CV - PORTFOLIO
ELISA ZANAGLIO
Elisa Zanaglio Via Indipendenza 5, Brescia 25135 Via del Veliero 92, Comacchio (FE) 44022 3497121109 elisazanaglio@gmail.com Profilo Linkedin:
https://www.linkedin.com/in/elisa-zanaglio-692993176/
2014-2017
Laurea Triennale in Architettura con voto 110/110, Politecnico di Milano (sede Mantova).
2018-2020
COMPETENZE
Laurea magistrale in Architecture Built Environment-Interior con voto 110L/110, Politecnico di Milano (corso di laurea in Inglese). Programmi di grafica Autocad Illustrator Photoshop Indesign Premiere Rhinoceros Grasshopper Cinema 4D Word Excel Montaggio video Ho discreta esperienza nel montaggio video appreso in modo autonomo per lavori universitari.
MAR-DIC Impiego a tempo determinato (150 ore) presso il Politecnico di Milano (Mantova). APR-MAG Volontaria presso l’evento annuale Mantova Architettura, organizzato dal Politecnico di Milano (Mantova).
2017
OTT-DIC Impiego full-time come modellista presso lo studio di architettura Giulia de Appollonia (Brescia).
2018-2020
MAR-MAR Collaborazione occasionale come progettista presso lo studio Loft&House (Milano).
LINGUE
Diploma artistico presso il liceo Scientifico Statale Leonardo di Brescia.
2015-2017
Italiano madrelingua
WORKSHOP E CONCORSI
2009-2014
IMPIEGHI
FORMAZIONE
CV
2015
Inglese C1-C2, appreso in modo professionale in ambito lavorativo presso la fondazione IES ABROAD e durante i due anni di studi magistrale in lingua inglese.
Vincita del IV premio al concorso di idee “La capanna sull’albero”, promossa da Legno&Edilizia (biennale organizzata da Piemmeti SpA, Promozioni Manifestazioni Tecniche).
2016
Workshop intesivo fisica tecnica e impianti, presso il Politecnico di Milano (Mantova).
2018-2019
GEN-DIC Community assistant di studenti americani presso la fondazione IES ABROAD (Milano).
Partecipazione al workshop DGAAP, promossa dalla Direzione Generale Arte e Architettura Contemporanee e Periferie Urbane del Mibact, presso il Padiglione Italia (Biennale di Venezia).
2020
2017
FEB-APR Collaborazione occasionale come renderista presso l’azienda Zanetti arredamenti (Brescia).
Allestimento della mostra “Valeggio sul Mincio e i suoi valori nascosti”, promosso dal Politecnico di Milano (Mantova).
PORTFOLIO Questa raccolta di progetti fa parte del mio percorso di studi in Architettura-Ambiente Costruito-Interni presso il Politecnico di Milano. Mostro tre progetti basati sulla riconversione di edifici esistenti in disuso, trasformati in spazi performativi con particolare attenzione alle forme, ai materiali, allo spazio interno in funzione dell’acustica del luogo. L’idea di concept è sempre rivolta ad attivare processi di recupero all’interno delle dinamiche sociali partendo da una condizione di abbandono e degrado. Sarebbe utile, al fine di comprendere meglio il singolo progetto, se aveste il tempo e l’interesse di cliccare sui link allegati ai progetti, che rimandano a dei video che sono parte integrante del processo grafico.
Sfoglia i progetti >>
MARZO-GIUGNO 2018
Castellavazzo (Longarone)_Ex cementificio
INTERIORS DESIGN STUDIO Politecnico di Milano Gruppo di lavoro: Marisa Spieker, Andrea Velkoska, Elisa Zanaglio
Il centro di Castellavazzo era un importante avamposto fortificato all’interno dell’ambiente naturale della Alpi Bellunesi, sulla strada per il Cadore. Era un importante centro di estrazione e lavorazione della roccia sedimentaria conosciuta in tutto il Veneto come “pietra di Castellavazzo”. Il cementificio era in origine una fabbrica di produzione di cemento, la cosidetta “Calce Bellunese” che fu attiva dal 1912 al 1966. Nel 1978 la fabbrica chiuse definitivamente e ancora oggi è lasciata in stato di abbandono.
foto 1
4
3
2 1
0
LONG SECTION
1.200 @ A3
Si possono individuare due zone distinte: a quota più elevata è insediato l’antico nucleo produttivo costituito dal complesso dei forni, dei 0 10 frantoi e di una serie di locali connessi al loro funzionamento. Più in basso si riconosce la più recente espansione industriale che comprende il sistema dei mulini, le centrali di spedizione e alcuni capannoni per lo stoccaggio dei cliker (silos).
20 metres
01
1
02 (indoor)
03
foto 2
Il progetto si sviluppa all’interno di quello che era il nucleo del complesso industriale, dove si trovano i silos che venivano usati per lo stoccaggio di materiale: tre cilindri giganti in cemento armato di nove metri di diametro e venti metri di altezza. Ad ogni silo è stato applicato un taglio verticale diverso per ciascun elemento. L’intenzione era quella di scoprire le potenzialità della superficie verticale in calcestruzzo a vista come sfondo per un possibile spazio espositivo, teatrale e concertistico. I tagli sono stati fatti in modo tale che le superfici dialogassero tra loro e allo stesso tempo con il pubblico e ciascuna avesse una propria vista prospettica.
foto 3
Silos: spazio delle performances
Piano terra_stato di fatto
Le tende metalliche integrano le sottrazioni applicate alle forme chiuse dei silos. Sono superfici dinamiche azionate mediante motori posti alla sommità dello spazio scenico e sono complementari all’essenza statica dei silos. Le tende intervengono sulla percezione del pubblico provocando incertezza sullo spazio, moltiplicandone la profondità . Creano un vortice continuo e sempre nuove situazioni sceniche.
PLASTICO DI STUDIO le superfici chiuse dei silos sono state aperte e integrate con tende metalliche movibili manualmente e meccanicamente.
Camerini attori
Diaframmi in cemento Scale circolari
superficie nuda del silo, orientata in modo tale da comunicare con le altre
stage e connessione all’area degli attori
Tende metalliche
nascondono, mostrano, moltiplicano gli scenari
Specchio d’acqua
può essere fatta scorrere all’interno dell’area dei silos a seconda dello spettacolo
Ponteggio
area spetattori
Biglietteria
servizi all’ingresso
Piano terra_stato di progetto
I palchi sono fissati lungo la superficie dei silos. Sono piccoli balconi ancorati alla struttura cementizia raggiungibili mediante scale che si avvolgono lungo i diaframmi cementizi. Questi spazi ristretti enfatizzano la verticalità delle superfici, dando la possibilità di concentrare l’attenzione in un singolo punto o moltiplicarla in infinite possibilità .
exhibition space 11880 mc
Del Cementificio abbiamo mantenuto gli elementi che per noi erano importanti per lo spazio di esibizione, concentrandoci all’interno di quello che per noi era il cuore dell’ex cementificio. Abbiamo sottolineato lo spazio con una nuova struttura: “ The Black Box” una sorta di forziere, all’interno del quale sono contenuti la casa degli attori e lo spazio per le performances. La superficie nera dell’involucro perde la propria consistenza la notte quando la maggior parte delle esibizioni prendono luogo. Gli spettacoli possono svolgersi contemporaneamente in luoghi diversi: sui palchi, sulle scale, sull’impalcatura del ponteggio, sullo specchio d’acqua, in mezzo alla natura.
water collector
foto 4
9 am EXTERNAL PARALLEL VIEW
1.200
Cast_ 9 pm Politecnico di Milano - Architecture of Interiors - 051574/5 - semester 2 - 2017-18
Design for a New Actors’ House and Performance Space in the Former Castellavazzo Cement Works _ 32010 Belluno, Veneto Design team - Marisa Spiker, Andrea Velkoska, Elisa Zanaglio
Continua >>
“The conversion of the pumice quarries is one of the strategic elements for safeguarding the natural beauty of the entire archipelago as well as the instrument by which the goal of maintaining the Aeolian Islands in the Unesco World Heritage List will be achieved.”
MARZO-GIUGNO 2019
Marco Giorgianni, sindao di Lipari
Pumice is an effusive igneous rock with a vitreous paste, very light and vesiculated, generally white in color and scoriaceous in appearance, formed during violent explosive eruptions. During these eruptions, the volcanic gases dissolved in the liquid part of the magma expand rapidly and give rise to a sort of foam whose liquid part, cooling and solidifying with the same speed, takes on a glassy appearance around the gas bubbles. All types of magma (basalt, andesite, dacite and rhyolite) can, under certain conditions (ie if they are brought abruptly to low pressures), lead to the formation of pumiceous material. The Lipari pumice differs from similar material of different origin thanks to its considerable quantity of silica (about 70% compared to the average 50-60% of the other pumice) which, giving it greater hardness and greater resistance to chemical agents, makes it particularly valuable and pure. From the point of view of the physical structure, Lipari pumice can be defined as a solid foam characterized by a very high porosity (up to 85%), whose structure with holes not communicating with each other prevents the passage of air and water absorption.
Lipari (Isole Eolie)_Cava di Pomice
STRATA STUDIO
Politecnico di Milano Gruppo di lavoro: Alice Cajelli, Gianluca Gujù, Elisa Zanaglio
“La riconversione delle cave di pomice è uno degli elementi strategici per la salvaguardia delle bellezze naturali dell’intero arcipelago, nonché lo strumento con cui sarà raggiunto l’obiettivo di mantenere le Isole Eolie nella Lista del Patrimonio Mondiale dell’Unesco.”
POROUS TEXTURE allows green and water infiltration
Marco Giorgianni, sindaco di Lipari
PROGRAMMING POROSITY
diffracts the sound
From the pumice texture to the quarry morphology Lipari quarry, Sicily
multiplies the view
T H E M AT I C S T U D I O S T R ATA Pumice quarry in LIpari island, Sicily Site strategy and processes Alice Cajelli Gianluca Gujù Elisa Zanaglio
17-04-19
T 01
Shaping the sound
STRATA STUDIO
Politecnico di Milano Progetto individuale: Elisa Zanaglio
La pomice è una roccia ignea effusiva caratterizzata da una pasta vitrea, molto leggera e vescicolata, generalmente di colore bianco e di aspetto scorioso che si forma durante le violente eruzioni esplosive. Dal punto di vista della struttura fisica, la pomice di Lipari può essere definita come una schiuma solida caratterizzata da una porosità molto elevata (fino all’85%), la cui struttura con fori non comunicanti tra loro impedisce il passaggio dell’aria e l’assorbimento dell’acqua.
Design program Sound geographies The canyon as the sea ear.
A wave guide is an obligatory path in which waves are introduced. It basically consists of a tube open at the ends, whose pavements reflect the waves and trap them inside the tube itself. In the acoustic case the waveguides act as a directional amplifier because they concentrate the energy of the sound wave in a particular direction of the space.
Closing the canyon on the top part we’ll create a specific acoutic perception, thanks also to the movement of the wind. Equilibrium Primary harmonica
2nd Harmonica
Belly
4th
Node
entrance
25 0m
3rd
5th
45
m
20th
stationary waves
canyon 3
50
m
entrance
Il progetto si muove all’interno del canale scavato nel terreno dai lavoratori, dal quale veniva gettato in mare il materiale di scarto. Questa sorta di canyon stretto, estremamente affascinante, è stato studiato dal punto di vista acustico per la sua naturale capacità di incanalare il vento creando interessanti effetti acustici. L’idea si sviluppa lungo un percorso lineare in cui camminare dal mare fino alla cima dell’isola, passando dal suono delle onde al silenzio della natura.
entrance
canyon 2
services parking
canyon 1
Human ear Anatomic structure.
From a morphological point of view the human ear is divided into three parts: external, middle and internal ear. The outer ear comprises the auricle and the external auditory canal, which terminates in the membrane of the eardrum. The auricle allows us to identify the origin of the sound: the waves reflected from the various points of the pavilion towards the mouth of the auditory canal are out of phase due to the different paths. From these shifts, even if minimal, the nervous system is able to obtain directional information on the incoming sound.
Simulazione del vento https://vimeo.com/user95683691 canyon 1 lengh: 40 m elevation: 30m volume: surface: smooth
canyon 2
canyon 3
lengh: 50 m elevation: 85 m volume: surface: rough
lengh: 45 m elevation: 109 m volume: surface: rough T H E M AT I C S T U D I O S T R ATA Pumice quarry in LIpari island, Sicily Site strategy and processes
Elisa Zanaglio
17-04-19
T 02
Structur concept_canyon 2
Design operations_canyon 2
1
Aereoacustic
New structure that recreates the pumice surface and close the canyon on the top part.
2
The generation of sound by a turbulent flow is the most common physical effect associated with the field of aeroacoustics. Aeroacoustics models can include effects that alter an acoustic field in the presence of a flow, such as turbulence, local variations in material properties, convection, viscous damping,etc.
Acoustic noise generated by a flow can be created through different mechanics, but is ultimately due to fluctuations in the flow. Noise is created by local stress fluctuations in the flow.
top view
slope gradient
image sampler
2.30 m
7.00 m
roof 1
Adding-roof and canopy
f= c/ 2L
New structure that recreates the pumice surface and close the canyon on the top part.
f= frequency (Hz) c= velocity of the air waves (m/s) L= length (m)
The canyon will work as a wave guide, closing the top part of the canyon the audience will be completely immerse in the space, making their own sound experience.
roof 8
Wind direction
Wind bending effect on sound rays.
roof 7
The speed of sound increases in the direction of the wind and the sound beams will tend to curve downwards; in the opposite direction they will instead tend towards the top. On the other hand, there will be the possible creation of an acoustic shadow, while downwind, at a certain distance from the source, there will be a concentration of sound energy, and then, for increasing distances, an attenuation.
roof 6
wind direction
roof 5
0.90 m
contours
roof 4
sound rays
canopy 1
canopy 3 - 10,00 m
6.40 m
canopy 2
shaded area
pumice covering
volume 2
Sound waves
volume 1 + 0,00 m
ruled roof
canopy 1
A sound wave is a longitudinal pressure fluctuation that moves through an eastic medium. It is calledlongitudinal because the particle motion is in the same direction as the wave propagation... The medium can be gas, liquid or solid, though in everyday experience we most frequently hear sounds transmitted through the air.
roof
volume canopy
roof 3 increased preassure
decreased preassure
roof 2
roof 1
canyon 2
motion of air molecules associated with sound
high pressure, low velocity
high velocity, low pressure
sound works both with aesthetic and scientific Wind simulation canyon 2 Autodesk flow design
We can see that the wind fluxues create vortex where there are concave spaces.
1.90 m
8.10 m
volume 1
3
Substracting-volume
Roof-volume created through the manipulation of the surface of the quarry . A space created through the same structure system of the ruled roof declyned in a different way outside the fracture of the terrain. To settle this volume a little portion of the terrain is remodelled.
T H E M AT I C S T U D I O S T R ATA Pumice quarry in LIpari island, Sicily Site strategy and processes Alice Cajelli Gianluca GujĂš Elisa Zanaglio
17-04-19
T 04
scale 1:50
0
1
5
Pumice texture aproximation
Acoustic parameters
The structure of the cealing of the canyon is designed simplified the surface of pumice.
Temperature and humidity
La struttura del canyon acustico si struttura per parti ben distinte e ancorate assieme. I pannelli in pomice saranno creati mediate strumentazione digitalizzata capace di ricreare la superficie irregolare della pietra. Questi saranno ancorati mediante staffe metalliche ad una struttura (capire cosa) generata dalla semplificazione della superficie porosa. Questa a sua volta sarà ancorata, mediante staffe
The principle of scattering.
The speed of sound is affected by temperature and humidity. Because it is less dense, sound passes through hot air faster than it passes through cold air.
The principle of scattering.
Scattering surfaces can contribute to a diffuse sound field, but the interplay is complex. Scattering surfaces for sound are an important aspect of auditorium design. The most common absorption mechanism is porous absorption; sound energy is dissipated in a porous material owing to the friction involved in movement of air particles in the pores. The sound that reaches directly the audience R (receiver) in a closed environment from the source S is only a fraction of what is perceived overall. We must consider sound waves reflected (one or more times) from the floor, ceiling and walls. The reverberated sound is fundamental in large environments because it allows to perceive an uniform sound in all positions of the space.
secondary structure
diffuse reflection (scattering)
internal surface
reverberated field.
specular reflection
multiple reflections
Acoustic absorbtion according to the depth of the porous
Porous morphology
Acoustic simulation canyon 1
Material and morphology, studies regarding sound absorption and reflection. We set two main variables; first was to work with a focal point, in order to reflect all desired sounds into one single point, so convexity and concavity was the first design decision. In addition, roughness was the second main variable, being able to produce high levels of sound diffusion applying rough material surfaces and high level of reflection usign smooth surfaces. Another way to absorb sound was to work with porosity at different levels according to the frequency we wanted to tackle.
scale 1:20
1_roof detail
Test by Bartelett School of Architecture UCL project by @simona_sunwy e @sbeckdorfs
0.20 m
beam
1,0
20
30
40
50
temperature
absorption
10
Pachyderm
1,2
absorption coefficient
Construction details
10
attenuation (dB/100m)
primary structure
attenuation (dB/100m)
Diffuse reflection
20
30
40
50
60
70
80
90
relative humidity
Imposing a source and a receiver and pumice absorption coefficient, pachyderm acoustic returns graphically the movement of the sound within the space.
materiale poroso
0,8
0,6
0,4
0,2
cavità membrana
0.80 m
63
125
250
500
1000
2000
4000
8000
frequenza concrete panel
Parametric analysis
0.09 m
RECEIVER
pumice block
T15= 2.58 s T30= 2.32 s TS= 205.12 ms C= -3.73
3,5
pumice block and beam anchor detail
Percezione acustica all’interno del canyon
https://vimeo.com/458290072
GUARDA LA SIMULAZIONE ACUSTICA https://vimeo.com/458294244
2_rock beam anchor detail
2,0 1,5 1,0
auditors for speech
usic an m org all sic h l mu sica t hall clas ncer ) ic co udio mus ing st rd light co ll (re ert ha conc usic m roo om am dancing oper ce ro ren nfe a, co cinem
The absorption coefficient of the materials depends on:
ASCOLTA IL SUONO
pumice block
CAVITY RESONANCE ABSORPTION: the sound energy is dissipated due to a phenomenon of dying of the oscillation of a partially confined mass of air set in vibration by the sound waves incident on the cavity.
2,5
0,5
metal bracket
concrete panel
ABSORPTION BY POSROSITY: the sound energy that propagates inside the materials with an open porous structure is dissipated by means of a viscous friction phenomenon.
reverbration time (s)
beam
3,0
ACOUSTIC CORRECTION: control of unwanted reflections and reverberation.
. porosity . thickness . density . frequency of the incident sound . shape
0 100
SOURCE
500
1000
5000 10000
50000
volume (m)3
PRESSURE. WIND. WAVE. FREQUENCE. SHAPE. MATERIAL.
SURFACE
A space that immerse the audience soundly and visually
Le onde sonore sono considerate come dei raggi che nel loro percorso incontrano superfici e ostacoli e da questi vengono parzialmente assorbiti e parzialmente riflessi. 3_volume glass window detail
T H E M AT I C S T U D I O S T R ATA
T H E M AT I C S T U D I O S T R ATA
Pumice quarry in LIpari island, Sicily
Pumice quarry in LIpari island, Sicily
Site strategy and processes
Elisa Zanaglio
17-04-19
T 05
Site strategy and processes
Elisa Zanaglio
17-04-19
T 03
Acoustic space is a single enviroment that has to be shared between different sound sources.
pumice covering
cealing structure
pumice blocks
canyon 2
T H E M AT I C S T U D I O S T R ATA Pumice quarry in LIpari island, Sicily Site strategy and processes
Elisa Zanaglio
17-04-19
T 06
PLASTICO DI STUDIO materiali: polistirolo rivestito in gesso e stecche di legno che mostrano la struttura di progetto aggiunta al canyon di pomice. Gli interni sono come grandi strumenti, raccolgono il suono, lo trattengono, lo amplificano, lo trasmettono altrove. Questo ha a che fare con la forma particolare di ogni spazio e con le superfici e i materiali di cui è fatto
smooth surface to reflect the wind sound
Sound perception The principle of scattering.
rought surface to cut the low tones
The sound that reaches directly the audience R (receiver) in a closed environment from the source S is only a fraction of what is perceived overall. We must consider sound waves reflected (one or more times) from the floor, ceiling and walls. The reverberated sound is fundamental in large environments because it allows to perceive an uniform sound in all positions of the space.
surface manipulation from rougth to smooth
Peter Zumthor
10 5 0
T H E M AT I C S T U D I O S T R ATA Pumice quarry in LIpari island, Sicily Site strategy and processes
Elisa Zanaglio
17-04-19
T 07
Continua >>
FEBBRAIO-SETTEMBRE 2020
Vimercate
Vimercate (Lombardy)_Ex chiesa di San Francesco
Monza
Monza-Vimercate 2,6 km
Milano-Vimercate 27 km
RE-INHABITING A CLOSED PLACE Politecnico di Milano Progetto di tesi: Elisa Zanaglio
«Il restauro è un’azione complessa che si traduce nella possibilità di incidere su un bene. Tale azione deve essere compatibile con la natura del bene e garantirne il più possibile l’integrità, al fine di consentire la valorizzazione dei suoi contenuti culturali». Roberto Cecchi Questo lavoro mi ha guidato a indagare un tema centrale per la disciplina della conservazione, che è il processo e il rapporto tra la fase di conoscenza del manufatto e l’azione diretta sulla preesistenza.
Milano
Bergamo-Vimercate 37 km
Bergamo
Project site
Space of the former church left to its original situation.
Banfi residence
Spaces modified during the years for housing pourposes.
Fa
OUT-INDOOR DECORATIONS
West elev 01 San Francesco fresco 02 Fresco representing a cross
02
03 Wooden door-main entrance to the church 04 Fragment of fresco representing a frame 05 Fragment of fresco representing a frame 06 San Francesco and two cardinals 07 Bas relief with floreal motifs and two cherubs 08 Fresco representing the symbol of the franciscanism 01
08
09 Fresco representing San Francesco with the virgin
03
and San Giuseppe 10 Wooden chapel door- connection to the service space
South elevation
West elevation
Section C
A D
B C
07
04
05
B C
E
E
F
F
08
06
A D
Section A-A
Section B-B
Section C-C
A D
B C
09
E
E
F
F
10
A D
Section D-D
09 10
Section D-D
Section E-E
Elevation north
Quello che oggi possiamo vedere dell’ex chiesa di San Francesco è circa un terzo della sua lunghezza originaria e corrisponde alla prima campata antistante l’ingresso. L’intera lunghezza dell’edificio religioso, dopo che venne comprato dalla famiglia Banfi, fu suddiviso tra gli eredi che nei secoli la trasformarono in abitazione privata. I lavori di riadattamento interno hanno cambiato completamente la spazialità del luogo. Uno solo degli eredi non trasformò mai completamente la sua parte di eredità (la prima campata) e per questo motivo possiamo ancora apprezzarne le antiche fattezze.
GUARDA IL VIDEO Il complesso e la chiesa di San Francesco https://vimeo.com/477578298
«L’ascolto non è un tema esclusivamente musicale, ma anche architettonico. L’attenzione allo spazio, al tempo e alla memoria è per l’architetto l’ascolto di un luogo specifico per modificarlo, per imprimere nuovi segni su un palinsesto che il passato e il futuro si contendono incessantemente». Luigi Manzione
cross vaults
still present collapsed
1790
I canti gregoriani risuonano particolarmente bene nelle grandi chiese medievali, nelle quali venivano eseguiti in origine. Le modifiche strutturali e la divisione interna dell’ex chiesa di San Francesco hanno modificato non solo la spazialità originaria, ma anche la sua acustica. Tra gli elementi che contribuivano a definire il suono dello spazio interno vi erano le volte a crociera che generavano una concentrazione del suono amplificandone il riverbero.
added partition walls 2020
Church ceiling original configuration
3,5
volume (m)3 Vol S. Francesco chuch = 1390 m3
3,0
Properties: concentration of the sound and amplification of the reverberation performances: choral chants
org
hall
hall clas ncert ) c co udio musi ing st ecord hall (r rt conce usic om g ro om ra m dancin ope ce ro ren onfe a, c m e cin
light
1,5 1,0
usic
lm sica
2,0
DESIGN OF THE UPPER STAGE MOVEMENT AND THE FLOOR MOVABLE STAGE
usic
an m
2,5 reverbration time (s)
SOUND DRIVEN DESIGN
auditors for speech
p a n e l s h a n g n g t o t h e c e a l i n g M O VA B L E a n d I N C L I N A B L E
0,5
dome vault
concentration of the sound
0 100
cruss vault
1,0
500
1000
5000 10000
absorbent coefficient
concentration of the sound
Acosutic simulation with pachyderm
During the SDD (Sound Driven Design) workshop acoustic simulation were made inside the church. The results brought to three otimal configuration of the ceiling height according to specific kind of sound.
0
20
30
40
50
60
70
80
90
Attributes
CONCAVE SHAPE Concentration of the sound
. clarity and transparency . reverberation . spaciousness . intimacy . loudness . warmth . intelligibility
If the sound rays meet not a planar surface but convex or concave there is the diffusion or the contraction of the sound.
According to the angle of incidence of the sound ray the absorption increase or decrease
private residences
Principle of acoustic
DESIGN CONCEPT: RESPONSIVE CEILING
specular reflections
that defines the sound quality
Technical informations
F= 500 Hz V=1159,24 m³
Movable panels: upper stage movement
Weight= 12kg por panel Composing material=lightweight aluminum alloy frame, (5 mm) tempered hardboard, top and bottom skins laminated, (38 mm) thick phenolic impregnated honeycomb core. On the back the panels are covered with sound-absorbing material.
T30 = 2,28 s C-80= -5,42
SOUND PRODUCTION
CONVERSATION
absorption
diffuse reflections
The structure movable in height and along specific angles, allows to obtain different acoustic performances using the same type of panels. The fluidity of conformation offered by this mechanical system will intervene on the volume of the room (reducing it, moving the ceiling lower) and on the surface of the ceiling (moving the panels according to the angle) controlling in this way the incidence angle, the absorption and the direction of the sound toward the audience. This is only possible for the reverberating part of the sound field, that is composed by the sound rays reflected from the surfaces; sound absorption has no effect on the sound energy that comes directly from the source to the listener.
ROOM DESIGN: h. acoustic ceiling= 12 m + acoustic shell inside the chapel. PERFORMANCES: coral chants.
2nd configuration: “volumetric”
Acoustic shell: floor movable stage
Weight= 25 kg por panel Composing material=lightweight aluminum alloy frame, (5 mm) tempered hardboard, top and bottom skins laminated, (38 mm) thick phenolic impregnated honeycomb core. 6
CONVEX SHAPE Diffusion of the sound F= 500 Hz V= 819,7 m³ T30 = 1,47 s C-80= 3,64
ROOM DESIGN: h. acoustic ceiling= 6 m + acoustic shell inside the chapel. PERFORMANCES: classic, symphonic and chamber music.
3rd configuration: “dry”
acoustic shell
reinforce the sound coming from the source
movable panels
diffuse the sound toward the audience
3,5 DIRECT SOUNDS FIRST REFLECTIONS (souds reflected by one or two surfaces) R E V E R B E R AT E D S O U N D S ( s o u n d s r e f l e c t e d b y m u l t i p l e s u r f a c e s )
absorption
10
angle of incidence
project site
specular reflection
α= 0.23
0
10
Among the elements that defined the space of the former church, the cross vault, now no longer existing, generated a specific acoustic inside the classroom. It was probably painted, favoring the reverberation of the voices, creating a perfect amplification of the sound during the religious chants. It’ll be proposed in the valorization project for the church a new acoustic driven ceiling which will close again the view on the roof structure. The aspect of this element will be completely different from the cross vault. It’ll be controlled by a mechanical system for the vertical elevation and the horizontal movement of each panel which compose the ceiling. This panels will be design to respond to the different acoustic needs, diffusing or absorbing the sound.
α= 0.5
α= 0.145
1st configuration: “redundant”
lunette still present
From an architectural point of view, churches are mainly places of worship, but in their historical evolution they also have been places for music. It should be noted that Gregorian chants resonate particularly well in the great medieval churches, in which they were originally performed. Music was used especially vocal to embellish the rhythms of ritual practices to create an otherworldly atmosphere.
0,5
Sound driven design configurations
missing cruss vault
Medieval churches
α= 0.98
50000
F= 500 Hz V=533,5 m³ T30 = 0,90 s C-80= 7,00
ROOM DESIGN: h. acoustic ceiling= 3,50 m + floor carpets and sound absorbing drapes. PERFORMANCES: conferences, prose theatre, contemporary live music.
It’s a scenic container made of assembled transparent acoustic panels placed inside the chapel. The panels are self supporting and on wheels. La struttura così realizzata consente di effettuare le operazioni di montaggio e smontaggio in tempi molto brevi. The function of the acoustic shell is to maximize and optimize the sound produced inside it, facilitating the reciprocal listening between the musicians and the conductor and at the same time appropriately conveying the music toward the audience. It’s conceived with highly modular characteristics and flexibility in its assembly. The acoustic chamber is intended to sonorize, under optimal conditions, any environment acoustically deficient for symphonic and/or chamber music performances.
C E A L I N G D E TA I L : S T R U C T U R E Play position
motors
to lift the cealing
01
graticciata
grid where the thecnical elements of the movable cealing are housed
sound absorbing
02
absorbs the sound rays coming from the roof 0.11
03 04
variable
05
sound reflective
0.29
reflects the sound toward the audience
06
01 Metallic truss beam 02 Lifting motors 03 Grid (graticciata) 04 Cable 05 Metallic truss (americana) 06 Metallic acoustic panel arm 07 Acoustic panel
1.22
Storage position
americana
moved in height through ropes actioned by the motor on the graticciata
1.30
0
acoustic panels
hanged to the americane through metal arms
needed to absorb the sound “DRY” configuration: they can be removed when they’re not needed
To control the volume of the space and the direction of the sound rays SELF SUPPORTING shell structure ON WHEELS
hanged to the metallic trusses through cables
Acoustic responsive ceiling
ON SITE ACOUSTIC ANALYSIS: the sound driven design project requires acoustic tests (in situ with proper technology) to gather precise values of the acoustic parameters to define precisely the height of the acoustic ceiling according to the different performances.
TRUSS BEAMS (AMERICANE) AND LIFTING MOTORS: the double track truss beams are hanged through metal cables and serve to lift the acoustic panels and the lighting system. The lifting and lowering system will be regulated by a motorized pull machine equipped with lifting chain and fixed to the grid (graticciata). The lifting motors is necessary for the vertical movement of any scenographic elements. This system will allow to manage the different acoustic configurations (see 1st, 2nd and 3rd configurations of the ceiling). 01
02
03
0.58
04
1.90 surface modulation convex to diffuse the sound
05
06
07
0.90
1 m
CEILING STRUCTURE: the structural design of the roof includes two metal trusses to add to the existing ones in wood, well connected to the masonry and the roof warping. The design and sizing of the new trusses will be responsibility of the structural engineer.
light system
Play position
Storage position
0.5
scale 1:10
sound absorbing drapes 2.25
07
0.16
Outdoor events space
Exhibition space
GUARDA IL VIDEO Configurazioni acustiche del soffitto https://vimeo.com/477578298 Per le ridotte dimensioni in pianta dello spazio, il pavimento sarà lasciato libero da qualsiasi elemento fisso, così da offrire una maggiore flessibilità per diverse configurazioni dello spazio a terra. I pannelli acustici posso essere alzati, abbassati e inclinati da un sistema meccanico a motore agganciato alle struttura del soffitto, e questo permette allo spazio di rispondere dinamicamente al suono emesso, che sia una voce, uno strumento musicale, una registrazione audio. La possibilità di regolare la configurazione dei pannelli durante le performances musicali, teatrali, espositive garantisce la massima qualità della risposta acustica dell’ambiente.
04
01
05
03
02
GROUND FLOOR
08
03
01 Outdoor event space 02 Entrance 03 Audience - performance - exhibition space 04 Performance - exhibition space 05 Service and emergency corridor 06 Toilet
07
OUTDOOR EVENT S INDOOR PHOTOGRA
Sound driven design
04
06
09
09 Graticciata
07 Technical space 08 Reception room Internal accesses
Due to the small dimensions in plan of the space, the floor will be left free from any fixed exhibition accessories and seats, giving more flexibility to the different conformations of the space. The main room will be furnished internally -without interfering with the original surfaces of the church- to increase the acoustic comfort of the space according to the specific performance. The limits established by the “Soprintendenza for environmental and architectural heritage” for the use and division of the internal space, brought me to think that the vertical control of the space was the best solution to preserve the perimetral painted walls and the spaciality of the rooms, taking advantage of the considerable height of the nave due to the collapse of the cross vault. The main element of the new project will be the acoustic ceiling made by wood reflective panels that will allow a controlled restitution of the sound to the audience. The new ceiling will be mechanically moved by an engine up and down according to the different exhibition to perform, responding dynamically to the sound of the space. The possibility of adjusting the acoustic configuration during the musical practices guarantees maximum quality of the acoustic response of the environment.
FIRST FLOOR
seats
can be moved outside for outdoor events
acoustic s
being equippe be moved outs
“volumetric” configuration
External accesses F= 500 Hz V= 819,7 m³
SAN FRANCESCO SOUND DRIVEN SPACE
6
T30 = 1,47 s C-80= 3,64
INDOOR CONCERT 96 seats
reception room
used as foyer and catering
CONTROLLED CAR ENTRANCE
service/ emergency corridor
A
performers ENTRANCE
A
C
C
service and emergency EXIT technical space
private residence toilet
lifting platform
space for outdoor exhibitions
instruments and shell movement
B
B
PUBLIC ENTRANCE
lifting platform
B
B
+ 0.00
+ 3.70
reception room
private residence
technical space ENTRANCE/ EXIT
Planimetry Horizontal section + 1.20
0 scale 1:100
5
coatroom ticket office
CONCERT CONFIGURATION
garden
10 m
A
C
A First floor Horizontal section + 4.70
C 0 scale 1:100
5
10
V H
SPACE APHIC EXHIBITION
Outdoor configuration: “open field” reception room
used as foyer and catering
shell
ed with wheels, it can side for outdoor events
COURTYARD DESIGN: acoustic shell + church façade
photographic panels
PERFORMANCES: conferences, prose theatre, contemporary live music, classic music (different acustic parameters from the indoor).
hanged to the cealing structure through cables
facade
service/ emergency corridor
reflects the sound like the fake facade in the greek theatres
exposition space
removing the seats, the space can be used for expositions. The structure of the acoustic cealing can be used to hang the phographic panels
acoustic shell sound absorbing drapes
absorbs the sound creating an intimacy acoustic environment inside the courtyard
Banfi’s garden
storage space
being self-supporting on wheels it can be moved outside
vegetation
to limit the reflections coming from the back wall
for the acoustic panels, seats and the technical instruments
12.00
12.00
11.00 9.00
“redundant” configuration
F= 500 Hz V=1159,24 m³
4.70
4.70
4.70
1.20
1.20
1.20
10
T30 = 2,28 s C-80= -5,42
Section A-A
Section B-B
Section C-C
public entrance Via Ospedale
View above the panels Horizontal section + 11.30
“dry” configuration
F= 500 Hz V=533,5 m³ T30 = 0,90 s C-80= 7,00
3,5
Master’s degree in Architecture-Built Environment-Interior Academic year 2019/2020
San Francesco church From analysis to intervention: new values for a closed place
technical space
to control the light system and the movement of the acoustic panels
Space configurations stage
it’s not fixed and can be moved outside or in a different place inside the space
View above the graticciata Horizontal section + 12.00
stairs
to reach the first floor
Elisa Zanaglio
Group:
Thesis supervisor: Rossella Moioli
Panel:
Thesis co-supervisor: Alessandra Pili Milano O c t o b e r, 2 0 2 0
VALORIZATION PROJECT
V. P. 0 6
Scale:
1.100