emilio trevisiol portfolio

emilio trevisiol | ACCADEMIA DI ARCHITETTURA MENDRISIO (CH) | PORTFOLIO 2011 - 2013

portfolio | CONTENTS

curriculum vitae | 07 design studio BAC 1 | 09 design studio BAC 2 | 37 digital representation | 73 construction system and process | 81 cultural anthropology | 89

curriculum vitae | PERSONAL INFORMATION name | EMILIO ANTONIO surname | TREVISIOL

date of birth | 05 JULY 1992 nationality | ITALIAN

address | VIA ISONZO 23, 33019 TRICESIMO (UD), ITALY phone | +39 3397606017, +41 798729529

email | emilio@trevisiol.net, emilio.trevisiol@usi.ch

high school | LICEO SCIENTIFICO “GIOVANNI MARINELLI” UDINE (IT)

| EDUCATION

university | ACCADEMIA DI ARCHITETTURA MENDRISIO (CH)

| SKILLS

languages | ITALIAN, ENGLISH

modeling skills | CARDBOARD, POLYSTYRENE, CARTON PLUME, WOOD, MDF, GYPSUM, CONCRETE computer skills | Mac OS, WINDOWS

CAD software | AutoCAD, VECTORWORKS

3D software | RHINOCEROS, AutoCAD, SKETCH UP render software | MAXWELL

other softwares | ADOBE PHOTOSHOP, ILLUSTATOR, INDESIGN, LIGHTROOM

7

design studio mario botta - bruno keller | BAC 1 | 2011-2012

9

project in lodrino quarry | A THEATER FOR THE BALLET

During the first semester of the first year, introductory to the architectural approach, the atelier activites were focused in the design of a public space dedicated to the show, in particular to a theater for the ballet.

The project site is a granite quarry in Londrino, a small town of Canton Ticino, southern Switerzland. A long path through a hypogeum ramp dug into a trench allows to observe, during the initiation way to the theater, only the wood above the quarry. As soon as the viewer changes direction in the proximity of the architectural volumes, that act as a theatrical stage, discovers the quarry wall of the cave that serves as seatback while watching the show. The theater stage, which can also perform other purposes, such as temporary residence for dancers or exercise spaces before the show, is designed as if it were a metaphorical curtain for the outdoor stage. A play of solids and voids between the two facades increases this effect.

11

12

13

14

15

16

17

18

19

project in monda village | STAIRCASE SYSTEM

The project of the second semester is based on designing small residences for solo musicians, at Monda village, located in a privileged spot at the end of Riviera valley, crossed by Ticino river. The first step of the project consists in the development of an entry system that allows to reach all the musicians’ homes. A circular staircase leads to the balconies that create a triangular shape with the building.

The cylinder which contains the staircase, lit only by zenithal light and through the balconies exits, is thought to be made of concrete, such as the access paths to the homes. Finally a large wood brise soleil, made from wooden inclined slats, follows the entire length of the balconies becoming a bulwark.

21

22

23

24

25

26

27

project in monda village | HOUSE FOR A MUSICIAN

The single volume for the musician is divided into two functions: one purely residential and one for working, a space dedicated to rehearsal or small performances with few spectactors. Developed in vertical, it is divided into three levels that are reachable through a stairway, that never overlap on itself. Once entered in the house, the element of the ladder allows to reach, without going through the housing part, the music room on the top floor which is lit only zenithally through a skylight placed on the same staircase. The whole volume is constitued in prefabricated concrete panels that in the stairway’s wall and into the performances box are modeled with an inside texture.

29

30

31

32

33

34

35

design studio walter angonese | BAC 2 | 2012-2013

37

redrawing of kazuo shinohara | UMBRELLA HOUSE

The design project of the atelier started by studying the works of the Japanese architect Kazuo Shinohara. The redrawing and rebuilding of his houses in scale models have helped us to understand the generating principles of his architecture. The self-classification into four phases that the same architect makes on his own career and the theory about the so called “space of use” and “space of no use” together with the concept of “dichotomy” are focus and ispiration for future projects.

The space of the mind and emotion, created by the dialetic among the architectural components and the structure, which is always highlighted with a clear symbolic meaning, is the center of the project, as in Umbrella House. A small house in the chaotic center of Tokyo, incorporates the elements of the Japanese tradiction. A simple square sensitively divided into four zones to ensure the living spaces, with the tatami room first of all. The whole plan is topped by a unique structure perfectly made by Japanese craftsmen. Designed in detail, is formed by concentric girders that give space to a chandelier in the center, which is also the peak of the roof with four slopes. Architecture who deliberately wants and is able to create emotions and peculiar atmospheres.

39

40

41

42

43

44

45

project in gaasbeek park | WRITER IN RESIDENCE HOUSE

Returning to the shinoharian inspiration theme of “space of use” and “space of no use”, the first semester program consist in a project of a writer in residence house within the picturesque scenery of the Gassbeek castle’s park in Belgium, near to Bruxelles. Visiting the site in order to choose the right location where to place the house, the context has determined the future architectural development. While entering the park along the paths specially traced one is immediately struck by the large visual perspectives that connect the focal points of the park. The castles stands in a privileged position on top of a hill, and around it straight-line visuals connect other small buildings, for example a votive chapel or a triumpal arch of and old entrance. Visual pathways follow the topography of the land, cutting the wood in a straight way, such as large boulevard designed and made by man to highlight the spectacular scenery. Ponds increase the effect. The artificiality, the man’s hand that draws and shapes the park is clear and evident, but it stops, at first glance, on paths and on castle’s edification. The nature seems to have been divided into large lots of land but left intact in the deep of the woods. Penetrating into a small part of the park full of beech trees appears clear that everything have been platend by man, spaced in an equal manner with precise order and rhytm.

All that from the outside looked pristine becomes clearly artificial. With a game of visual angles is possibile to more or less grasp the obvious artificiality of the place.

Standing in the middle of two straight rows of plants, the explicit perspective points out the man’s hand in the planting, but turning the gaze thirty degrees away, being always in the same position, the artificial world vanishes, leaving place to the natural one. The project reflect this suggestion, this change in viewing angle, developing into two volumes slightly off the ground in order to highlight the views that can be admired from inside. Two views, a natural and an artificial one, for two places, deeply diffrent: the “space of use” where we live, very simple and cozy, and “space of no use” with double height, place of mind, a place dedicated to the writer.

47

wood grid

points of views

volumes position

48

49

50

51

52

53

54

55

56

57

58

59

60

61

project in palermo | HOUSING IN KALSA SQUARE

Even in the second semester the design theme was inspired to Shinohara, but in this case applied to a much larger scale.

The site is locaed in the historic city of Palermo, the old Arab and Phoenician center, from where the Kalsa name derives.

The lot, long and narrow, must necessarily enter into communication with the adjacent Baroque church of Santa Maria of Kalsa, with the same Kalsa square overlooking the sea, and finally a small clear area behind the church with a small but huge value baroque loggia. The project starts from the desire to close the Kalsa square, filling with a head element’s higher than the church, a residual area used as a parking space at the beginning of the lot. On the back the lot is developed with more moderate heights, creating a rhythm in order to be in tune with earlier buildings and the context.

Among the various bodies numerous courts are created, which represent the “space of no use” typical of Palermo, closed by buildings and by perimeter wall, connected to the ground floor by a common path, marked by a rhytm of contraction and expansion, dictacted from the covered way and then opened in the courts. The compound occupies the entire lot trying to create a rhythmic succession of solids and voids and to enhance the perspective, thanks to the perimeter wall, of the baroque loggia placed at the end of the street between the lot and the church.

63

64

65

66

67

68

69

70

71

digital representation - giovanni b. balestra - lidor gilad | BAC 2 | 2012-2013

73

project in villa argentina park | A PAVILION

The course is set on the method “learning by doing” and proposes the development of a small architectural project, an exhibition pavilion in the academy’s park. Through the creation of a conceptual schemes that expose in a clear and immediate way the initial idea and images of the desidered atmosphere, the exhibition and the representation of the project are elaborate using and experimenting design, 3D modeling, rendering and graphics software. The development of the project is hypogeum, creating a unique subterranean room of limited size for small exhibitions, zenithally illuminated by nine light’s cannons, two of these also work as entrance.

75

76

77

78

79

construction system and process - franz graf | BAC 2 | 2012-2013

81

redrawing of rino tami |

CANTONAL LIBRARY OF LUGANO

The course, which runs pratical and theorical parts in parallel, includes the study and construction analysis of a building of the XX century. In this case, the cantonal library of Lugano, built in 1939 by Rino Tami, one of the Ticino’s masters. Thanks to the drawing of the time and to the possibility to perform supervision on the site, a 1:20 model of a building’s part has been developed. It concerns the books warehouse, arranged over four floors, connected by a spiral staircase that becomes a characteristic element in facade together with the use of glass block in a standardized way. In addition to the explanatory tables, a model that reproduces the structure entirely in concrete have been created, poiting out the various layers that compose it.

83

84

85

86

87

cultural anthropology - matteo vegetti | BAC 2 | 2012-2013

89

public space | STUDY CASE: I ROBIN HOOD GARDENS

Following the lectures of the course dealing with the study and the analysis of public space from the ancient Greek polis to the nowadays web world, a research that investigates this theme in personal and free way have been proposed. The choice fell on one of the most interesting examples of social housing of the sixties, which had its primary purpose the creation of a real public space. The model of “street in the sky�, proposed in Robin Hood Gardens between 1969 and 1972 by Alison and Peter Smithson, is still a great source of inspiration even though, as stated by the architects themselves, has failed in its purposed from the outset. The research, retracing the TEAM X history, analyzes the causes of the Robin Hood Gardens failure from the architectural, social and cultural point of view.

Afterwards a piece of the introduction to the essay is proposed again.

91

Spazio Pubblico | Social Housing

Caso Studio | Robin Hood Gardens

! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

!

Tommaso Fantini | Alberto Rossi | Emilio Trevisiol

Accademia di Architettura di Mendrisio | 2012 - 2013 | Antropologia Culturale | prof. Matteo Vegetti

92

“The spirit of the present study is not meant to be a didactic text. The case considered is simply a starting point for the investigation of the proposed topic. We tried to understand which are the reasons that led to the failure of a big social housing projects, which from our point of view represents the most interesting, but complex, tangency point between the public and the private. The project of Alison and Peter Smithson for Robin Hood Gardens symbolizes how even noblest ideas, once materialized, may not produce the desired effects. Recent proposals for the building demolition, strongly opposed by great personalities of the architectural community, and personal experience that has induced us to know about the site and its inhabitants are testament of its failure. “

93

emilio.trevisiol@usi.ch

printed in May 2013