Fabrizio Esposito Portfolio
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INDICE pag. 4
CURRICULUM VITAE [ARCHITECTURE PROJECTS]
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Building the edge Pompei
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Mirad’or Ercolano
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Syria post-war Housing Syrian cities
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“Adamah” - Chapel Tanaf, Senegal
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Museum of XXth century art Berlin
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Store @MDD (OMA) Miami, FL [OTHER PROJECTS]
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Knoll Celebrates Bauhaus (OMA)
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Video Making
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Render
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Paintings
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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)
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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
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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
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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
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Functions BUFFER ZONE GENERAL PLAN
Santuario della Beata Vergine del Rosario di Pompei Piazza Bartolo Longo
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1.1 Information point 1.2 Shop
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2.1 Restaurant 2.2 Common spaces 2.3 Hypogeum auditorium
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3.1 Commercial spaces 3.2 Accommodation facilities 3.3 Foresteria
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4.1 4.2 4.3 4.4 4.5
Ticket office - Porta Stabia entrance Access to the Theaters Bar Exhibition / Antiquarium spaces Temporary exhibitions
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5.1 5.2 5.3 5.4
Restoration Offices for the superintendency Support for Excavation operations Possibility of temporary cover installation
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6.1 Spaces for Education 6.2 Art workshops 6.3 Art library
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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.
Didascalia.
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1
2
3
4
5
6
a
7 d
c b
a’ c’
d’
b’ AREA DI PORTA STABIA - (Edificio 4, pagina successiva)
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Access to the pine forest Info Point / Shop / Spaces for dissemination
SEZ. aa’
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Entrance to Porta Stabia Exhibition / Antiquarium spaces
SEZ. bb’ 5
Restoration Support functions for excavations
SEZ. cc’
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Ingresso di Porta Anfiteatro Permanent and temporary exhibitions
SEZ. dd’
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+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
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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 Âą0.00
Chiesa di San Paolino
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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)
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“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.
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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
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View of the upper piazza
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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
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2
5
4
10 3
1 2
Primo piano interrato
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1-reception 2-coffee-bar 3-hall events 4-library 5-elevator 6-labs 7-staff offices 8-classroom 9-staff 10-bathrooms
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Secondo piano interrato
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View of the loggia from the Restoration laboratories
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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.
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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)
ur
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.
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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
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View from the outside
A large excavation in the stone is access to one of the great courts
Scheme of the big courtyards Possibility to create a functional connection among the great courts, with the development of the city.
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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
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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
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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
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View of the interior space
Scheme of constructive mode
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Section
Bottom view of the central space
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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
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View from the side
Interior view
Interior view
Das Kapital Raum 1970-1977 , Joseph Beuys, 1980
La nona ora, Maurizio Cattelan, 1999
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5
2
6 7 8 9
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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
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STORAGE OPEN SPACE
RETAIL
OPEN SPACE
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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
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FRAME Modelshot DETAILS OF USE DETAILS OF USE
Modular frame for the movable furnitures WHITE POWDER COATED STEEL
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WHITE POWDER COATED STEEL
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Scenario A: Exhibition
Scenario B: Store
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Scenario C: Catwalk
Different configurations of the “Moving Wall”
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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
AR
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
E
1949 - Eames, Case Study House #8
IL E
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GR
AP
HI
C
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
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Title: Confusianesimo Artist: Caparezza Views: 35 000
5:15
Title: Prosopagnosia Artist: Caparezza Views: 7 000
3:57
Title: Forever Jung Artist: Caparezza Views: 2 000
4:37
Title: Lotta per la vita Artist: Sconosciuto Views: 500
2:56
Title: Legge Matematica Artist: Sconosciuto
3:08
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[Other projects]
Video Making_ From one year I started to approach the world of Video Making, starting from the creation of animated videos for songs already known, in a completely independent way. After a number of YouTube views of the first videos I was contacted by some emerging artists and musicians with whom I collaborated to make their music videos. I acquired a good command of editing and two-dimensional effects, always trying to keep in each video a starting concept that is very expressive and is a key to reading more of the song: in the case of the videos proposed in the page on the left, for example , I used Japanese prints or the Rorschach test, to make the video capture an image and be one with the song.
Program: Adobe Premiere
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Rendering di progetto di restyling di una barca
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[Other projects]
Rendering_
One of my great passions is 3D modeling, learned during the years of university to represent projects. I learned to use different softwares, but most of all Rhinoceros, with which model all the bases for rendering I do, with the v-Ray engine. I have collaborated with some studios for the realization of photorealistic views, such as those on the left of a boat layout project.
Modeling programs: Rhinoceros (prevalente) Grasshopper Blender Sketchup Rendering programs: v-Ray
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[Other projects]
Paintings_ I have always been a fan of painting and art history and in my free time I have often dedicated myself to the realization of paintings. I always try to draw spontaneous thoughts, which are often visualized in natural compositions, organic forms opposed to architectural forms. The technique I use is acrylic on canvas, useful for creating very bright shades of color. I am very inspired by the Surrealist artists, among all René Magritte, but also Dalì, Delvaux and Dell’Osso.
right: “The lovers”, 2016 (70x100 cm)
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“Il logico”, 2015 10x10 cm
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“Night over the city”, 2016 50x70 cm
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“Below a drape of sky”, 2016 40x30 cm
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