PORTFOLIO camilla malinverni selected works 2016-2019
Hello!
CAMILLA MALINVERNI
CONTACT Via Carpaccio 10, Milano camilla.inverni@gmail.com +39 3396756252 linkedin.com/in/malinvernicamilla/ PROFILE
Name Surname: Camilla Malinverni Date of Birth: 23 - 06 - 1993 Nationality: Italian I am a creative, professional architect with strong management skills. I graduated with honors in Architecture and subsequently worked in the design sector gaining experience in Achitectural, Graphic, Interior and Exhibition Design. I am talented in the effective communication of the project from a graphic and editorial point of view.
WORK EXPERIENCE May 2019
-
Present
March 2019
September 2015
October 2018
December 2018
March 2016
July 2016
May 2015
July 2015
ARCHITECT Paolo Redaelli Architetto // Milano Architecture design for the Naval Museum of Imperia, planetariums and private homes. • Executive drawings • Management of building practices • Books and presentations for customers
WAITRESS Eataly // Milano // 3 years 6 months Side work in the food industry to support my studies. Training experience in terms of personal growth and time management. • Customer service • Team work • Acquisition of skills in the food & beverage sector
INTERN ARCHITECT 02Arch // Milano // 3 months Interior design for private homes. • Study of furniture, materials and colors • Technical boards for construction companies • Presentations for customers
EXHIBITON DESIGNER Marcello Corti Architetto - Curatore // Milano // 5 months Design of the exhibition “Identità e Visioni. Montisola in Mostra” curated by arch. Marcello Corti. The exhibition was inaugurated in Monte Isola for the installation Floating Piers by Christo and Jeanne-Claud. • Design proposals for two specific sites of the island • Realization of panels and models to be exhibited • Exhibit design
INTERN ARCHITECT Paolo Redaelli Architetto // Milano // 3 months Design of a pavilion for the display of the Merz-Repsold telescope that belonged to the astronomer Giovanni Schiaparelli. • Cad drawing • Print layouts and presentations for customers
EDUCATION April 2019 September 2016
MASTER DEGREE IN ARCHITECTURE Politecnico di Milano // EN // 110L/110 Master thesis “Busto Pelle. A Big grammar” mentored by Elisa Cristiana Cattaneo and Cherubino Gambardella. The thesis proposes an innovative study of the contemporary city, which leads to the scission into Firmitas and Infirmitas, Composition and Superimposition, Structure and Remain, developing the concepts of Bust and Pelt in architecture.
February 2016 September 2012
BACHELOR DEGREE IN ARCHITECTURE Politecnico di Milano // IT // 107/110 Bachelor thesis “Geografia, Paesaggio, Architettura. Sperimentazioni di architettura territoriale a Orani” mentored by Antonia Chiesa. The thesis proposes the study and design of the landscape as ground for innovation.
July 2012 September 2007
HIGH SCHOOL QUALIFICATION IN ART Liceo Artistico B. Munari // Crema // 94/100
WORKSHOPS September 2018
Agrishelter Terraviva, with Richerd Ingersoll // Milano, Giardino San Faustino Design and construction of an amphitheater made with wooden frames and hay bales.
June 2018
Mobility in a small town Terraviva, with Richerd Ingersoll // Orani (NU) Rsearch and proposal of design solutions for urban, social, and landscape issues in collaboration with Museo Nivola.
June 2016
The living museum Terraviva, with Richerd Ingersoll // Orani (NU) Rsearch and proposal of design solutions for urban, social, and landscape issues in collaboration with Museo Nivola.
June 2015
September 2013
Scenography for FATF festival Franco Agostino Teatro Festival // Crema (CR) Design of installations and sets for Franco Agostino Teatro Festival in collaboration with LaRibalta Art Group
PUBLICATIONS May 2018
Janus https://www.koozarch.com/interviews/janus/
June 2018
Pubblicazione del progetto Orbita in: “Percepire lo spazio: 30 biblioteche per Milano” Maggioli Editore
EXHIBITIONS July 2016
Idendità e Visioni: Montisola in Mostra http://www.montisolainmostra.it/
July 2015
Esposizione del progetto Vuoti a Rendere alla mostra Ri-Formare Milano Triennale di Milano
SKILLS Languages
Italian // Native English // Professional // IELTS 7.0
Softwares
Highly competent with // AutoCad, InDesign, Illustrator, Photoshop, Adobe, Microsoft Office Competent with // Rhinoceros, SketchUp, Lightroom
INDEX
BUSTOPELLE
BUSTO P E LLE
A BIG GRAMMAR
B USTO PELLE
LAURA FIAMENGHI CAMILLA MALINVERNI GIAN LUCA MAZZA
A BIG Grammar
01
02
03
Busto Pelle Master Thesis
Michaelbruke Museum The topografic form
Janus Enhancing Duality
2019
2018
2017
6
04
05
06
Accursio Library Public spaces
Krjnolin Scenografie Portatili
IdentitĂ e Visioni Montisona in Mostra
2015
2018
2016
7
01
BUSTO PELLE a big grammar
context/ year/ location/ supervisor/ co-supervisor/ team/
2nd year master thesis 2019 naples elisa cristiana cattaneo cherubino gambardella malinverni camilla, fiamenghi laura, mazza gian luca
The first scene of the movie Hands
over the city shows the coexistence of two Naples: the modernist idea of the city – static, organized and firm – collides with a series of organic, fluid and apparently chaotic bodies, which create the metropolis of the extemporary and ephemeral. Francesco Rosi pass with his camera through the structured, formal and rigid city to get then closer to an old and crumbling building, which seems continuously conquered by the remains of its inhabitants: laundries, flags and chairs on the public street. On the screen, the director therefore shows two different connected structure of the city: what is the relationship between the inorganic structure of an urban landscape and its organic deconstruction which absorbs, grasps and relates with it? Which could be the relations between the modernist concept of the city – ruled, precise and idealized – and the city of the ordinary, the remains and disorder? Firmitas and Infirmitas, Composition and Superimposition, Structure and Remain bump into each other in the contemporary city creating a complex synergy between Bust and Pelt.
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M
A
N
I
F
È FIRMITAS
IL BUSTO
È OSSA
IL BUSTO
È ORDINE
IL BUSTO
È ALBERO
IL BUSTO
È UNICO
IL BUSTO
È CONCLUSO
IL BUSTO
È REGOLATO
IL BUSTO
È RIGIDO
IL BUSTO
È INFLESSIBILE
IL BUSTO
È IERATICO
IL BUSTO
È STATICO
IL BUSTO
È MONUMENTO
IL BUSTO
È RETORICO
E
S
T
B
U
S
T
IL BUSTO
PE
LLE
PEL LE PE L
LE
M A N I F E S T O
LA PELLE È INFIRMITAS LA PELLE LA PELLE È CARNE È DISORDINE LA PELLE È RIZOMATICA LA PELLE PROLIFERA INFINITAMENTE
LA PELLE NON SEGUE LE REGOLE
LLE
PE
PELL
LLE
P ELLE
Il Busto è unico, il Busto è solo, esclusivo e irripetibile. Il Busto è autonomo e quindi in sé e per sé ente concluso, non necessita di forze altre per continuare ad esistere e risponde a sue proprie logiche gerarchiche. Esso viene pensato in ossequio ad un sistema di regole o normative, siano esse di natura tecnica, logica o matematica. É rigido e statico e pertanto inabile a soddisfare richieste di flessibilità, adattamento e personalizzazione. Il Busto è stabile e dotato di un aspetto ieratico. Il Busto è monumento o ha pretese monumentali: presenta un aspetto imponente e una postura retorica, talvolta è luogo di culto; spesso esprime la sua vanità nel farsi adorare e ammirare. A volte incompiuto, a volte esageratamente compiuto, il Busto è infrastrutturazione dello spazio. Il Busto è Firmitas, Ossa, Ordine e Albero.
O
manifesto
LA PELLE È QUOTIDIANE PICCOLEZZE LA PELLE È IN CICLICO DIVENIRE LA PELLE È FLESSIBILE LA PELLE È ADATTABILE LA PELLE NON È COMPIUTA LA PELLE È PERSONALIZZABILE
LA PELLE È DIPENDENTE
LA PELLE PROLIFERA SPONTANEAMENTE LA PELLE LA PELLE È COMUNE È MOLTEPLICE
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La Pelle è organica, debole, difficilmente leggibile e in rapporto dipendente. È un rizoma che non ambisce alla compiutezza ed è totalmente svincolata da sistemi di regole o normative, che la portano a proliferare spontaneamente in risposta a necessità umane di varia natura. La pelle è flessibile, adattabile e personalizzabile. Le pretese della Pelle non sono monumentali; è un ente umile che è solo manifestazione variegata e variabile delle quotidiane piccolezze della vita. È instabile perché costantemente sottoposta al processo ciclico del divenire tempo. La Pelle può sparire velocemente senza lasciare traccia visibile, così come le quotidiane azioni dell’uomo da cui è generata. La Pelle è Infirmitas, Carne, Disordine, Rizoma.
book
10
book
11
s. maria
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s. pietro
13
02
MICHAELBRÜKE MUSEUM the topografic form
context/ year/ location/ professors/ team/
2nd year master project 2018 berlin vieths stefan, riva niccolò, poli matteo malinverni camilla, fiamenghi laura, ricciardi irene
Modernist town planners, including
Le Corbusier, Ludwig Hilberseimer and after 1945 Hans Scharoun as the Berling city architect, quite deliberately declared war on the traditional texture of the city. For centuries buildings had faced streets and squares, and the façade had marked the transition from public space to public land, but Modernism created objects in fluid space, reached by freely articulated streets and roads that submitted to the logic of car-borne speed - often on many levels. It was not only central Berlin that lost its identity in these new structures. The traditional city with its corridorlike roads and geometrical squares was broken up to make way for a freely composed accumulation of objects that related to each other at best in the abstract. As none of these different urban develpoment models for the post-war decades in east and west ever really established istelf fully, and their patterns changed rapidly, the real city consists of a collection of fragments of different urban justifications in terms of planning and politics.
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The design process of the building starts from the will to contrast the main tendency of the post-war decades, marked by the presence of ‘object buildings’ spread all over a completely fluid city, orphaned of its ancient urban texture. In order to let Michaelkirchstrasse regain its original strength as an urban axis, the aim is to recompose the currently fragmented block, whose main directrix has represented the starting point in the development of the project. The result is a ‘topographic shape’ building which is inserted as the las piece of the axis, exactly in the point of its cross with the Sprea river and at the same height of the neighboring buildings od the same block. The whole mass has been the progressively carved in a sculptural process regulated by the superimposition of the system on the bearing walls, these lasts in turn carved themselves. This parallel grid regulates the definition of the main spaces of the museum: the public upper square, the exposition areas, together with the auditorium, the research institute, the library and the residential part.
axonometry
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exploded axo
sectioned axoometry
16
plan, section
17
the stair
the stair
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the walk
the walk
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03
JANUS Suspending the future, enhancing duality
context/ year/ location/ professors/
2nd year master project 2017 ijburg, amsterdam cattaneo elisa cristiana, van gelderen mikel jung stefan team/ malinverni camilla, fiamenghi laura, mazza gian luca, beril maria kubin, kuczyński kacper mentions/ published on KooZA/rch
T he project site is located in
the heart of IJ Burg island and is a space of provocation to its highly dense urban environment. It resists to stay natural on an artificial land. Just like the attempts of Van Eyck to turn the cities into playgrounds in the 1950s, the plot persists to remain as a natural playground. Our aim is to help the site bring out its characteristics and transform it into a ‘playscape’ by creating a positive impact on the island in a wider scale. The concept is based on two contradicting systems that are reflected to the two long facades of the building: the playground; space of nature and freedom, and the spatial apparatus that contributes to the built environment and works as a paradox to the free space. The plot creates degraded scenery from the strict border of the marina that represents the urbanism, to the natural border that represents freedom. This gradient system inhabits the dwellings on the concrete border of the marina, creating a piazza with
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the surrounding urban context; whereas the Architecture degrades towards the natural coast on the other side, providing Architectural freedom. Each of the proposed flats is oriented in a way that they face on both the urban and the natural coast in order to inhabit the context of ‘duality’ for the users, which gives the project its quality of the two-faced God ‘Janus’. Interior spaces follow the concept and host the private spaces towards the façade facing the natural coast; and all the service spaces towards the façade facing the urban context with the marina. The challenge of accessibility due to a length of 140 meters and a width of 12 meters is solved through the multiple entrances towards a corridor that cuts both skins of the building and enables direct access to each flat. The spaces are organized primarily according to sizes rather than functions, as interior spaces are conceived as stages for a set of different possible functions according to the areas.
concept
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axonometry
22
groundfloor
23
plans
24
elevations
25
04
A C C U R S I O L I B R A RY public spaces
context/ year/ location/ professors/ team/
3rd year bachelor project 2015 milano trentin luigi, accossato katia malinverni camilla, mangini sara
The Piazzale Accursio re-design
project involves intervention in three different project areas. In the first place, the agip shelter is designed as a new space capable of hosting an auditorium, at the same time the parking area is redeveloped and planted to create a new green area available to the citizen. The project site includes the inclusion of a new public library. The project is developed by creating a path of different public spaces, from the new square in front of the library, in which there is a green shelter and water paths, up to the elevated square, around which the library building is wrapped, arriving then , going up the central joint ramp, to the different thematic areas of the library itself. The project stems from the intent to reconstruct the urban block, thus following the main lines of the lot and designing the building as if it were the missing piece of the urban fabric. Thus it takes the form of an open courtyard, which
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winds around the central square, and whose short arm protrudes to form a telescope that overlooks the public space below. The library consists of several public services on the ground floor, while the thematic reading rooms are developed on the upper levels.
masterplan
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plan, section
28
plan, elevation
29
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KRJNOLIN Scenografie portatili
context/ year/ location/ professors/ team/
5th year master project 2018 milano salvadeo pieluigi malinverni camilla, mazza gian luca, vivani virgilio
KRINØLJIN
was born as a representation of showing and hiding inside a transforming maternal object. KRINØLJIN is the abstraction of the personal sphere thanks to which the body shows itself, assumes new positions, hides and dances within a metaarchitecture that conquers - or negates - the surrounding space. KRINØLJIN is meant to be an external body with which to interact. Thanks to his free movements, he can become a costume (a skirt, a dress, a hat), an extension of the body or underline a new filter space around the person.
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concept
31
project
32
performance
33
06
IDENTITĂ€ E VISIONI montisola in mostra
context/ year/ location/ curator/ graphics/ coordinators/ team/ sponsor/
exhibition 2016 montisola arch. marcello corti davide pagliarini fiamenghi laura, muraro filippo malinverni camilla, lumina mirco, reguzzi giacomo, cardazzi roberta, brasetti nicola riva yatch, berlucci, flos
A
story of architecture that involves the present and future past of the island located among the most beautiful villages in Italy. A path narrated through architectural models, projects, drawings, texts, photographs and videos that allow the visitor to make a journey of knowledge in time and space, between identities and future visions. Project proposals, developed with a sensitive approach to naturalistic and landscape contexts, with the aim of raising awareness on issues of public utility such as the upgrading of common spaces and the territorial and architectural enhancement in collective environments.
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f lyer
35
lungolago ere
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palazzo zirotti
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exhibition
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exhibition
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thank
you!
camilla.inverni@gmail.com 339.6756252