ENRICO V. SCIANNAMEO Architectural Portfolio
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name hometown birthdate residence
Enrico Vito Sciannameo Conversano, Bari, IT 18/05/1993 Lungomare D. Modugno, 3 Polignano a Mare, Bari, IT address Via Edolo, 26 Milano, IT personal mail enricosciannameo@gmail.com enricovito.sciannameo@asp-poli.it telephone +39 3279948802
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CURRICULUM VITAE Enrico Vito Sciannameo Education Alta Scuola Politecnica, Milano-Torino 2015 - now School restricted to 150 students selected solely on the basis of merit among applicants of Master programmes in Engineering, Architecture and Design of Politecnico di Milano and Torino. Curriculum is about processes of creativity, digital technologies and dynamics of innovation. MSC in Architecture, Politecnico di Milano 2015 - now Technische Universiteit Delft February 2016 - July 2016 Erasmus Programme at the Faculty of Architecture and the Built Environment. Complex Project Track. BSC in Architecture Science, Politecnico di Milano School of Architecture and Society. October 2012 - July 2015 110 with honor/110 Liceo Scientifico Sperimentale S. Simone, Conversano, BA 2007 - 2012 100/100 High school diploma with final work about Carmelo Bene and phonetic in his work.
Work Experience Monestiroli Architetti Associati November 2016 - January 2017 (3 months) Production of 2D and 3D drawings and perspective views for a competition about Music Academy in Krakow and a project in Monopoli, BA. Arch. Arianna Dalle Carbonare - Arch. Sara Gigante June 2015 - October 2015 (5 months) Collaboration for an architectural competition (SOCREM Crematorium Temple in Pavia)Attendance of the competition for the new SOCREM Crematorium Temple in Pavia. Concept phase, realization of 2D and 3D models (plans, elevations, sections, renders). Politecnico di Milano - ABC September 2014 - September 2015 (1 year) Collaboration with Professors Maria Pilar Vettori, Paola Pleba, Antonello Sportillo Editing and web design of a publication about the projects developed during the Building Technology Studio by Prof. M.P. Vettori, P. Pleba and P. Bertozzi.
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Workshop IC Advance Architectural Design Studio with Kazuyo Sejima and Jonas Elding Politecnico di Milano March - July 2017 MIAW ‘17 - Milano International Architecture Workshop with Mauro Baracco Politecnico di Milano February 2017 DeepBRERA with Lorenzo degli Esposti Politecnico di Milano - Accademia di Brera June - October 2016 MIAW ‘15 - Milano International Architecture Workshop with Marcio Kogan Politecnico di Milano February 2015 Cortona Open 3D - Parlare coi muri with Gianluca Vita Cortona, IT July - August 2014
Exhibition and publications Analysis of G. Terragni project in Brera Close reading. Formal analysis in architecture Tulpenmanie Gallery, Milano, IT April 2017 Milano Animal City - Rhizome Third Istanbul Design Biennal October - November 2016 Istanbul, TK. Domus Web http://www.domusweb.it/it/notizie/2016/02/20/milano_animal_city_2016.html Abitare http://www.abitare.it/it/gallery/habitat/urban-design/milano-animal-city-gallery/
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Brera Art Factory Milano Capitale del Moderno, curated by Lorenzo Degli Esposti, Actar Editorial, NYC, 2017 KoozArch | A visionary platform of architecture https://koozarch.com/2017/01/23/reinventing-the-relationship-between-production-consumptionand-education-of-art/
Awards First Prize - “DeepBrera” Brera Art Factory Finalist project - “Flexible Housing Society” Mahou Honorable Mention - “SOCREM Temple in Pavia” Crematorium Temple in Pavia
Skills Adobe Creative Suite (Photoshop, Illustrator, Indesign), Maxon Cinema 4D, Autodesk Autocad, Archicad, 3DStudio, Rhinoceros, Grasshopper, Blender, Sketchup, Final Cut Pro, Revit.
Languages Italian Native language English Proficiency - C1 / 2015 IELTS with 7/9 (reading 8, listening 6, writing 7, speaking 7) Spanish Basic level
Other experience Photography
2010 - 2015 . Photographer for the Literature Festival Lector in Fabula, Conversano, Bari, IT 2011. Collaboration as assistant with Studio Reportage by Nicola Nardomarino in Bari, IT Workshops about portraits with Nicola Nardomarino in Bari, IT 2010. Photography school with Alessandro Cirillo in Bari, IT
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CONTENT 01 Brera Art Factory
DeepBrera Workshop/Competition - with Giulia de Appolonia
02. Inujima Theatre Workshop
IC Advanced Architecture Workshop - with Kazuyo Sejima
03. Theatre for the Academy of Berlin Design Studio II - with Stefan Vieths
04. Rhizome
Town Planning Design Workshop - with Stefano Boeri
05. Mahou
TU Delft Landmark Studio - with A. Takashi Richters
06. Pavia Crematorium Temple Competition - with A. Dalle Carbonare
07. Nagoya Townhouse
Building Technology Studio - with L.M.F. Fabris
08. The face of Marilyn
History and theory of Architecture - with Irenèe Scalbert
09. Everything Nature - A collective drawing Workshop - with Mauro Baracco
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BRERASpaces ART FACTORY for digital arts
Brera Art Factory tries to reinvent the relationship between production, consumption and education of art. The project starts from the close reading of the proposal done by Terragni, Lingeri and Pollini. Realized in 1935, the project is composed by three part (the educational rooms, the distribution and the exhibition), strongly separated to one another. The new proposal keep these fundamental elements to blend them into a new space for digital arts.
characterized by a compact fabric, the second by a series of linear buildings. The new Brera Academy in Porta Romana allows the creation of a diffused system of museums. The old and new locations of Brera behave as two opposite polarities and dialogue with the other cultural and academic institutions, such as Prada Foundation, Bocconi Business School and MUDEC – Museo delle Culture. These reflections have led to the creation of a continuous line that remarks the character of treshold. However, the building has different types of permeability towards the two sides of the city. The industrial spirit of the site is evoked through the use of a floating steel megastructure.
The extension of Brera Academy is located in the mostly abandoned railway yard of Porta Romana. The area shows itself as a strong urban limit: it divides two parts of the city, the centre and the suburbs. The first is
First Prize Winner DeepBrera
With: Elena Scafidi, Songming Li
DeepBrera workshop | 2016 Prof. Lorenzo Degli Esposti - Mentor: Giulia De Appolonia Politecnico di Milano Accademia delle Belle Arti di Brera
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Terragni’s project in Brera
Cultural spaces
Abandoned railway yards
The project
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ola d’arte di Brera, 1935 gni
Assonometria
B
12 m
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6m
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6m 12 m B
12 m B
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9 Piano I
3 1. scultura 2. nudo libero 3. esposizione scultura 4. studio scultura 5. modellazione 6. ornato 7. aula chimica 8. biblioteca 9. aula architettura 10. pittura 11. museo anatomico 12. teatro 13. scenografia 14. decorazione 15. figura
C C Piano Tipo
C C B A
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Piano Terra
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INUJIMASpread THEATRE WORKSHOP performance center in Japan
A public path running across the island intercepts three pavilions shaped by the landscape, stretching and expanding to generate specific performing spaces. Acting, dancing and playing music
are provided with different atmospheres according to each particular landscape. The path eventually flows into a main stage for collective performances in the center of the island.
With: Elena Scafidi, Niccolò Bressan
IC Advanced Design Workshop | 2017
Prof. Kazuyo Sejima, Prof. Jonas Elding Politecnico di Milano
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The Music Hall
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The Acting Hall
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The Dancing Hall
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The Quarry Stage
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THEATREPerformative OF THE ACADEMY spaces in Berlin
The project for a theatre of the Academy starts by the reading of the city of Berlin. In particular, it is clear from the analysis how the river Spree create a sequence of monuments, by connecting Schinkel buildings in the Museum Island with the Bundestag and the West area of Berlin. The site of the projects is located exactly in the middle of this path. The area enclosed the flow coming from the river inside its courtyard, and the building stands as an isolated object surrounded by the void. This relationship between solid and voids, between the building and the fence around it, it recalls the Alte Nationalgalerie and the
way it represents an object in a void generated by a portico. The composition of the building consists in three internal blocks, each with a particular function, that dialogue with the context. At the ground floor level, they indicate the accesses to the building, while on the upper levels they host the library of the academy and especially the two blocks of the theatre (the stage and the auditorium). The theatre can work as a flexible space: it can work using all its length, with the Spree becoming the scenography, or it can become a Shakespearian Theatre by dividing the two volumes. In this case, a studio theatre and a backstage are created.
With: C. Testa, A. Daniel, G. Sarno
Town planning design workshop | 2015 Prof. Stefano Boeri Politecnico di Milano
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“A rhizome has no beginning or end; it is always in the middle, between things, interbeing, intermezzo. The tree is filiation, but the rhizome is alliance, uniquely alliance.” Gilles Deleuze - Felix Guattari
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RHIZOME
Spreading Biodiversity through the water system
has created, and allow biodiversity to enter the City of Milan, is through the use of the water system of the city: the canals. The existing manmade corridor along the city (the Navigli), carrying one of the few remaining natural elements in Milan can be transformed into a lung of life and spread biodiversity – after all, water and nature are absolutely interrelated. Moreover, water has defined Milan’s character from an early stage while the innovative dams system which Leonardo Da Vinci conceived, has been one of the greatest achievements of the region. Leonardo referred to Milan as “The city of Water”. Aim of this project is to bring back this lost identity of the Leonardo’s City.
Milan has been for too long now an enclave made by humans for humans. Bringing back biodiversity in Milan is becoming an inescapable urgency. Contemporary big cities are characterized by an introverted character which neglects anything natural and avoids the “contamination” with Nature, as Gilles Clement observed in his Manifesto of the Third Landscape. This segregation is the result of the myopia of the western culture, filtered by Aristotle’s distinction between humans – animals – nature; Humans are convinced for their superiority and their power over nature. The most effective way to break down the rigid boundaries that urbanization
With: E. Scafidi, D. Kafili
Design Studio II | 2017 Prof. Stefan Vieths Politecnico di Milano
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naviglio path underground navigli navigli underground
2016 2016
ticino ticino
adda adda
hubs hubs directions directions of of platforms platforms naviglio naviglio path path
ticino ticino
2030 2030
adda adda
hubs hubs naviglio naviglio path path
2080 2080
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Mineral multiplicity
Nest
Wetland
Low vegetation
High vegetation
Den
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MAHOU
Landmark as Critical Space
development is managed through a partnership between the municipality and the community. The use of an existing tower and the presence of institution is fundamental in order to make an economically sustainable project. A series of catalysers are spread along the whole public path to avoid dangerous concentration of poor people. These main functions (a theatre, an art and crafts laboratory, a garden, a sport center, a restaurant and observatory) have the role of attracting people from outside the tower, avoiding the creation of a new form of segregation. The rest of the path will not have a prefixed function. It will be modified by the users according their needs. The presence of stairs allow them to use for several purpose, as a normal plaza, as a study place, as a space for recreation or a normal living room. It will become the stage of everyday theatre (the theatre of Brecht) where everyone is free to perform, and where the real life is the main character of the performance.
After four decades from its construction, AZCA shows itself as a place full of contradiction oscillating between different polarities. It can be compared to a huge container, a kind of Tower of Babel, where different people with different languages coexist without any dialogue. The will of creating a new district of business has led to a dualism between the rich people dwelling the highest floors of companies towers, and the extremely poor people on the open spaces and especially in the underground part. In our opinion, what AZCA lacks of is the urban as defined by Henri Lefebvre, not as a morphological element but as something born from the relationship among people, space, objects, products. The urban is the sum of all the differences in the city. Occupation seems to be the proper way to create a building for the community. However, we intend occupation not in an obstructive way but rather in a constructive way. The site we choose is the existent Torre Mahou, whose
Finalist Project Rethinking C. Flexible Houses
With: Carolina Pastor
Complex Project - Landmark Studio | 2016 K. Kaan - A. Takashi Richters - A. Trim - A. De Jong TU Delft
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Landmark of AZCA
Stairs as a landmark
Tower as a critical space
In Madrid, skyscrapers (especially the recent ones) are just “design objects” without any relation with the social and physical context.
AZCA lacks of spaces able to let the urban life develop. Since ancient times, stairs have been used as plazas where people interact.
By breaking the functional segregation of the ordinary tower, the stairs become a critical space, where urban life can happen and trigger new social circles.
2016 Building
2020 Occupying
2030 Conquering
Municipality builds the tower in order to increase the civic sense of AZCA and let the community grow by bringing all the people together. vOpen to all the users of AZCA, aims to offer a place where to produce, to recreate and to realize oneself without distinctions, breaking the cultural and physical segregation of AZCA. Now, municipality owns 100% of the tower.
The community starts owning plots of the tower first of all by building the construnction. Then the municipality would give other plots in exchange for work from the community (through coworking, maintenance of surrounding public space etc.)
After several years, the community will own all the plots of the building. It will keep on going by working for the sake of the community. The processs of selling parts of the building is not a linear one. There may be times where the a coexistence of municipality and community would be helpful for both.
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west facade
north facade bathroom and showers
capsules 400 people
observatory
public space no prefixed function sport club
public space no prefixed function
garden
public space no prefixed function
arts & crafts public space no prefixed function park
-4 m
+4 m
theatre
+0 m
seats / scenography storage flytower capsules material storage
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I Bathroom and shower
Typical floor
II One person capsule
Sport center
III One person + studio Two people Garden I
Work for the municipality
SRVICES
The community
Work for the municipality
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Get the capsule
II
Work for the community
SRVICES
The community
Work for the community
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Keep the capsule
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PAVIA CREMATORIUM TEMPLE Competition
freedom of choice. Historical obstacles and freedom of a message that seems to be clearly in contraddiction. From this reflection, the need of a linear strategy finalised to the achievement of a recognizable building. A building able to comunicate its essencial character, despite all the restrictions. The clearness of the shape and the typological simplicity are used to decrease the impact due to the intrusion of a new object into an historical context. The theme of the temple includes the necessity of move the eyes on a series of celebrative references full of symbolical meanings. The challenge is to decline those topics and values by respecting the soul of the place. The theme of nature is declined both in terms of vegetal components and relationship with the landscape. The latter becomes the guideline of the design process and the language of the building. The main goal is the achievement of a formal valorization of the context with his apparat of symbolic meanings.
The proposal for the new configuration of a Crematorium Temple for the Socrem society from Pavia is deeply rooted into a reflection about the symbolic universe concerning the elaboration of the mourning. The topic of contestualizing in the environment of a cemetery adds another layer of complexity. This is about the necessity of realize a clearly contemporary object inside an historical context with a strong cultural values, recognizable and recognized by the citizens: the Monumental Cemetery of Pavia. For this reason, the role of the architect was not only focus on studying the functions and the performance of the spaces related to the temple. It concerns also the dialogue between the historic character of place full of meanings, and the intrusion of a contemporary product. The harmonization due to the context, that implies a specific formal language, is counterbalanced by the necessity of the comunication, through the same language, of the
Honorable Mention - 4th prize Socrem Crematorium Temple competition
With: Elena Scafidi, Erika Siverio, Arianna Dalle Carbonare
Independent project | 2015
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The interior space is characterized by a diaphragm. It represents a mediation between the inside and the outside. It allows the light to enter, but at the same time create a different atmosphere. Inside the temple, different rooms with different atmospheres are created. The courtyard represent the more public part, where people can sit and reflect. The light that comes from the courtyard shines on the underground floor. Two of the walls are completely dematerialised. It represent a kind of foyer, a space of transition before to
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reach the cells. On the opposite part of the underground floor, all the cells are grouped into different rooms. The presence of different rooms allows us to create more intimate space. Each room get a soft light from the west part, where another diaphragm, with a vertical garden, is located. On this part there is also the ramp that allows a complete accessibility to all the building. Another kind of atmosphere, clearly more airy, is the one that characterized the seats located close to the courtyard.
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NAGOYA TOWNHOUSES
Private and public spaces for Japanese Creative Class
with a span of three meters which interests the first and the second floor of the bigger block on the East facade, two studied composed steel profiles have been designed for the entire length of the parallel xlam walls.
The intervention consists in a series of small wooden houses with ateliers that reinterpret the typical townhous, plus two mixed-use towers. The residential building is composed by an XLAM wooden structure. Each unit is composed by three parallel and one transversal xlam wall and is divided in two blocks, one of one storey and the other one of three storeys. An underground part in reinforced concrete sustain the whole wooden structure which starts from the ground level. The ground floor is occupied by the living spaces of the house and the kitchen in the first block and a space with the function of atelier in the bigger one. The other two floors of the higher block are dedicated to the tipical private space of a residential building. At the top, a pitched roof with a skylight made by pv glasses covers the entire structure. The four facades are covered with a particular system of solar shadings made by wooden lamellas. In order to sustain a cantilever part
The towers have a height of 43 meters (12 storeys, 10 storeys above the ground level). The underground part is split in two parts: the basement of the tower is an informal auditorium, while the other part (under the street) is a swimming pool. The main hall covers the first two floors; floors from 2 to 5 are exhibition spaces, while from 6 to 9 are offices. The last floor is dedicated to the restaurant. Because of the height, two kind of columns are used: HEB400 for the first two floors and HEB300 for the others. The roof secondary beams are HEB200, while the primary beams are IPE450. For typical floors beams, HEB220 are adopted (they are dimensioned considering the heaviest slab (the museum, with a live loads of 3 KN/m2). The primary beams are IPE450 also for the typical floor slab.
With: Li Jianghao, Giulia Villa
Building Technology Studio | 2017 Prof. L.M.F.F. Fabris - A. Magri - S. Zabot Politecnico di Milano
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TOWN54 HARBOR nagoya townhouses
TOWN HARBOR nagoya townhouses
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Scale 1:100
Roof plan A
Ground floor plan
Typical floor plan
Scale 1:100
Roof plan
Scale 1:100
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Scale 1:100
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West elevation Scale 1:100
Scale 1:100
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Strucural plans
Scale 1:100
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Section AA’
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South Elevation
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Scale 1:100
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North Elevation
Scale 1:100
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TOWN HARBOR nagoya townhouses
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First floor plan
Scale 1:10
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Roof
Scale 1:10 1. Wood Panel 2 cm
11. Insulation 12 cm
6. Air Circulation Chamber 6 cm 7. Breathable Membrane
12. Vapor Barrier
8. Insulating Bituminous Sheet
13. Xlam Panel 14 cm
4. Wood Covering Panel 1cm
9. Wood Panel 2 cm
14. OSB Panel 3 cm
5. Wood Plank 12 cm
10. Insulation 2 cm
2. Wood Covering 2 cm 3. Gutter
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Scale 1:10 1. Wood Panel 2 cm
12. Insulation 2 cm
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2. Wood Covering 2 cm
8. Air Circulation Chamber 6 cm
13. Insulation 12 cm
3. Gutter
14. Vapor Barrier
4. Wood Covering Panel 1cm
9. Breathable Membrane 10. Insulating Bituminous Sheet
5. Wood Plank 12 cm
11. Wood Panel 2,5 cm
15. Xlam Panel 14 cm 16. OSB Panel 3 cm
6. Steel Frame
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Roof (ridge) Scale 1:10 1. Air gap
7. Curtain system
2. Reflection Glass
8. Wood Covering 2 cm
3. EVA sheet + PV cells
9. Air Circulation Chamber 6 cm
4. Glass
10. Breathable Membrane
5. Steel Frame
11. Insulating Bituminous Sheet
6. Ridge
12. Wood Panel 2,5 cm
13. Insulation 2 cm 14. Insulation 12 cm 15. Vapor Barrier 16. Xlam Panel 14 cm 17. OSB Panel 3 cm
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Roof (ridge) Scale 1:10 1. Ridge 2. Wood Panel 2 cm
5. Breathable Membrane 6. Insulating Bituminous Sheet
9. Insulation 12 cm 10. Vapor Barrier
3. Wood Covering 2 cm
7. Wood panel 2,5
11. Xlam Panel 14 cm
4. Air Circulation Chamber 6 cm
8. Insulation 2 cm
12. OSB Panel 3 cm
TOWN HARBOR nagoya townhouses
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“There’s more to the picture than meets the eye” Neil Young - My My, Hey Hey
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THE FACE OF MARILYN
communication. It is the first mother’s sign recognisable from the child. The Italian portraitist Tullio Pericoli speaks of “soul of the face”2 to explain how the former takes shape into the latter. Regarding architecture, several theoreticians have fixed the origin of architecture to the creation of the primitive hut to provide a shelter for human, therefore emphasizing the Vitruvian utilitas. However, as Umberto Eco states in “The absent structure”, we always experience architecture as a communication event, even without excluding the functionality.
In 1957 Roland Barthes published a critic towards the dominant mentality and conformism called “Mythologies”. In describing a series of cultural phenomena, the author, both cultural myth destroyer and cultural myth himself, looks at the semiology of the process of myth creation. Barthes updates De Saussure’s system of signs analysis by elevating signs to the level of myth. Among these contemporary myths, the one called “The face of Garbo” describes the face of the Swedish actress Greta Garbo as made of “snow and solitude”. According to Barthes, her admirable object-face, especially in Queen Cristina, establishes a distance from the spectator, in the same way some buildings do with people experiencing them.
Thinking about architectural history, the beauty and the perfection of Greta Garbo’s face can be compared to one of those rationalist architecture from the Fascism, the “Palazzo della civiltà italiana”. This architecture, also know as Square Colosseum, is completely out of time, pure and abstract, more interested in the allegorical representation of the fascist society and the transmission of a message of propaganda rather than in establishing a relationship with the
Therefore, to what extent is it possible to create an analogy between the face and the architecture? Is it actually possible to consider both as a system of signs able to communicate? Concerning the face, maybe the most exposed part of the body, it seems appropriate to state that it is dense of
History and Theory of Architecture| 2016 Prof. Irenèe Scalbert Politecnico di Milano
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city. It keeps the distance from the viewer.
to architecture5, deeply rooted into the Italian tradition such as Aldo Rossi, it is a compact volume that resists the velocity of the surrounding city. It finds its own meaning only in that specific point. It shows the scars of locus, history and present. It connects virtually to the tradition not only with its shape or the bricks previously used by Muzio or Bramante, but also by speaking to the city through immediate and complex images of Milan’s history such as the liberation from NaziFascists designed on its bricks. The word house adds another level by reconnecting it to the archetype.
In a similar way, several skyscrapers of our cities provoke a sense of alienation toward the citizens, that in most of cases can only look at them standing out against the sky without being part of them. They are closer to the power they represent. However, in a world signed by the crisis of capitalism, this kind of perfection is a necessity? Is this the face of architecture today? For sure, it is not the only one. Another kind of architecture, not interested in the degradation of the essence nor in the transmission of a perfect image, is still present. It recalls more the face of Marilyn Monroe and its “too much humanity”4, rather than Garbo’s one. While the latter should have never showed an image different from the perfection, the former embodies all the human signs: beauty, seduction, sex but also anxiety, fear and childhood. The “House of Memory” by Baukuh explains better this comparison. Conceived to preserve and transmit collective memory in a society where no precise collective goals are assigned
In conclusion, architecture today should not communicate perfection. Form should embody sings of the context it exists in, in order to achieve peculiarity from it. It should deal with memory, but also with politic, physiology, anthropology, and all the influences that contribute to define its face. To recall Walter Benjamin, it should be profoundly influenced from what it is surrounded by6. Architecture should resist over the years like Marilyn’s face does, because all the archetypes of the human nature are condensed in it.
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EVERYTHING NATURE A COLLECTIVE DRAWING Scalo Farini, Milan. 2050 d.C.
With the class of MIAW ‘17
Milano International Architecture Workshop| 2017 Prof. Mauro Baracco Politecnico di Milano
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THANK YOU enricosciannameo@gmail.com +39 327 9948802
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