo, it served as starting point for the conceptual development of the project. Looking at the arrangement of the four neighbourhoods, the interest of rejoining them throughout the year emerged. To this end, four permanent stages representative of the four districts have been designed, all featuring the same

Plan | existing configuration

POLITECNICO DI MILANO ARCHITECTURE, BUILT ENVIRONMENT, INTERIORS ARCHITECTURE OF INTERIORS DESIGN STUDIO 2018/2019

PROFESSORS: MATILDE CASSANI ELISABETTA ROTTA TA: LEONARDO GATTI

Plan | all-year configuration

GROUP 7: MARTA ROTA BRUNA SALVATI ZAHRA ZANDGHESHLAGHI

POLITECNICO DI MILANO ARCHITECTURE, BUILT ENVIRONMENT, INTERIORS ARCHITECTURE OF INTERIORS DESIGN STUDIO 2018/2019

PIAZZA GRANDE, AREZZO EXISTING 1:250

PROFESSORS: MATILDE CASSANI ELISABETTA ROTTA TA: LEONARDO GATTI

GROUP 7: MARTA ROTA BRUNA SALVATI ZAHRA ZANDGHESHLAGHI

PIAZZA GRANDE, AREZZO PROPOSED DESIGN 1:250

ISOM

Axonometric view | all-year configuration

“Giostra” configuration

Plan

ISOME POLITECNICO DI MILANO ARCHITECTURE, BUILT ENVIRONMENT, INTERIORS ARCHITECTURE OF INTERIORS DESIGN STUDIO 2018/2019

PROFESSORS: MATILDE CASSANI ELISABETTA ROTTA TA: LEONARDO GATTI

GROUP 7: MARTA ROTA BRUNA SALVATI ZAHRA ZANDGHESHLAGHI

PIAZZA GRANDE, AREZZO EVENT: GIOSTRA DAY 1:250

Axonometric view 16

ISOME

“Contada” of Porta Crucifera

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“Contada” of Porta Sant’Andrea

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ENT VERSION

PRODUCED BY A

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“Contada” of Porta del Foro

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“Contada” of Porta Santo Spirito

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ESK STUDENT VERSION

Perspective views | permanent stages

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Costumes study and pattern design

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Details | mobile tangrams PRODUCED BY AN AUTODESK STUDENT VERSION

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Axonometric view

Plan

Section and elevation

Sliding rails and wheeling system

RED BRICK PAVING

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SLIDING RAIL FOR MOBILE SEAT SLIDING RAIL FOR MOBILE SEAT

20 2

8 5 3

SEAT'S WHEELING SYSTEM SEAT'S WHEELING SYSTEM

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5.00

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WELD JOINT

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STEEL FRAME

SEAT'S WHEELING SYSTEM SEAT'S WHEELING SYSTEM

RED BRICK PAVING

SLIDING RAIL FOR MOBILE SEAT SLIDING RAIL FOR MOBILE SEAT

PLAN • SLIDING RAILS • 1:10 PLAN • SLIDING RAILS • 1:10 u: mm u: mm

WELD JOINT

SECTION • MOBILE SEAT’S WHEELING SYSTEM • 1:1 SECTION • MOBILE SEAT’S WHEELING SYSTEM • 1:1 u: mm u: mm

PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

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2 2

2 3 10

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Led lighting system

WELDED STEEL PLATE WOOD LAMINATED SLAB

WELDED STEEL PLATE

WELD JOINT

LED LIGHTING SYSTEM

WELD JOINT

LED LIGHTING SYSTEM

PRODUCED BY AN AUTODESK STUDENT VERSION

WOOD LAMINATED SLAB

PRODUCED BY AN AUTODESK STUDENT VERSION

2 2

WOOD LAMINATED SLAB RECHARGEABLE BATTERY FOR LED LIGHT WELDED STEEL PLATE WOOD LAMINATED SLAB LED LIGHTING SYSTEM RECHARGEABLE BATTERY FOR LED LIGHT WELDED STEEL PLATE LED LIGHTING SYSTEM

SECTION • LED LIGHTING SYSTEM • 2:1 u: mm PLAN • LED LIGHTING SYSTEM • 2:1

SECTION • LED LIGHTING SYSTEM • 2:1

u: mm

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PLAN • LED LIGHTING SYSTEM • 2:1 u: mm 59

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20 2

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24.7

35.5

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7.5

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16 2

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PLAN • MOBILE SEAT’S INTERLOCKINGPLAN SYSTEM• • MOBILE 2:1 SEAT’S INTERLOCKING SYSTEM• 2:1 u: mm

u: mm

ELEVATION • MOBILE SEAT’S INTERLOCKING ELEVATION SYSTEM • MOBILE • 2:1 SEAT’S INTERLOC u: mm

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Interlocking system

BACCANTI Scenic Design Year V Second semester Syracuse, Italy Prof. P.Salvadeo with: Y.Cleopazzo barrier. The former, filled with red sand, constitutes Baccanti’s stage and represents their essential contact to the land; the latter physically embodies the obstruction generated by the discrimination and it therefore divides the scenic space into two parts. The barrier, however, acts as a fluid and dynamic element: not only it is crossed by the god, but also by his followers as, in their act of revolution against their oppressor Pentheus, Baccanti dismantle the barrier and occupy the opposite space of the stage. The whole stage then changes throughout the development of the tragedy, not only through the action of the women, but also through the lighting which, as dynamic as the barrier, is used to highlight and emphasise some of its pivotal acts. The scenic design eventually aims to reinterpret the tragedy through the lenses of the women and as an act of rebellion and overturning of the social barriers.

The project for the scenic design of Euripides’ tragedy “Baccanti” is set among the beautiful and evocative ruins of the Greek theatre of Syracuse, in Sicily. The tragedy deals with the conflict between the political institution of Thebes, represented by Pentheus, and the divinity Dionysus. The former embodies the society of Thebes, inclined towards gender discrimination, the latter the god of the double, the threshold and permeability, the one who is able to pass through the border and make it flexible. The scenic design therefore originates from this difficult yet quite explicit opposition and it depicts it from Dionysus’ devotees point of view: the Thebes women called “Baccanti”. Being women stolen from their household activities and, also, being involved into Dionysus’ pagan cerimonies, Baccanti are highly discriminated by Pentheus. The scenic design consists of two symbolic elements: a roundshaped platform and an irregular

Character figures | credits | Suspiria. Director Luca Guadagnino. Videa, 2018. Film; Lucifer. Fox, Netflix. Creator Tom Kapinos. Producer Erik Holmberg. 2016. Television; Baccanti. Director Andrea De Rosa. 2017. Play 19

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Section AAâ&#x20AC;&#x2122; 21

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barrier platform A

A’

B’

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General plan Pianta scala 1:500

Sezione AA’ Fuori scala

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TTO AUTODESK VERSIONE PER STUDENTI

veli disposti sulla barrier retrostante e avvian L’illuminazione accompa blico illuminando maggio ne, mentre il resto del pa luce del

Light scene I

L’illuminazione è creata

Opening scene: thediattention tipo Floodisorientabili, focussed on the arena; Baccanti le scene teatrali. In part dimmerabili, enter the scene and interact for thecosì da po l’intensità della luce rich first time with the barrier by taking neutra lievemen the veils off it.

Vista al tramonto scena inziale

Questi sono disposti se utilizzate per altre sceno Lighting: adjustable leflood sedutelights (1), per quant with dimmer switch. del palco, e sui ruderi (2 per quanto They are used to produce an uni-riguarda l’

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form and rather warm light.REALIZZATO CON UN PRODOTTO A

ODESK VERSIONE PER STUDENTI

Light scene II S emiglovs ol etnaruD mlapicnirp onoglovs areirrab b al osac otseuq nI nimulli’l e eladnof nu l odnecudnoc ,enoiz ehc otsottuip

Development of the tragedy: the most part of the tragedy takes place in the part of the stage in front of the barrier, namely Thebes. The barrier and the arena therefore act as a backdrop. id doolF opit id iraf I otsartnoLighting: c nu eraren adjustable flood lights me asonwith imul àdimmer tisnet switch; recessed, ad-

justable spot lights. The former are used to illuminate the stage on the front, the latter to illuminate the barrier and produce a strong contrast with the facing stage, partially hiding the arena.

emlaizrap eralec reP m ni atanimulli è areir enoizanimulli’tseuQ rep arret a itassacni L .icirefsomta itnega m ni elibatneiro oihc cul id icsaf ffe nu erenetto reP la itanoizisop onog oc onnav e areirrab nap

Light scene III

La scena dello barriera, che vien a La scena luci, in proprio sulla bar ricalcare Anche l’arena s una bassa lumin alla barriera e a

Sparagmòs (tear apart) scene: the attention is focussed on the barrier which is ripped apart along with Pentheus’ body.

Lighting: adjustable flood lights with dimmer switch; recessed, adjustable spot lights. Both the typologies use an optical La luce filter which makes the light red so rossa è as to highlight the cruelty ofchiamati the gelatin moment. The barrier and the Questi arena filtri dim us are both illuminated by red lights, although the ones on the arena are less intense.

Data la laborios filtri rossi ai fare della tragedia, l’i faretti ad incass maggiore e Essi, essendo o da illuminare

Light scene IV

soirottiv ,evagA ec arutrepa’l os emom otseuQ pmocca è ,orb è enoiznetta’L oilgif led atset ehc ,enoel nu

The display of the head: Agave, Pentheus’ mother and murderer, crosses the central breach of the barrier and proudly shows his son’s head, believing it is a lion’s one. The focus is on the part of the stage in front of the barrier. ossor eLighting: roloc lI adjustable flood lights

with dimmer switch; recessed, adjustable spot lights; same lighting on the barrier as in “light scene III”. The red light on the arena is more intense and the flood light illuminating the front part of the stage is narrower so as to focus on Agave.

,eralocitrap nI p

enoizanimulli’L

Light scene V

Nel momento in esce dallo stato d ucciso il figlio del una rottura netta s Questa rottura vie puntata su Agave leggiare l’uscita d

The revelation: Agave, thanks to his father Cadmo, realises her terrible action. This moment marks the break of both the action and the scenic space.

Lighting: adjustable flood lights with dimmer switch; recessed, adCome per le altre justable spot lights; same lighting on controllata attrave the barrier as in “light scenetàIII”diand controllo dell “light scene IV”. fa The break of the scene is highlighted by the change of the light colour on Agave –by means of the optical filter– which turns to white, so as to symbolise the recovery of Agave, who is now aware of what she has done.

L’illuminazione de

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calamita magnet

Detail | removable panel | tubes magnet connection

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Elevations | panel typologies | removable, semi-removable, unmovable

Panels: the panels of the barrier consist of hollow tubes with square section.

Vista serale

Material: the tubes are made of PVC, which allows to have light, removable and easily transportable panels.

scena finale 4.5 m

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1.5 m

0.0 m

Elevations | dimensions

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Connection: the tubes composing the unmovable panels are heatsealed, while the ones composing the removable ones are connected by magnets; the connection is reinforced by an incision that allows the joint between the two elements.

Sequenza di s

EALIZZATO REALIZZATO CON UN PRODOTTO CON UN PRODOTTO AUTODESK AUTODESK VERSIONEVERSIONE PER STUDENTI PER STUDENTI

REALIZZATO REALIZZATO REALIZZATO CON REALIZZATO CON UN PRODOTTO UN CON PRODOTTO CON UN PRODOTTO UN AUTODESK PRODOTTO AUTODESK AUTODESK VERSIONE AUTODESK VERSIONE VERSIONE PER VERSIONE PER STUDENTI STUDENTI PERPER STUDENTI STUDENTI

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Assonometrie pannelli con attacco

VERSIONE TODESK VERSIONE PER STUDENTI PER STUDENTI

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Pannello semi-smontabile semi-smontabile e struttura e struttura Pannello semi-smontabile e strutturaPannello

Pannello semi-smontabile e struttura

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Pannello semi-smontabile e struttura

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Sequenza di smontaggio Axonometric viewdi| smontaggio semi-removable panel structure Sequenza

REALIZZATO CON UN PRODOTTO AUTODESK REALIZZATO CON UN PRODOTTO AUTODESK VERSIONE PER STUDENTI

Sequenza di smontaggio

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Sequenza di smontaggio

ISTUDENTI

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OTTO ODESK AUTODESK VERSIONEVERSIONE PER STUDENTI PER STUDENTI DENTI

Axonometric view | dismantling sequence Pannello semi-smontabile e struttura

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STUDENTI ONE PER STUDENTI

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Axonometric view | panel connection system

Detail | structure and lighting system

Axonometric view | connection 30

DISFIGUREMENT AND TRANSCENDENCE Lighting Design Year V Second semester Turin, Italy Prof. P.Palladino with: Y.Cleopazzo fields of colour– evoked feelings of contemplation, generating an overwhelming, almost mystical experience. The set-up design, consequently, follows and adapts itself to the atmosphere of the works displayed through different modalities: the environment is either compressed or enlarged by means of architectural devices specifically designed; the lights are either spot or flood, highlighted or scattered also by adopting darker or lighter colours according to the needs. Furthermore, the lights are integrated into the designed devices, so as to be as discreet as possible and keep the focus on the artworks. This exhibition eventually aims to provoke the sensitivity of the visitor who, facing this collection of artworks, will experience conflicting emotions, both upsetting and calming.

The choice of the exhibition theme, along with the one of the collection of artworks, stems from a consideration on the subjects and topics that the artists after World War II had to deal with. This reflection, in particular, includes artists coming from both Europe and USA and it aims to expose, and implicitly compare, the impressions, sensations and reactions of some of the most influential personalities belonging to this fragile historical moment. All the artists displayed throughout the exhibition dealt with the horror and monstrosity of the war, yet differently. The focus, either way, is on the human being. The European artists, Bacon and Giacometti in particular, sharpened the devastation of the war by stripping, compressing and deforming the human figure; on the American shore, instead, Rothko’s paintings –featuring large canvas and vibrant

Plan | exhibition itinerary 1.Entrance hall; 2.Projection room: Europe; 3.Bacon room; 4.Richier gallery; 5.Richier-Giacometti gallery; 6.American gallery; 7.Rothko gallery; 8.Bookshop; 9.Office waiting room; 10.Office

G Q R Q R

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Plan | classification of lamps

FLOS | KAP SURFACE SUSPENSION

Lumen 359 lm CRI 80 CCT 3000 K Power 9 W

MARTINELLI | Calabronet Lumen 1236 lm CRI 80 CCT 3000 K Power 18 W

LED LINEAR | VarioLED™ Flex SOL HD White

Lumen 1560 lm CRI 94 CCT 3000 K Power 25 W

Lumen 100 lm CRI 98 CCT 4000 K Power 15 W

Philips | PerfectBeam gen.2

LED LINEAR | VarioLED™ Flex SOL HD White Lumen 250 lm CRI 98 CCT 3000 K Power 15 W

Lamps | technical data 32

MARTINELLI LUCE | Eye Lumen 3000 lm CRI 80 CCT 3000 K Power 27,5 W

LED LINEAR | VarioLED™ Flex SOL HD White Lumen 500 lm CRI 98 CCT 3000 K Power 15 W

Oty Light | POP P01 Lumen 300 lm CRI 97 CCT 3000 K Power 7.2 W

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Oty Light | POP P01

LED LINEAR | VarioLED™ Flex SOL HD White Lumen 250 lm CRI 98 CCT 4000 K Power 15 W

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Philips | MASTER LEDspot LV

Lumen 3300 lm CRI 94 Temperatura di colore 3000 K Power 47 W

Lumen 480 lm CRI 97 CCT 3000 K Power 7.2 W

MARTINELLI LUCE | Condor

FLOS | Foglio Lumen 965 lm CRI CCT 3000 K Power 20 W

LED LINEAR | VarioLED™ Flex SOL HD White Lumen 500 lm CRI 98 CCT 4000 K Power 15 W

Lumen 1657 lm CRI 90 CCT 2725 K Power 34 W

Lumen 5346 lm CRI 80 CCT 3000 K Power 42 W

FLOS | Arrangements square large

LED LINEAR | XOOLINE HYDRA Lumen 366 lm CRI 85 CCT 3000 K Power 3.8 W

Perspective views | entrance hall, projection room REALIZZATO CON UN PRODOTTO AUTODESK VERSIONE PER STUDENTI

C REALIZZATO CON UN PRODOTTO AUTODESK VERSIONE PER STUDENTI

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Plan | entrance hall | sculpture lighting | LED light with shaping beam lens REALIZZATO CON UN PRODOTTO AUTODESK VERSIONE PER STUDENTI

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Plan | entrance hall | vaults lighting | LED linear light REALIZZATO CON UN PRODOTTO AUTODESK VERSIONE PER STUDENTI

Perspective views | Bacon room

B’

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A’

Plan | Bacon room | tubular modules with LED spot light REALIZZATO CON UN PRODOTTO AUTODESK VERSIONE PER STUDENTI

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Section AA’ | Bacon room | tubular modules with LED spot light REALIZZATO CON UN PRODOTTO AUTODESK VERSIONE PER STUDENTI

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Section BB’ | Bacon room | tubular modules with LED spot light

Perspective views | Richier and Giacometti gallery

251.1112

A’

UN PRODOTTO AUTODESK VERSIONE PER STUDENTI

Plan | Richier gallery | tubular modules with LED spot light

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Detail | Giacometti gallery | seat with integrated lighting | LED, recessed, adjustable light 36

REALIZZATO CON UN PRODOTTO AUTODESK VERSIONE PER STUDENTI

Section AA’ | Richier gallery | tubular modules with LED spot light

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A’

Plan | American gallery | LED, recessed, adjustable light

ITNEDUTS REP ENOISREV KSEDOTUA OTTODORP NU NOC OTAZZILAER

2 MOR

1 MOR

3 MOB

2 MOB

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4 MOR e 3 MOR

5 MOB

A’

1 MOB

4 MOB

C’

ITNEDUTS REP ENOISREV KSEDOTUA OTTODORP NU NOC OTAZZILAER

B’

Plan | Rothko gallery | LED light with shaping beam lens

ITNEDUTS REP ENOISREV KSEDOTUA OTTODORP NU NOC OTAZZILAER

Section AA’ | American gallery| LED, recessed, adjustable light

REALIZZATO CON UN PRODOTTO AUTODESK VERSIONE PER STUDENTI

REALIZZATO CON UN PRODOTTO AUTODESK VERSIONE PER STUDENTI REALIZZATO CON UN PRODOTTO AUTODESK VERSIONE PER STUDENTI ITNEDUTS REP ENOISREV KSEDOTUA OTTODORP NU NOC OTAZZILAER

Section AA’ | Rothko gallery | LED light with shaping beam lens

ITNEDUTS REP ENOISREV KSEDOTUA OTTODORP NU NOC OTAZZILAER

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Section BB’ | Rothko gallery | LED light with shaping beam lens ITNEDUTS REP ENOISREV KSEDOTUA OTTODORP NU NOC OTAZZILAER

ITNEDUTS REP ENOISREV KSEDOTUA OTTODORP NU NOC OTAZZILAER

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Perspective views | American gallery, Rothko gallery

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Section CC’ | Rothko gallery | LED light with shaping beam lens 37

Perspective views | Bookshop

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A’

B’

Plan | LED, recessed, spot light

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Section AA’ | LED, recessed, spot light

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Section BB’ | LED, recessed, spot light

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Plan | Flos LED light

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Section AA’ | Flos LED light

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REALIZZATO CON UN PRODOTTO AUTODESK VERSIONE PER STUDENTI

CORNERS Architectural Design Studio Year IV First semester Bruxelles, Belgium Proff. G.Floridi, A.R.Lunati, M.Z.Jones with: Y.Lou, M.Rota visual continuity with the urban character along the canal. The outcome is a collision, both metaphorical and physical, between a higher volume –devoted to the newspaper headquarters– on the west bank and a smaller one –hosting the residences– on the east bank. The former stands out impressive above the office buildings, detaching from them and aligning instead with the adjacent buildings; the latter adapts itself to the height of the building next to it, creating a relation with the buildings on the opposite bank. The architectural features recall also the urban ones in the use of “cotto” cladding –deeply used in the city– and the rhythm of the façade, with its dimensions and the use of urban technological elements, such as the lintel.

The project consists of a hybrid building inserted into the urban context of Brussels, hosting a newspaper headquarters and high-standing residences. The building is located in a wide open space generated by the crossing between Boulevard Leopold II and the canal. The area is quite challenging because of its architectural heterogeneity: the east bank of the canal is distinguishable for traditional architectural features, while on the opposite one the office buildings appear to be completely out of context, imposing themselves on the surrounding void. Following the analysis of the site, the basic principle of the project shapes up to be the necessity of detaching, by architectural means, from the office buildings on the west bank, keeping instead the

Cardboard model

High Standing Housing + Local Newspaper Headquarter

Plan | ground floor

G 15

Ying Lou, Marta Rota, Bruna Salvati

25m

Fourth floor plan

Sainctelette, Bruxelles - High Standing Housing + Local Newspaper Headquarter

Roof top plan

Plan | fifth floor

Plan | first floor

G 15

Ying Lou, Marta Rota, Bruna Salvati

10m

G 15

Ying Lou, Marta Rota, Bruna Salvati

10m

Plan | roof top

Plan | fourth floor

Ying Lou, Marta Rota, Bruna Salvati

2 0

Sainctelette, Bruxelles - High Standing Housing + Local Newspaper Headquarter

Unfolded exterior elevations

G 15

Sainctelette, Bruxelles - High Standing Housing + Local Newspaper Headquarter

10m

G 15

Ying Lou, Marta Rota, Bruna Salvati

2 0

10m

Sainctelette, Bruxelles - High Standing Housing + Local Newspaper Headquarter

Unfolded interior elevations

Exterior elevations | unfolded

G 15

Ying Lou, Marta Rota, Bruna Salvati

Sainctelette, Bruxelles - High Standing Housing + Local Newspaper Headquarter

Interior elevations | unfolded 42

10m

0.2

Sainctelette, Bruxelles - High Standing Housing + Local Newspaper Headquarter

9 10 11 1

12 13

9 10

1418 15

Sainctelette, Bruxelles - High Standing Housing + Local Newspaper Headquarter

Ying Lou, Marta Rota, Bruna Salvati

1. tile flooring

G 15

Legend

Sainctelette, Bruxelles - High Standing Housing + Local Newspaper Headquarter

Ying Lou, Marta Rota, Bruna Salvati

G 15

9 10

Legend

Matter

1. tile flooring 1. tile flooring 2. screed 2. screed 2. screed 3. waterproof waterproof case 3. waterproof case 3. case 4. thermal thermalinsulation insulation 4. thermal insulation 4. 5. sealing sheet 5. 5. sealing sealingsheet sheet 6. slope screed 6. 6. slope slopescreed screed 7. slabslab7. alveolar concrete slab 7. alveolar alveolarconcrete concrete 8. suspended ceiling with gypsum fiber board 8. suspended ceiling with gypsum fiber board 8. suspended ceiling with gypsum fiber board 9. cotto cladding 9. cotto cladding 9. cotto cladding 10. architrave in aerated 10. architrave in aerated concrete block and thermalconcrete insulationblock and thermal insulation 10. interior architrave in cladding aerated11. concrete blockcladding and thermal insulation interior plaster 11. plaster 11. alluminium interior plaster cladding 12. alluminium hand railing 12. hand railing 13. double glazing in alluminium 13. glazinghand in alluminium 12. double alluminium railing 14. parquet flooring 14. 13. parquet doubleflooring glazing in alluminium 15. fixing glue 15. fixing glue 14. parquet flooring 16. heating flooring system 16. heating flooring system 15. impact fixing sound glue absorbing17. impact sound absorbing subflooring 17. subflooring 16. trickling heatingprotection flooring system 18. trickling protection 18.

17. impact sound absorbing subflooring 18. trickling protection

Matter | technological section, elevation, plan 43

STICH STREET

Design and Construction Studio Year IV Second semester Milan, Italy Proff. G.Novati, A.Zanelli with: M.Rodriguez, M.Rota the necessity to recall the street soul of Porta Romana as means of connection between different areas and communities of the city. Accordingly, a significant step in this direction was to design the sport centre with a reversible constructive methodology so as to be disassembled and mostly recycled after the Games. The Olympics legacy mode, indeed, allows to reuse the structure in different ways, creating a space where street art and street sports are combined through playgrounds and outdoor fitness areas. The re-assembly of the structure modules allows new social spaces and functions for the community to emerge, including skate parks, grandstands for open-air stages, parkour site and market stands.

The aim of the project is to connect the reality of Porta Romana with the necessities of the Olympic Games and sport activities in general, as well as to re-qualify the area, currently abandoned. The project consists of a sport centre hosting an ice-hockey and ice-skating rink, designed for the 2026 Winter Olympic Games, which will take place in Porta Romana district. According to a preliminary analysis, it emerged that the area is subordinate to a subdivision between a northern part and a southern part due to the presence of an abandoned railway station. The neighbourhood, therefore, has been interpreted as striving to restitch these two areas. The design process was driven by

Diagrams | organisation of the sport centre and development of the structure Plan | roof

Ice-hockey rink

Ice-skating rink

Staircases

Functions

Dimensions of the modules

Assembly

Modules repetition

Plan DD | ground floor

Accesses

Elevation | south-west

15,0

Study of the curve of the primary structure 45

Plan EE | structure

Details | structure joints BB

Plan FF | grandstands

Section BB

Detail | primary structure

Detailed section | primary structure 46

Parkour

Plan

Elevation

Detail

Structure dismantling process

Plan

Elevation

Detail

Structure dismantling process

Plan

Elevation

Detail

Grandstands and stages

Markets

Structure dismantling process

Skate park

Axonometric view | details

Plan | Lambrate railway skate park

structural composition 2

structural composition 1

structural composition 2

structural composition 3

structural composition 1

Axonometric views | structural composition possibilities

Plan | Rogoredo railway skate park

Plan | Greco-Breda railway skate park

structural composition 1 structural composition 2 structural composition 3

Elevation D01

D02

D03

D04

D05

D06

Details | structure joints

Assembly of the structure 48

AUTHENTICANTIKYTHERA Thematic Studio Year V First semester Antikythera, Greece Proff. Laura Daglio, Stamatina Kousidi with: L.Magni, M.Menduni The project aims to regenerate and activate the inner areas of the small island of Antikythera. The island, located between Crete and Peloponnese in the Aegean Sea, is indeed mostly depopulated, counting only 25 inhabitants. The project, in particular, takes place in an area characterised by rather plain terraces situated at South-East. The rich biodiversity of the island is the starting point of a design strategy that evolves through time, additionally embracing other potentialities, such as archaeology and ornithology, so as to eventually extend to other areas on the island. The design process is developed according to different scales, from the landscape to the architectural one. On one hand, the landscape scale takes into account a possible path an eco-tourist can undertake.

Several activities are offered by the project area through the use of its authentic resources, among which the production of distillates, essential oils and honey. The area also includes a botanic garden, with nursery and analysis lab, hosting both the Greek species and the endemic ones. On the other hand, the architectural scale focusses on the private and social space, which articulates through different typologies according to the specific function (accommodation or public space). Either way, the architecture stands out as the combination of three, distinguishable elements: white-plastered, cubic volume, stone walls and wooden portico. The project eventually aims to renovate the existing heritage and to enhance it by using the authentic resources of the island.

WHERE

NETWORK

TERRACES Location

Network

NETWORK

RACES

Potentialities of the island

TERRACES

theatre

POTENTIALITIES POTENTIALITIES WHERE WHERE TERRACES TERRACES

RACES

irregular

NETWORK NETWORK ground strips

flat Typologies of terraces

Biodiversity

Blooming Season Diagram

Chamaephytes suffruticose (Chsuffr)

STRATEGIES STRATEGIES -- TIMELINE TIMELINE Project strategy | time line

ARCHAEOLOGY

ARCHAEOLOGY ARCHAEOLOGY

Project strategy | time line

RESOURCES OFeco-tourist THE ISLAND Project strategy | the programme

ARCHAEOLOGY

Resources

STRATEGY

STAKEHOLDERS RESOURCES OF THE ISLAND URCES OFSTRATEGY THE ISLAND

STAKEHOLDERS

RECOVERY TERRACES

WHYSTAKEHOLDERS HERE?

WHY HERE?

VEGETATION Wilderness

ARCHAEOLOGY

ORNITHOLOGY

Strategy of the island

Stakeholders

WHY HERE?

WHY HOW HERE? TO ARRIVE at AuthenticAntikytherA

t AuthenticAntikytherA

PROGRAMME of

PROGRAMME of ACTIVITIES

HOWProject TOsiteARRIVE at AuthenticAntikytherA potentialities

PROGRAMME of ACTIVITIES

PRODUCTION

Routes to the project site PROGRAMME of ACTIVITIES

PRODUCTION

Eco-tourist activities

Production activities 54

PRODUC

PRO

MASTERPLAN

Master plan

Project | design

A B C

Cultiva Cul

C Cultivated terraces -DimensionCulti rang MASTERPLAN MAXIMUM HEIGHT 0 cm-50 cm 50 cm-100 cm 100 cm-200 cm

A B C

MAXIMUMMAXIMUM HEIGHT HEIGH MA 0 cm-50 A A cm 0 cm-50 cm B 50 cm-100 B50cm cm-100 cm 5 MAXIMUM HEIGHT MAXIMUM C 100 cm-200 C100cm cm-200 cm 1

A B CULTIVATED STRIP C

A 100 cm B cm) as the height (50 cm-100 C cm) as the height (100 cm-200

A 0 cm-50 cm 0 cm B50 cm-100 cm 50 cm C100 cm-200 100 cm cm 90

SECTION

90 90

Anag Corido An subs M Coridothymu

Diagrams | plants cultivations

Doryc

AA BB CC AA BB CC

Cultivated terraces -Dimension ranges 100 Cultivated terraces -Dimension ranges A Cultivated terraces -Dimension ranges

Cultivated terraces -Dimension ranges Cultivated terraces -Dimension ranges Cultivated Cultivated terraces terraces -Dimension -Dimension ranges ranges Cultivated Cultivated terraces terraces -Dimension -Dimension ranges ranges 50-100 100 Cultivated terraces -Dimension ranges A B Building typologies Pre-existences and new constructions Blooming period Cultivated Cultivated terraces terraces-Dimension -Dimension ranges ranges MAXIMUM HEIGHT MAXIMUM HEIGHT A 0 cm-50 cm B 0 cm-50 cm 50 cm-100 cm cm cm-200 cm C 50 cm-100100 100 cm-200 MAXIMUM HEIGHT cm

A B C

0 cm-50 cm 50 cm-100 cm 100 cm-200 cm 90 90

CULTIVATED STRIP CULTIVATED STRIP 100 cm 100 cmheight (50 cm-100 cm) as the as the height (50 height cm-100(100 cm)cm-200 cm) as the as the height (100 CULTIVATED STRIPcm-200 cm)

100 cm as the height (50 cm-100 cm) as the height (100 cm-200 cm) 90 90 90

Mandra S 100 Reicha

A Trifoli

Scorpi

SIDE PASSAGE SIDE PASSAGE 90 cm 90 cm 90 cm 90the cm Anagallis arvensis: 20 cmcm) Anagallis arvensis: 20 Anaga as height (100 cm-200 as SIDE the height (100 cm-200 cm) PASSAGE

100

90 cm A A Anthyllis vulneraria Anthyllis vulnerari Ant 90 cm 35 cm subsp as the subsp. height (100 Rubriflora: cm-200 cm) subsp. Rubriflora: 35 100 200

100

200

Coridothymus (Thymus) capitatus: 30 cm Coridothymus (Thymus) capi Coridothymus Cultivated terraces -Dimension ranges Cultivated terraces -Dimension ranges Cultivated terraces -Dimension ranges CULTIVATED STRIP SIDE PASSAGE

MAXIMUM MAXIMUMHEIGHT HEIGHT MAXIMUM MAXIMUMHEIGHT HEIGHT AA 0 0cm-50 cm-50cm cm cm-50cm cm B B 0 0cm-50 50 50cm-100 cm-100cm cm cm-100 cm cm C C5050cm-100 100 100 cm-200 cm-200cm cm 100 100 cm-200 cm-200cm cm MAXIMUM MAXIMUM HEIGHT HEIGHT 0 0cm-50 cm-50cm cm 5050cm-100 cm-100cm cm 100 100cm-200 cm-200cm cm 9090 9090

9090 9090

Cultivated terraces terraces -Dimension -Dimension ranges ranges Cultivated terraces -DimensionCultivated ranges

90 90 90 90 100 200 MAXIMUM HEIGHT DorycniumDorycnium hirsutum: 50 cm hirsutum: Dorycni5 MAXIMUM HEIGHT CULTIVATED STRIP SIDE PASSAGE A 0 cm-50 cm 100 cm 90 cm CULTIVATED CULTIVATED STRIP STRIP SIDE SIDEPASSAGE PASSAGE Anagallis arvensis: Anagallis 20cm cm arv Anagallis arvensis: 20 cm Convolvulus althaeoides: 100 cm A 0 cm-50 cm 100 cm 90 cm Mandragora autumnalis: 30 Mandragora Mandrag CULTIVATED CULTIVATEDSTRIP STRIP SIDE SIDEPASSAGE PASSAGE as the height (50 cm-100 cm) B 50 cm-100 cm 90 cm autumnalis 100 100cm cm cm 9090cm cm cm-100 cm) B as the height (50 90the cmheight (100 cm-200 cm) C 50 cm-100100 cm-200 cmAnthyllis vulneraria9090 as the height (100 cm-200 cm) as 100 100 cm cm cm cm Anthyllis vulneraria Anthyllis v4 Muscari comosum: 60 cm Reichardia picroides: 45 cm Reichardia picroides: Reichar as as the the height height (50 (50 cm-100 cm-100 cm) cm) 90 90 cm cm C 100HEIGHT cm-200 cm as the height STRIP (100 cm-200 cm) STRIP asSIDE the height (100 cm-200 cm) MAXIMUM CULTIVATED SIDE PASSAGE MAXIMUMMAXIMUM HEIGHT CULTIVATED PASSAGE asasthe theheight height (50 (50height cm-100 cm-100 cm) cm) 90 90 cm cm HEIGHT CULTIVATED STRIP SIDE PASSAGE MAXIMUM HEIGHT CULTIVATED STRIP SIDE PASSAGERubriflora: subsp. subsp. 35 cm Rubr 35as cm asasthe the height (100 (100 cm-200 cm-200cm) cm) subsp. Rubriflora: as the the height height(100 (100cm-200 cm-200cm) cm) A 0 cm-50 100 cm 100 cm 90 cm 90 cm Trifolium A A cm 0 cm-50 cm 0 cm-50 cm 100 cm 90 cm campestre: 30 cm Trifolium campestre: Trifoliu3 Atheheight cm-50 cm) cm as as the height (100 (1000cm-200 cm-200 cm) asSIDE the theheight height (100 (100cm-200 cm-200 cm) as the height 100 cmcm) 90 90 cm B as 50PASSAGE cm-100 (50height cm-100 cm) 90 cm B B50cm cm-100 cm as the (50 cm-100 cm) cm 50 cm-100 cm as the height (50 cm-100 cm) 90 cm Ruta chalepensis CULTIVATED CULTIVATED STRIP STRIP SIDE PASSAGE MAXIMUM HEIGHT SIDE PASSAGE STRIP SIDE PASSAGE SIDE PASSAGE MAXIMUM HEIGHT CULTIVATED CULTIVATED STRIP MAXIMUM HEIGHT CULTIVATED STRIP 100as C cm-200 the height (100 cm-200 cm) as the height (100 cm-200 cm) C 100 C100cm cm-200 cm as the height (100 cm-200 cm) cm-200 cm)50-100 as the height (100 cm-200 cm) cm-200 100 cm-200 cm as the height (100 as the height (100 cm)100-200capitatus: B 50 cm-100 cm as the height (50 cm-100 cm) 90 cm Coridothymus Coridothymus (Thymus) (Thym Coridothymus capitatus: cm 50-100 100-200 A A 0 cm-50 cm-50 cm 100 100 cm 100 cm 90 cm 90 cm A 0cm cm-50 100 cm (Thymus) 90 cm subsp. fumariifolia: 70 cm Scorpiurus muricatus: 50 Scorpiu cm Scorpiurus muricatus: 100 100 cm cm 9090 cm cmcm 030 A cm)as the heightas(50 C B50 B cm) cm 50 cm-100 cm cm-200 90 cm 90 cm thecm-100 height cm) (50 cm-100 cm) B C 50 cm-100 100 cm cm-200 cm as the height (50 cm-100 ascm-100 the height (100 asB the height (100 cm-200 cm) A 90 cm B C asasthe the height(50 (50 cm-100 cm-100 cm) 90 90 cm cm 90 as90 90 90 100 200 C C 100 cm-200 100 cm cm-200 cm as the height as (100 the cm-200 height (100 cm) cm-200 cm) 50 cm as the height as (100 the cm-200 height (100 cm) cm-200 cm) C height 100 cm-200 cm cm) the height (100 cm-200 cm) as the height (100 cm-200 cm) hirsutum: Dorycnium hir Dorycnium hirsutum: 50 cm Sarcopoterium spinosum: 60100 cm Dorycnium 90 90 90 200 50-100 10090 100-200 90 cm-200 asasthe theheight height(100 (100cm-200 cm-200cm) cm) asasthe theheight height90 (100 (100 cm) cm) 90 90 90 100 200 90cm-200 90 90 90 90 90 90 100 200 100 200 9090 9090 100 100 200 200 C A B Calicotome villosa: 300 cm (to cut) Anagallis arvensis: 20 cm Mandragora autumnalis: Mandragora 30aut cm 9090 9090 Mandragora autumnalis: 30 cm 200 100 100 200 Convolvulus althaeoides: 100 cm Calicotome villosa: 300 cm (to cut) Anagallis arvensis: 20 cm Convolvulus althaeoides: 100 cm

Cultivated terraces -Dimension ranges Cultivated terraces -Dimension ranges Cultivated terraces -Dimension ranges Cultivated Cultivated terraces terraces -Dimension -Dimension ranges ranges Cultivated Cultivated terraces terraces -Dimension -Dimension ranges ranges edCultivated terraces -Dimension ranges Cultivated terraces terraces -Dimension -Dimension ranges ranges Cultivated Cultivated terraces terraces -Dimension -Dimension ranges ranges Cultivated terraces -Dimension ranges Cultivated Cultivated Cultivated terraces terraces terraces terraces -Dimension -Dimension -Dimension -Dimension ranges ranges ranges ranges nnCultivated ranges ranges Cultivated terraces -Dimension ranges Cultivated terraces -Dimension ranges 90

SECTION

9090 9090

9090

Anthyllis vulneraria 90Anthyllis 100 200 vulneraria subsp. Rubriflora: 35 cm subsp. Rubriflora: 35 cm Coridothymus Anagallis arvensis: 20 cm (Thymus) capitatus: 30 cm Coridothymus (Thymus) capitatus: 30 cm Dorycnium hirsutum: 50 cm Anthyllis vulneraria Dorycnium hirsutum: 50 cm subsp. Rubriflora: 35 cm Mandragora autumnalis: 30 cm Mandragora autumnalis: 30 cm Coridothymus (Thymus) capitatus: 30 cm Reichardia picroides: 45 cm Reichardia picroides: 45 cm Dorycnium hirsutum: 50 cm Trifolium campestre: 30 cm Trifolium campestre: 30 cm Mandragora autumnalis: 30 cm Scorpiurus muricatus: 50 cm Scorpiurus muricatus: 50 cm picroides: 45 cm 50-100 100 Reichardia100

Reichardia picroides: 45 cm

100 100 30 200 200 Trifolium campestre: cm

Scorpiurus muricatus: 50 cm 100 A

30 cm A Trifolium campestre: A

Tragopogon porrifolius: 60 cm Muscari comosum: 60 cm 90 90 Muscari comosum: 60 cm

100cm Urginea maritima: 150

Ruta chalepensis Ruta chalepensis Convolvulus althaeoides: 100 cm subsp. fumariifolia: 70 cm subsp. fumariifolia: 70 cm Muscari comosum: 60 cm Sarcopoterium spinosum: 60 cm Sarcopoterium spinosum: 60 cm Ruta chalepensis Tragopogon porrifolius: 60 cm Tragopogon porrifolius: subsp. fumariifolia: 70 cm 60 cm Urginea maritima: 150 cm Sarcopoterium spinosum: 60150 cmcm Urginea maritima:

Juniperus phoenicea: 800 cm (to cut) 100Juniperus 200 100 200 phoenicea: 800 cm (to cut) Pistacia lentiscus: 500 cm (to cut) Pistacia lentiscus: 500 (to cut) Calicotome villosa: 300 cm (tocm cut)

Reichardia picroides: Reichardia 45 cm pic 200

Trifolium campestre: Trifolium 30 cam cm ORNAM 3 Scorpiurus muricatus: Scorpiurus 50 cm mu annual and

Juniperus phoenicea: 800 cm (to cut) Pistacia lentiscus: 500 cm (to cut)

Tragopogon porrifolius: 60 cm

50-100

Urginea maritima: 150 cm

100-200 100-200 C

100-200 C

ORNAMENTA 3 annual and pere

Scorpiurus muricatus: 50 cm MAXIMUMMAXIMUM HEIGHT HEIGHT CULTIVATED STRIP SIDE PASSAGE CULTIVATED STRIP SIDE PASSAGE MAXIMUM HEIGHT CULTIVATED STRIP SIDE PASSAGE A 0 cm-50 100 cm 9050-100 cm 90 cm ASTRIP A cm 0 cm-50STRIP cm 100 cm 0 cm-50 cm 100 cm 100-200 90 cm 100-200 100-200 50-100 50-100 100 100 100 MHEIGHT HEIGHT HEIGHT CULTIVATED CULTIVATED STRIP SIDE SIDEPASSAGE PASSAGE MAXIMUM AXIMUM HEIGHT CULTIVATED CULTIVATED STRIP STRIP SIDE SIDE PASSAGE PASSAGE MAXIMUM MAXIMUMHEIGHT HEIGHT CULTIVATED CULTIVATED STRIP SIDE SIDE PASSAGE PASSAGE CalicotomeCalicotome villosa: 300villosa: cmCalicotome (to 300 cut)cmvillosa: (to cut)300 cm (to cut) Anagallis arvensis: cmAnagallis Anagallis20 arvensis: 20 cmarvensis: 20 cm Convolvulus althaeoides: 100 cm 100 Convolvulus althaeoides: cm Convolvulus althaeoides: 100 cm B 50 cm-100 cm as the height (50 cm-100 cm) 90 cm B B50 cm-100A cm as the heightas (50 cm-100 cm) 90 cm 50CULTIVATED cm-100 cmSTRIP the height (50 PASSAGE cm-100 cm) 90 cm MAXIMUM HEIGHT SIDE 050 100cm cm 9090cm cm 90 A B C (to cut) A CULTIVATED B Muscari Ccm (to cut)800 cm B90 C A Acm STRIP SIDE PASSAGE SIDE PASSAGE MAXIMUM HEIGHT MAXIMUM HEIGHT CULTIVATED STRIP Muscari comosum: 60 cm 0cm 0cm-50 cm-50cm cm0 0cm-50 100 100cm cm cm cm Anthyllis vulneraria cm-50cm cm HEIGHT 100 100 cm cm 9090 cm cm Juniperus phoenicea:phoenicea: 800 cm (to 800 cut) SIDE PASSAGE CULTIVATED STRIP 100 Muscari comosum: 60 cm Anthyllis vulneraria comosum: 60 cm Anthyllis vulneraria Juniperus Juniperus phoenicea: MAXIMUM CULTIVATED STRIP SIDE PASSAGE 50-100 100as the height C 100 cm-200 cm (100 cm-200 cm) as the height (100 cm-200 cm) subsp. Rubriflora: 35 cm subsp. subsp. Rubriflora: 35 cm C Rubriflora: 35 cm C 100 cm-200 cm as the height (100 cm-200 cm) as the height (100 cm-200 cm) 100 cm-200 cm as the height (100 cm-200 cm) as the height (100 cm-200 cm)100-200 00 100 cm cm Pistacia lentiscus: cmPistacia (to 500 cut)cm as as the the height height (50 (50 cm-100 cm-100 cm) cm) 90 90 cm cm A cm 100 cm 90 cm Pistacia 500 lentiscus: (to cut)500 cm (to cut) lentiscus: B B50 50 cm-100 cm-100cm cm as as the the height height (50 (50 cm-100 cm-100 cm) cm) 90 90 cm cm 5050cm-100 cm-100cm cm 0 cm-50 as as the the height height (50 (50 cm-100 cm-100 cm) cm) 90 90 cm cm Ruta chalepensis 50-100 Ruta chalepensis 100 Ruta chalepensis 100-200 A A 0 cm-50 cm 0 cm-50 cm 100 cm 100 cm 90 cm 90 cm 100 cm 90 cm Coridothymus (Thymus) capitatus: 30 cm(Thymus) CULTIVATED STRIP STRIP SIDE SIDE PASSAGE PASSAGE SIDE SIDE PASSAGE PASSAGE UM M HEIGHT HEIGHT MAXIMUM MAXIMUM HEIGHT HEIGHT CULTIVATED CULTIVATEDCULTIVATED STRIP STRIP SIDE SIDEcm PASSAGE PASSAGE Coridothymus (Thymus) capitatus: 30 cm Coridothymus capitatus: 30 cm A 0 cm-50 100 cm 90 cm subsp. fumariifolia: 70 cmsubsp. subsp. fumariifolia: 70fumariifolia: cm 70 cm 50-100 50-100 100 100 200 -200 cm cm asasthe the height (100 (100 cm-200 cm-200 cm) cm) asas the theheight height (100 (100 cm-200 cm-200 cm) cm) Bcm-200cm cmheight the height cm-100 90 cm C100 C100 cm-200 cm-200cm cm the height height (100 (100 cm-200 cm-200 cm) cm)as ascm) asA the the height height (100 (100 cm-200 cm-200 cm) cm) 100-200 100-200 100 100cm-200 cm 50 cm-100 as as the the height height(100 (100 cm-200 cm-200 cm) cm)(50 as as the the height height (100 (100 cm-200 cm-200 cm) cm) C Dorycnium hirsutum: 50 cm Dorycnium hirsutum: 50 cm Dorycnium hirsutum: 50 cm Sarcopoterium spinosum:Sarcopoterium 60 cm spinosum: 60 cm spinosum: 60 cm Basasthe B 50 cm-100 cm 50 cm-100 cm cm) 90 cm as the height as (50 the cm-100 height cm) (50 cm-100 cm)BSarcopoterium 90 cm 90 cm the height cm) 50-100 50-100 100 100 B 0 0cm-50 50as cm-100 cm as the height (50 cm-100 90 cm 100-200 100-200 m-50 -50 cm cm cm-50cm cm 100 100 cm cm 100 100 cm cm 90 90cm cm 90 90 cm cm 90 90 cm cm (50 cm-100

Cultivated plants

Plants heights

Side passages dimensions Botanic Garden Botanic Garden Botanic Garden

Botanic Garden

DESIGN PRINCIPLES

Design principles

Guest houses

GUEST HOUSES GUEST HOUSES Flowers blooming GUEST HOUSES GUEST HOUSES season

Plan | rooftop

Plan | ground floor

Elevations and sections

NEW HOUSE NEW HOUSE NEW HOUSE NEW HOUSE

EAST ELEVATION EAST ELEVATION

New house

EAST ELEVATION EAST ELEVATION

WEST ELEVATION WEST ELEVATION WEST ELEVATION WEST ELEVATION

PLAN PLAN

PLAN PLAN LONGITUDINAL LONGITUDINAL SECTION SECTION

GUEST HOUSES

LONGITUDINAL SECTION SECTION LONGITUDINAL

HOUSE I HOUSE I HOUSEHOUSE I I HOUSE II

SOUTH ELEVATION SOUTH ELEVATION SOUTH ELEVATION SOUTH ELEVATION

House I

SOUTH SOUTH ELEVATION ELEVATION

WEST ELEVATION WEST ELEVATION WEST ELEVATION WEST ELEVATION NORTH NORTH ELEVATION ELEVATION

PLAN PLAN

CROSS SECTION CROSS SECTION CROSS SECTION CROSS SECTION LONGITUDINAL LONGITUDINAL SECTION SECTION

HOUSE III

House II

SOUTH SOUTH ELEVATION ELEVATION

NORTH NORTH ELEVATION ELEVATION

PLAN PLAN CROSS CROSS SECTION SECTION

Master plan

Botanic garden

BOTANIC GARDEN

RECEPTION SPACE

Plan | rooftop

Plan | ground floor

Elevations and sections

PLAN

BOTANIC GARDEN

Reception space

BOTANIC GARDEN BOTANIC GARDEN

PLAN LONGITUDINAL SECTION

NURSERY and ESSENTIAL OILS ANALYSIS LAB

RECEPTION SPACE

BOTANIC GARDEN

NURSERY and ESSENTIAL OILS ANALYSIS LAB LONGITUDINAL SECTION NORTH ELEVATION

NURSERY and ESSENTIAL OILS ANALYSIS LAB PLAN

NORTH ELEVATION PLAN

PLAN

WEST ELEVATION

EAST ELEVATION

SOUTH-EAST ELEVATION

BOTANIC GARDEN

PLAN SOUTH-EAST ELEVATION

WEST ELEVATION LONGITUDINAL SECTION

EAST ELEVATION

NORTH-EAST ELEVATION

NURSERY and ESSENTIAL OILS ANALYSIS LAB

BOTANIC GARDEN

CROSS SECTION

NORTH-EAST ELEVATION

Nursery and essential oils analysis lab

NORTH ELEVATION

BOTANIC GARDEN

CROSS SECTION

SOUTH-EAST ELEVATION

NORTH-EAST ELEVATION

CROSS SECTION

SOUTH ELEVATION

NURSERY and ESSENTIAL OILS ANALYSIS LAB SOUTH ELEVATION PLAN PLAN

PLAN WEST ELEVATION

SOUTH-EAST ELEVATION

CROSS SECTION

SOUTH ELEVATION

EAST ELEVATION

CROSS SECTION PLAN

PLAN

NURSERY and ESSENTIAL OILS ANALYSIS LAB CROSS SECTION NORTH-EAST ELEVATION

CROSS SECTION SOUTH-EAST ELEVATION

PLAN SOUTH ELEVATION

NORTH-EAST ELEVATION

CROSS SECTION

PLAN SOUTH-EAST ELEVATION CROSS SECTION

SOUTH ELEVATION

PANORAMIC PLATFORM PANORAMIC PLATFORM PANORAMIC PLATFORM

Lookout point

Plan | rooftop

Elevations

Location

SOUTH ELEVATION

SOUTH ELEVATION SOUTH ELEVATION

EAST ELEVATION

LOOK OUT POINTS

EAST ELEVATION EAST ELEVATION

LOOK OUT POINTS LOOK OUT POINTS

BOTANIC GARDEN

PRODUCTIVE AREA

PRODUCTIVE BUILDINGS

Plan | rooftop

Plan | ground floor

Productive buildings

LONG

WEST

AXONOMETRY

PLAN

EAST

BOTANIC GARDEN

PRODUCTIVE BUILDINGS

Axonometry

Elevations and sections

LONGITUDINAL SECTION

WEST ELEVATION

AXONOMETRY

PLAN

EAST ELEVATION

Productive area

Technological section

PRODUCTIVE AREA - TEC

ECHNOLOGICAL SECTION

Productive area

PRODUCTIVE AREA

Perspective view

New house in Coridothymus Capitatus field

NEW HOUSE

Coridothymus Capitatus field

Perspective view

House I in Ruta Chalepensis field

HOUSE IN RUINED DRY STONE WALLS - I Ruta Chalepensis field

Perspective view

contacts: bruna.salvati@mail.polimi.it brunasalvati1997@gmail.it