Architecture Portfolio 2019 [Extended] by Fabrizio Esposito

Fabrizio Esposito Portfolio

INDICE pag. 4

CURRICULUM VITAE [ARCHITECTURE PROJECTS]

Building the edge Pompei

Mirad’or Ercolano

Syria post-war Housing Syrian cities

“Adamah” - Chapel Tanaf, Senegal

Museum of XXth century art Berlin

Store @MDD (OMA) Miami, FL [OTHER PROJECTS]

Knoll Celebrates Bauhaus (OMA)

Video Making

Render

Paintings

FABRIZIO ESPOSITO CURRICULUM VITAE Profile

Name | Fabrizio Esposito Born in | Naples, 11/20/1993 e-mail | fabrizio.esposito@polimi.it faber.espy@hotmail.it mobile. | +39 333 6015556

Education

MILAN Polytechnic School of Milan | Bachelor’s Degree in Architectural Sciences (2011-2014) Master’s Degree in Architecture (2015-2017) Vote: 110/110 BOLOGNA YACademy | Post-Master Course “Architecture for Heritage” (2018) NAPLES Scientific High School diploma (2006-2011) Vote: 84/100

Workshop

NEW YORK New York Institute of Technology | Workshop “Metabolism of a city” (April 2017) BUENOS AIRES Universidad de Belgrano | Workshop in History of Architecture “Milano e Buenos Aires - Sguardi incrociati” (March 2016)

Work experiences

MILAN morfema architects (Form_A) (2014 and 2016) - Internship Main projects: - “Centro civico Isola” Competition, Milan - “ConcorriMI” Competition: “Urban regeneration”, Sesto San Giovanni (MI) ★Mention Massimiliano Roca Architetto (2017) - Collaboration for the competition Civic Library of Castelmaggiore (BO) Studio Natalia Bianchi (2018) - Consultant Rendering and 3D Modeling

ROTTERDAM Office for Metropolitan Architecture - OMA (2019) -Internship Main projects: - Morden Wharf Masterplan, London - “Knoll Celebrates Bauhaus”, Milan - Store at Miami Design District - Guest House in Burg, Brugge

Competitions

Exhibition

MH17 memorial park, (2014) ★Mention “Costa Concordia Lighthouse” (2015) “Syrian Post-war housing” (2016) ★Third place Kaira Looro Sacred Architecture (2017) ★Finalist Europan 14, Madrid (2017) Kaira Looro Cultural Center (2018) Scuola di Restauro, Ercolano (2018) ★Second place Memorial “La Porta di Sion”, La Spezia (2018) ★Second place

NAPLES Personal exhibition of paintings “Mandatory freedom” (May 2013) CASTEL S. PIETRO, CH Exhibition of the Conservation Atelier (November 2013)

Languages

Skills

Interests

Knowledge of programs

Italian | mother tongue English | B2 - TOEIC 735/990 French | School level Freehand drawing, Acrylic painting 3D modeling, Graphics, Layout, Rendering History of art / architecture, Music, Photography, Digital drawing, Video Making Adobe: Photoshop ★★★★★ Indesign ★★★★★ Premiere ★★★★ Illustrator ★★★ Office: Word ★★★★★ Excel ★★★★★ PowerPoint ★★★★ 3D modeling: Rhinoceros ★★★★★ Vray for Rhinoceros ★★★★ Sketchup ★★★★ Grasshopper ★★★ Blender ★★★ Drawing: Autocad ★★★★ 6

Rotterdam, 17 July 2019

To Whom It May Concern Re: LETTER OF RECOMMENDATION | Fabrizio Esposito It is my pleasure to write this letter of recommendation for Fabrizio Esposito. Fabrizio worked as an intern at OMA from 07 January 2019 until 06 July 2019. Throughout this period, he performed his tasks with great competence and in a professional manner. Fabrizio worked on a number of projects during his internship, including Knoll celebrates Bauhaus exhibition, Milan, Morden Wharf Masterplan, London, Burg, Brugge, Courreges Flagship Store, Paris (Model) and Off White Store. During his time at OMA, Fabrizio showed an ability to work under pressure and a willingness to put in the hours, whilst always maintaining a positive attitude and dedication to producing work of a high standard. Fabrizio is a gifted designer and a keen researcher. He managed to gain a comprehensive and critical understanding of the complex design issues presented in the projects he worked on, and gave considered, well-presented responses. Fabrizio is a fast learner who really engaged with his team and the demands of the projects. During his internship at OMA, Fabrizio had the opportunity to use and further develop his knowledge of crafting and model making techniques. In addition to this, he was able to navigate through 3D space comfortably. He worked with a range of different design mediums, such as sketches, architectural models, 2D and 3D drawings, and conceptual diagrams. He further illustrated his skills in the quality of the work he produced whilst working with design software such as (AutoCAD, Rhino, Illustrator, InDesign and Photoshop). Fabrizio is a motivated and positive individual, who is dedicated to his work. He is capable of integrating design requirements into a final design proposal in an elegant and sensitive manner. Fabrizio was always professional in his work and interaction with others. He performed his tasks with accuracy and consistency. It was a pleasure to have Fabrizio as part of the OMA and AMO team in Rotterdam. His dedication and passion for his work made him an appreciated member of the team. I can recommend Fabrizio without reservation. Yours sincerely, OMA

Samir Bantal Director AMO

Office for Metropolitan Architecture (O.M.A.) Stedebouw B.V. Heer Bokelweg 149 3032 AD Rotterdam - The Netherlands t +31 10 243 8200 - f +31 10 243 8202 office@oma.com - www.oma.com

Building the edge_ The work of thesis aims to reconfigure the spaces that regulate the entrance to the archaeological area of Pompeii. “Building the edge” means structuring a masterplan with a uniform strategy on the area that runs along the southern edge of the walls. The project is on an urban scale, where the new buildings take up the deposits, the axes and the alignments of the two urban areas of Pompeii, the excavations and the city itself. The buildings never come into direct contact with archaeological artefacts but the intent is to promote the perception that the tourist has of them, with cuts, perspectives, openings and materials, in addition to the design of open spaces, designed to be public. The zoom in detail is the entrance building of Porta Stabia, with the relocation of some archaeological collections.

Location: Pompeii, Italia Master Degree Thesis Supervisor: prof. Massimiliano Roca Correlator: arch. Andrea Fradegrada

Functions BUFFER ZONE GENERAL PLAN

Santuario della Beata Vergine del Rosario di Pompei Piazza Bartolo Longo

1.1 Information point 1.2 Shop

2.1 Restaurant 2.2 Common spaces 2.3 Hypogeum auditorium

3.1 Commercial spaces 3.2 Accommodation facilities 3.3 Foresteria

4.1 Ticket office - Porta Stabia entrance 4.2 Access to the Theaters 4.3 Bar 4.4 Exhibition / Antiquarium spaces 4.5 Temporary exhibitions

5.1 Restoration 5.2 Offices for the superintendency 5.3 Support for Excavation operations 5.4 Possibility of temporary cover installation

6.1 Spaces for Education 6.2 Art workshops 6.3 Art library

7.1 Ticket office - Entrance to the Amphitheater Gate 7.2 Permanent and temporary collections

Piazza Anfiteatro Ingresso Porta Marina Superiore Ingresso

Porta Marina Inferiore (Piazza Esedra) Ingresso

Didascalia.

7 d

c b

a’ c’

d’

b’ AREA DI PORTA STABIA - (Edificio 4, pagina successiva)

Access to the pine forest Info Point / Shop / Spaces for dissemination

SEZ. aa’

Entrance to Porta Stabia Exhibition / Antiquarium spaces

SEZ. bb’ 5

Restoration Support functions for excavations

SEZ. cc’

Ingresso di Porta Anfiteatro Permanent and temporary exhibitions

SEZ. dd’

+16.10

+11.00

+5.00

±0.00

-5.00

SEZ. AA’

Section, Plan and Axonometry of the Entrance Bulding of Porta Stabia [4]

QUOTA +5.00

A’

Piano Secondo - Espositivo Esposizioni permanenti Esposizioni temporanee +11.00

Asse del Quadriportico

Piano Primo - Espositivo Esposizioni permanenti Esposizione dei calchi +5.00

Ingresso all’Area Archeologica (Porta Stabia)

Piano Terra Bar/RIstorante Esposizione del Plastico di Pompei ±0.00

Chiesa di San Paolino

Hall of the Museum with the Statue of Eumachia. “The Pompeian does not pierce his walls; he has a sacred devotion to the walls, he has a love for light. The light is intense if it is between the walls that reflect it. “ (Le Corbusier, Pompeii, 1911)

“Hall of the casts” The hall of the casts is a domed space with a single oculus at the top that houses 12 casts of the fugitives, the work of Giueppe Fiorelli, archaeologist superintendent in the mid-800. His idea of injecting gypsum into heaps of earth before excavation operations allowed to find many plaster casts “kidnapped to death”, which today are among the icons of the city of Pompeii.

Mirad’or_ The historical evolution of Herculaneum allowed the panoramic places, once belonging exclusively to the villas of the “Miglio d’Oro”, to become places open to the city. In this scenario the whole project is grafted, which aims to highlight a unique place, surely among the most beautiful Italian landscapes. The design intentions aim not to subtract from Herculaneum, a saturated city, further open space, as opposed to restoring spaces of relationship, defining a new panoramic point of the city. Mirad’or works with a doubling operation: through an excavation two open spaces are set up, both visually related to the archaeological landscape and the sea, to allow citizens to reclaim a fragment of their city.

Location: Ercolano, Italia Competition, Second place ★ Team: Fabrizio Esposito, Roberta D’Agrosa, Davide Pagano

View of the upper piazza

Villas / Scenic Points of the Golden Mile 1 - Reggia di Portici, Antonio Canevari, 1738-1742 2 - Villa Aprile, Girolamo Riario Sforza, XVIII sec. 3 - Villa Campolieto, Luigi Vanvitelli, 1755-1775

10 3

1 2

Primo piano interrato

1-reception 2-coffee-bar 3-hall events 4-library 5-elevator 6-labs 7-staff offices 8-classroom 9-staff 10-bathrooms

6 11

7 8

Secondo piano interrato

View of the loggia from the Restoration laboratories

View of the lower square. The material operation carried out in the Mirad’or project is that of covering the excavated spaces with a golden material, as was the case in the ancient Japanese practice of Kintsugi, a philosophy that involves the use of gold to weld the fragments together. Gold becomes the instrument through which to weld together past and future, new and ancient, ruins and contemporaneity.

222904 ‫ ﺐﻠﺣ‬-Halab (Aleppo)

‫ ةقرلا‬- al Raqqa (al Raqqa)

‫ ةكسحلا‬al Hasaka (al Hasaka)

‫ صمح‬- Hims’ Homs ‫ رمدت‬- Tadmur (Palmyra) ‫ ﻖﺸﻣﺩ‬- Dimašq (Damascus)

Syrian historical cities

Ruins of the city

First step for post-war recontruction

222904 ‫ ﺐﻠﺣ‬-Halab (Aleppo)

‫ ةقرلا‬- al Raqqa (al Raqqa)

‫ ةكسحلا‬al Hasaka (al Hasaka)

‫ صمح‬- Hims’ Homs ‫ رمدت‬- Tadmur (Palmyra) ‫ ﻖﺸﻣﺩ‬- Dimašq (Damascus)

Syrian historical cities

Trace of urban edges

Ruins of the city

First step for post-war recontruction

Urban historical identity

222904 ‫ ﺐﻠﺣ‬-Halab (Aleppo)

‫ ةقرلا‬- al Raqqa (al Raqqa)

‫ ةكسحلا‬al Hasaka (al Hasaka)

‫ صمح‬- Hims’ Homs ‫ رمدت‬- Tadmur (Palmyra) ‫ ﻖﺸﻣﺩ‬- Dimašq (Damascus)

Syrian historical cities

‫ ةقرلا‬- al Raqqa al Raqqa)

Trace of urban edges

Ruins of the city

First step for post-war recontruction

Boundary building

Employment of remain materials

Urban historical identity

‫ ةكسحلا‬al Hasaka (al Hasaka)

Syrian historical cities

ep for post-war recontruction

Ruins of the city

Trace of urban edges

Boundary building

Subsystem of courtyards

Employment of remain materials

Urban historical identity

Network of smaller communities

City Me Public

Landm

Trace of urban edges

Boundary building

Reinstatement of city memories

Subsystem of courtyards

Employment of remain materials

Urban historical identity

Immortality of urban identity

Network of smaller communities

Dear Nizar,

there was a time when we were friends. There was a time were we used to play h said that we could go back, I was afraid to find a totally different place; but street everything fits good; daddy told me that he will build my own little bedroom, you k There are many other families here, mum and dad are working with them everyda i can imagine the both of us playing near the fountain at the center, to splash with I’ll always keep a room for you here, as well as in my heart, and i hope that my wo Hugs from our new Syria.

BACK H

Time 3

Yours Golan.

Possibili Dynamic

SHARDS OF M

Dear Nizar,

there was a time when we were friends. There was a time were we used to play happily together. But then that war came ... and then we lost everything. I’m wr said that we could go back, I was afraid to find a totally different place; but streets are still the same, like where we used to play around, and where we stopped everything fits good; daddy told me that he will build my own little bedroom, you know... we still have lot of space left that we can use, i will definetly pin a picture There are many other families here, mum and dad are working with them everyday to rebuild what is ruined.. I met many new children in our courtyard, we have i can imagine the both of us playing near the fountain at the center, to splash with water; i imagine our future here, without black airplanes, no bombs, just ourse I’ll always keep a room for you here, as well as in my heart, and i hope that my words will reach you even where you are now, up in the sky watching us. Hugs from our new Syria. Time 2 Yours Golan.

BACK HOME Ground Floor - Commerce

Private Courtyard

Possibili Dynami

SHARDS OF MEMORIES

Dear Nizar,

there was a time when we were friends. There was a time were we used to play happily together. But then that war came ... and then we lost everything. I’m writing you to tell you something that you would never expect to hear. That pl said that we could go back, I was afraid to find a totally different place; but streets are still the same, like where we used to play around, and where we stopped playing when those black airplanes came like clouds in the sky... but now the everything fits good; daddy told me that he will build my own little bedroom, you know... we still have lot of space left that we can use, i will definetly pin a picture of you when it’s done, so you can see it too! There are many other families here, mum and dad are working with them everyday to rebuild what is ruined.. I met many new children in our courtyard, we have even our own private garden! Well it’s not just for me... but it’s like living in a i can imagine the both of us playing near the fountain at the center, to splash with water; i imagine our future here, without black airplanes, no bombs, just ourselves and our smiles. Time 1 I’ll always keep a room for you here, as well as in my heart, and i hope that my words will reach you even where you are now, up in the sky watching us. Single h Hugs from our new Syria.

Ground Floor - Commerce

Yours Golan.

Private Courtyard

Syria Post-war Housing_ Syria is, in the 10th century, known by everyone to be the scene of a bloody and long war. All cities are bombed and razed to the ground and the end of the conflict seems far away. This project, in a utopian sense of pure hope, tries to imagine an end of war “scenario”, when all the refugees can finally return home. The project is summed up in the strategy, which can be implemented in all cities, to trace the streets with the buildings now destroyed, and create large internal courts, each with a function. To make the edge of these structures are smaller and more intimate courts that will be the future Syrian houses. Therefore, guidelines that aim to protect what is left and to heal a wound that can only be rehabilitated with the memory of what happened because it does not happen again.

Location: Syrian cities Ideas competition, Third place ★ Team: Fabrizio Esposito, Roberta D’Agrosa, Vincenzo Demasi, Valerio Croci, Costanza Galli

View Didascalia. from the outside

A large excavation in the stone is access to one of the great courts

SchemeDidascalia. of the big courtyards Possibility to create a functional connection among the great courts, with the development of the city.

Immortality of urban identity

...after 50 years

Network of urban centralities New image of the city

New urban composition

Private courtyard

Public courtyard

Time 3:

Possibility of elevation Dynamical façades

25 mq + 25 mq + 25 mq +

1st floor

25 mq + 25 40mq mq++ 40 mq +

Time 2:

1st floor

40 mq +

Possibility of extension Dynamical spaces

40 mq + 40 mq + 25 mq + 25 mq 50 mq mq ++ 25 25 mq 25 50 mq mq ++ 25 mq 25 50 mq + 25 25 mq mq + 50 25 mq mq +

Time 1: Single housing unit

50 mq + 40 mq + 25 mq 65 mq mq + 40 25 mq 40 mq + 65 mq 25 mq 40 mq mq + 65 25 40 mq mq + 65 mq mq 25

Time 0: Housing Unit plans Architectural invariants

65 mq

40 mq + 40 mq 80 mq mq + 40 40 mq 40 80 mq mq + 40 mq 40 mq + 80 40 40 mq mq + 80 40 mq mq

mind. When they ’s not too big, but safe! Sometimes

80 mq

Ground floor: Commerce

1st floor

2nd floor

1st floor

2nd floor

1st floor

2nd floor

quiati invellibus exera quaspe volorio nseque cusam, si teculli quatqui quam et aspidem porrovi duciist,.

DISTRICT, SENEGAL

A d a m a h_ Adamah is a Semitic word with different meanings: from “protector” to “born from the ground”. The sacred space is therefore conceived as a protective space, very intimate and linked to the inner thought of the individual, a central space with an earthy floor and looking upwards at the top of a sky. A vertical project, made of two intersecting solids, built with the materials available, in the place, typical of the Senegalese construction culture. The construction of this project will be possible thanks to a spiral model, with the repetition of a self-supporting wooden structure and a weaving of intertwined branches. Adamah therefore means the possibility that every man must be able to meditate, touch the earth and look at the sky.

Location: Tanaf, Senegal Competition, Finalist project ★ Team: Fabrizio Esposito, Costanza Galli, Antonio Laruffa

View of the interior space

Scheme of constructive mode

Section

Bottom view of the central space

Museum of XXth Century Art_ The project area of the Kulturforum is complex as it is located between two artifacts of incredible architectural significance: the Neue Nationalgalerie by Mies van der Rohe and the Philharmonic by Hans Scharoun. The project proposal from the strategic point of view aims to connect them with a large access ramp and a lower connection. With a very rigid and orthogonal scheme we tried to create a citadel of buildings with open spaces very characterized by very materic fronts. The museum itinerary develops in the longest building of the three and on the entire basement. The collection includes works from the early twentieth century, by artists such as Kirchner, Warhol, Beuys, Kiefer and Fontana.

Location: Berlin, Germany Design Laboratory II, prof. Galliani Team: Fabrizio Esposito, Costanza Galli, Valerio Croci

View from the side

Interior view

Das Kapital Raum 1970-1977 , Joseph Beuys, 1980

La nona ora, Maurizio Cattelan, 1999

4 3

6 7 8 9

Axonometric cross section 1_ Henry Moore, “Senza titolo”, 1960 2_ Anselm Kiefer, “Mohn und Gedächtnis“, (“Papavero e memoria”), 1989 (230 x 650 x 630 cm) 3_ Andy Warhol, “Coltelli”, 1981/1982 4_ Andy Warhol, “Mao”, 1972 5_ Ronald Bladen, “Tre elementi”, 1965 6_ Joseph Beuys, “Das Kapital Raum - 1970/1977”, 1980 7_Daniel Buren, “Elements formant une architecture”, 1976 8_ Anselm Kiefer, “Volkszählung“ (“Censimento”), 1991 9_ Lucio Fontana, “Concetto spaziale, Nature“, 1959/60

STORAGE OPEN SPACE

RETAIL

OPEN SPACE

Store @Miami Design District “Is shopping relevant nowadays?” Starting from this simple question, this project tries, in a provocative way, to figure out how a store can hosts what’s happening around the city of Miami: events of arts and music, exhibitions, or parties, but mantaining the function of the store. The idea consists in the installation of a “moving facade” able to change the scenarios of the space, based on its position. The ground floor can be completely freed up, thanks to movable and modular furnitures that can be packed in the storage. This moving wall can be moved in two directions along two rails: from flush to the actual facade of the store pushed all the way inside, in order to expand the outside space into the store.

Location: Miami, FL, United States Commissioned project, Office for Metropolitan Architecture ★ Team: Samir Bantal (Project Leader), Fabrizio Esposito, Valentin Bansac

FRAME Modelshot DETAILS OF USE DETAILS OF USE

Modular frame for the movable furnitures WHITE POWDER COATED STEEL

WHITE POWDER COATED STEEL

Scenario A: Exhibition

Scenario B: Store

Scenario C: Catwalk

Different configurations of the “Moving Wall”

TUBULAR STEEL

PEO PLE 2017 - Piero Lissoni, Grasshopper Tables 2016 - Piero Lissoni, Avio Sofa System and Matrioska Credenza

2001 - Asymptote, A3 System

1972 - Learning from Las Vegas 1987 - Sottsass Design

CANTILEVER

2013 - David Adjaye, Washington Skin and Skeleton

1959 - Harry Bertoia, Sound Sculptures

2015 - Barber and Osgerby, Piton Side Table and Stool

1954 - Florence Knoll Collection 1958 (2006) - Four season stool

1954 - 3 Seats Sofa

2009 - Chadwick, Spark Series

1954 - Florence Knoll Coffee Table 1954 - Florence Knoll Lounge Chair

1981 - Schultz, 1407 Chair

1966 - Platner Executive Collection

Eszter Haraszty

FLORENCE

Modern Always Heritage

1948 - André Dupré, Model 130 Chair

1974 - Platner Executive Collection

Robert Venturi

BREUER

1966 - Schultz Outdoor Collection 1992 - Frank Gehry, Power Play Club Chair

1972 - “Knoll au Louvre” - Exhibition 1968 - Gavina acquired by Knoll

MIES

1946 - Eero Saarinen, Grasshopper

TS EN EV

1955 - Noguchi, Tables and Stools

COMPLEXITY AND CONTRADICTION

1938 - Hans Knoll founded Knoll International 1943 - Florence starts working for Hans Knoll Furniture Company

Design (in Mies arch) 2007 - Lovegrove collection Gerrit Rietveld

1970s - Cinelli Bikes 1924 - Paul Henningsen, PH Lamps 2018 - Marc Newson, Aluminium Chair 1928 - Marianne Brandt, Lamp for Kandem 1948 - Eero Saarinen, Womb Chair

1921 - Coco Chanel n.5 1923 - Art and Technology - A new Unity

1922 - Sedia a Listelli in legno d'acero 1924 - Alma Buscher, Children Furniture and Toys

1952 - Bertoia Collection

1936 -Apprenticed with Walter Gropius and Marcel Breuer in Cambridge Florence enters in IIT, where she meets Mies van der Rohe

1922 - Oskar Schlemmer, Triadic Ballet

1936 - Florence graduates at Cranbrook Academy

1926 - Laszlo Moholy Nagy, Photogram 1947 - Bonet, Kurchan, Ferrari-Hardoy, Butterfly

1922 - African Chair 1937 - Laszlo Moholy Nagy founds the New Bauhaus in Chicago

1924 - Josef Hartwig, Bauhaus Chess set

1930 - Mies van der Rohe director of Bauhaus until 1933

1929 (1948) - Barcelona Chair

1927 - Marcel Breuer, Piscator Apartment

1938 - Wilhelm Wagenfeld, Kubus Storage Containers 1926 - MR Table 1936 - Walter Dorwin Teague, Kodak Bantham Special 1929 - Georg Kolbe Statue 1929 (1959) - Brno Chair 1924_Marcel Breuer, Laccio Table

1958 - Eero Saarinen, Pedestal Series

2013 - Barber and Osgerby, Sofa

1927 - 1931 - MR Collection

CLUB CHAIRS

BAUHAUS

1926 - MR Chair

1932 - International Style at MoMA

1927 - Weissenhof in Stuttgart

1926 - Joseph Albers, Nesting Tables 1927 - Marianne Brandt, Model No. MT 49 1923 - W. Wagenfeld and K. J. Jucker, Bauhaus Lamp

1956 - Alexander Calder, Red Mobile

1927 - Café Samt & Seide

1961 - Florence Knoll Executive Office

1929 - Barcelona Pavillion

1923 - Walter Gropius, Director's apartment

1925 - Wassily Kandinsky, Yellow-Red-Blue

2009 - Jehs+Laub Collection

1951 - Hans Knoll's Office

1930 - Tugendhat House, Brno

1993 - Massimo e Lella Vignelli, Paper Clip Table

1931 - Le Corbusier, Ville Savoye

1926 - Wassily Kandinsky, Several Circles 1925 - Walter Gropius, Bauhaus in Dessau

1926 - Marcel Breuer, Cesca Chair

1948 - Knoll NY Showroom 1929 - Eileen Gray, Villa E1027

1937 - Henry Dreyfuss Model 300 Bell Telephone 1966 - Whitney Museum, NY (Met Breuer)

1925 - Marcel Breuer, Wassily Chair

TEC

1965 - Eero Saarinen, CBS Building (Interior Design: Florence Knoll)

CHI

1922 - Oskar Schlemmer, Bauhaus Logo

1966 - Platner, Easy Chair

1923 - Herbert Bayer, Bauhaus posters

1926 - Anni Albers, Wall Hanging 1927 - Research in Development of Universal Type 1946 - Herbert Matter Graphics

1966 - Complexity and Contradiction in Architecture 1926 - Eileen Gray, Centimeters Carpet

2017 - OMA, Tools for life

1945 - The Alvin Lustig Campaign

1925-26 - Gunta Stölzl, Textile Department at Bauhaus

1930 - Fortunato Depero, Campari Campaign 1926 - Gunta Stölzl, Tapestries

PLANNING UNIT

1927 - Futura Font

1930

2016 - Barber and Osgerby, Pilot Chair

1951 - Knoll Stripe

1940

1955 - E. Haratszky, Transportation Cloth 1953 - E. Haratszky, Fibra

1970 - Massimo Vignelli Brand Poster

1950

1949 - Joseph Albers, Hommage to the Square

1960

1976 - Anni Albers, Eclat Weave

1967 - Suzanne Huguenin, Knoll Nylon Homespun

1970 1980

1989 - Hazel Siegel, Textiles

1990

1989 - Anne Beetz, Textile

2000

2015 - David Adjaye Textile Collection

2010

T E XT

TUR

1960 - Charles Pollock, Model 657 Chair

1949 - Eames, Case Study House #8

IL E

Knol Celebrates Bauhaus During the Milan Design Week 2019, Knoll decided to celebrate the centenary of Bauhaus, describing the relation between Bauhaus and Knoll and explaining what happened during these 100 years in the fields of Design, Arts, Design, Graphic and Culture and who were the protagonists. This exhibition is devided in four clusters, based on four masters: Mies van der Rohe, Marcel Breuer, Florence Knoll and Robert Venturi. To describe how complex and rich is this relation among the different fields of architecture, graphic, design and art, at the entrance of the exhibition was placed this diagram/artwork, that works as a radial timeline and links all the relations present in the exhibition.

Location: Milan, Italy Exhibition for Milan Design Week, Office for Metropolitan Architecture ★ Team: Ippolito Pestellini Laparelli (Project Leader) Fabrizio Esposito, Francesca Lantieri, Nicholas Lin

Title: Confusianesimo Artist: Caparezza Views: 35 000