FEDERICA D O L C I ARCHITECT MASTER DEGREE IN URBAN AND ARCHITECTURAL D E S I G N
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SAGRERA. STRATIFIED FLOWS MEASURE THE LANDSCAPE Architecture of urban relation
2011
AFTER EXPO 2015: PROJECT OF URBAN REDEVELOPMENT
SURVEY AND REUSE’S DESIGN OF CARTHUSIANA’S RUSTICI IN CERTOSA DI PAVIA ROMAN ARCHEOLOGIE’S MUSEUM
2012
TERRITORIAL EXCHANGER INTERNSHIP AT ANGELO MANGIAROTTI FOUNDATION
LIVING THE LIMIT a new threshold for Manhattan _MASTER DEGREE TEACHING ASSISTANT
2013
COMPETITION FOR THE NEW ERBIL CIVIC CENTER: INternship at A.R.S. Progetti spa
INTERNSHIP AT ONE-WORKS
ABILITATION AS ARCHITECT 3DS MAX COURSE AT ABEA FORM
2014
RESTYLING OF A FIRM'S GARDEN
THE RESTYLING OF A FIRM'S GARDEN
Location: BERGAMO _ ITALY Year: October 2013 - March 2014
TEAM GROUP: Dolci Federica D’apolito Alessandra Giordanelli Dario TUTORS: Mangiarotti Anna Paoletti Ingrid
C’
A
C
CURRENT VIEW OF THE GARDEN
B’
A’
B
0m 1m
2m
PLAN
5m
SECTION A-A’
The project consists of the restyling of the Fema offices' garden, a firm located in the industrial area of Cortenuova Galeazze (BG). The client aims to redesign the garden, and in particular requires the presence of a fountain. The involved area, facing north, is composed of a car parking lot, a grassy area and three pine trees on the background. The project reconsidered the spatial arrangement defining the new fountain as the most important composition element. The fountain is located in a central position and defines different functional areas, highlighted exploiting several different materials. The fountain faces on a side the pedestrian path paved with lime black limestone, and on the other side a squared resting place, paved with slabs of blaze gray quarzarenaria stone. As a counterpoint to the fountain a large wooden bench is located in a diametrically opposite position, which provides a privileged view to fountain's water games. The area around the wooden seat assumes the function of a relax area and solarium, being in the sunniest area of the garden.
SECTION B-B’- SCALE 1:100
SECTION C-C’ - SCALE 1 :100
MATERIAL
galvanized steel sheet painted with RAL 9004 color
pedestrian path will be covered with Limestone black with calibrated split (sawn sides). Stone slab size: thickness 2cm, width 30cm, length variable 50-60-70 cm.
fountain square and pedestrian ipé Wood strips with path will be covered with 19x99 mm section and blaze gray quarzarenaria mixed lengths. they will stone. stone slab size: be laid aligned thickness 2cm, width 30cm, length variable 50-60-70cm.
SECTION A-A’- SCALE 1:20
SECTION B-B’- SCALE 1:20
SECTION C-C’- SCALE 1:20
B’
C C’
A
A’ B
Fountain The design concept was to propose what the firm produces as a sculpture. The firm operates in the field of metal structures, and its core business are large hollow cylinders made of steel, called “shell section�. The fountain is defined by two coupled half shell sections within which runs water, which coming out closes the shell circular section and defines a waterfall. The half shell element is produced by the firm on its own through several phases: steel sheets are cut with pantograph, deburred and calendered. Then the different components are welded and, once assembled into a single item, the half shell element it's sanded and painted with anti-rust. The shell element positioning is studied to define two pools: one characterized by the waterfall, clearly visible from the entrance; the other characterized by columnar water jets.
DETAIL SCALE 1:10
PAVING SLABS OF STONE
BRACKET FOR INSTALLATION OF STONE CURB PERFORMED IN STAINLESS STEEL
CANAL FOR FOUNTAIN WATER HARVESTING
1. paving slabs of stone lime black; 2. bracket for installation of stone curb performed in stainless steel; 3. canal for fountain water harvesting ; 4. concrete reinforced curb; 5.base coat + mortar layer; 6. ground; 7. iron sheet thickness 1cm ; 8. base shaped concrete for accommodation fountain; 9. foundations.
AXONOMETRIC EXPLODED VIEW SCALE 1:100
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s t a i nl e s ss t e e ldi s t r i but orwi t h3r owsof 5mm di a me t e rnoz z l e st oc r e a t ewa t e r f a l l
f ount a i nba s ei ns t e e l s he e tt ha ti t ’ sc ut wi t hpa nt og r a ph, de bur r e d, c a l e nde r e d, s a nde da ndpa i nt e dwi t ha nr us t .
c ol l e cngt a nk
pi pel odg e di n i ns pe c t a bl ev a i n c ompa r t me ntf orpi pe s i ns pe con
c onc r e t eba s es uppor tf orf ount a i n
SECTION A-A’
SECTION B-B’
ENTRANCE DIAGRAM
VIEW OF THE CURRENT ENTRANCE
ENTRANCE Up to now, once entered the site, the visitor faces an asphalted area used for parking. The project provides the separation between pedestrian and vehicular entrance thanks to a white concrete wall that directs the visitor's gaze toward the fountain. The pedestrian entrance is characterized by a hollow-core metallic sheet cantilever roof, a painted metallic sheet gate and an entrance path paved with dark stone.
0m
1m
2m
The choice of essences was made after a detailed study on exposure and function of planted areas, in order to give an elegant and harmonic image to the whole project. Evergreens shrubs and lavender were chosen, together with rosemary prostrate and violas, that adding purple hues harmonize with the gray stone and the wood.
1
4
3 2
1 - The area at the feet of the building, currently paved with concrete slabs, will be paved with gravel and will be fitted out with large metal planters containing evergreen boxwoods (Buxus faulkner) of different sizes. BUXUS FAULKNER
LIGUSTRUM JAPONICO
AGAPANTUS
LAVENDER
BAMBOO
NEW GUINEA
3 - At the entrance, the project includes a flowerbed made up of 3 Tuscan cypress trees with different heights and a mixed border with shrubs of prostrate rosemary, lavender and agapantuhs herbaceous perennial.
PROSTRATE ROSEMARY
TUSCAN CYPRESS TREES
VIOLET
2 - Along the area facing the street a ligustrum japonico hedge and some bamboo plants in a big vase are accommodated, to hide the view of the outside street .
LIRIOPE
PACHYSANDRA
4 - At the feet of the three existing pines a flowerbed with 50 cm high edge will be defined in order to create a place where to sit. The flowerbed will be planted with pachisandra, evergreen ground cover plants, and different herbaceous perennials: liriope, purple, and New Guinea. Blooming respectively in autumn, winter and spring, they guarantee a color spot in every season.
L I GHT I NG BENCH: l ed t ubest o cr eat ei ndi r ectl i ght i ng al ong t he per i met eroft hewoodenbenches
L I GHT I NG F OUNT AI N: under wat ers pot l i ght st ol i ghtt he f ount ai n under wat ers pot l i ght sont hef l oor t ol i ghtupt hewat erj et s
PEDEST RI ANPAT HL I GHT S pot l i ght sembedded t hepedes t r i anpat h
HT I NG: di nt he f l ooral ong
BUI L DI NG, I NST AL L AT I ON AND PI NES L I GHT I NG: gar den S pot l i ght s wi t h f ocal l engt h cont r ol l ed
ENT RANCEL I GHT I NG : devi cewal kabl ebygr oundl i ght i ng
LIVING THE LIMIT A NEW THRESHOLD FOR MANHATTAN
Location: NEW YORK CITY_ USA Year: March/July 2012 Master Degree Thesis
W O R K G R O U P : D’apolito Alessandra, Dolci Federica, Giordanelli Dario T U T O R S : Bertelli Guya, Dall’Asta Juan Carlos
MANHATTAN AND TERRITORIAL SYSTEM
The thesis starts from a student competition whose aim was the design of a theater and cultural spaces in New York, in an area at the western edge of the island, West Side Yard. The design process took place in three stages: firstly, we carried out a deep and specific research about the area, its transformations and urban shape, considering its liminal position in relation to the island. After the analysis of the competition’s preconditions and the reading of the project area where we recognized the fundamental element of the High Line, we examined instances of the association "The Friends of the High Line" that through a new competition offer the redevelopment of the third section of the infrastructure. Considered and interpreted the conditions, we defined a design strategy in order to recompose the area, redefining a specific Manhattan block, rebuilding a city limit which, exploiting the relationship with the river, defines a new threshold for the city, becoming a landing place from both ground and water. The functional program was expanded and organized by establishing construction processes and defining spatial elements and their mutual correlations. The decision of proposing the theater not only as representation place but also as a relation and aggregation space expresses the wish to recover an abandoned area by defining a strong urban, social and cultural role. Although it is not a re-naturalization, especially due to the strong presence of infrastructure in the area, the project works in dialogue with the natural elements of green and water.
BUILT SPACES The built spaces show, in their organization in blocks, the major growth stages of the urban structure. The southern tip is composed by the first colonial origin blocks, spontaneously and irregularly arisen. The second layer consists of the blocks that continued to define the original Indian paths (such as Broadway). Finally, the layer which represents the last urban sprawl going to cover the entire island of Manhattan up to the northern edge, is the grid of 1811 that defines rectangular blocks and a dense road network. CENTRAL PARK AND OPEN SPACES OF THE CITY Always ignored in the project of the city because considered unnecessary and replaceable with the sea’s environmental mitigation, open spaces in Manhattan were too little and insufficient. The creation of open spaces and public parks never happened in accordance with proportions and arrangements proposed by the Commission in 1811. The lack of green and the growing congestion on the island put at the center of political debate the issue of the park and in 1853 Frederick Law Olmsted and Calvert Vaux designed Central Park. It is a huge rectangular space located in the Uptown, it occupies 150 blocks and represents the main green space in the city, from the point of view both of nature and of social aggregation. The Manhattan Grid shows in a clear way how it subjected the whole territory and nature: "Its lakes are artificial, its trees are transplanted, its accidents designed, its episodes supported by invisible infrastructure."(R.Koolhaas, 1978). Finally, a typical kind of open space in Manhattan consists of a series of triangular shaped spaces originated from the intersection of the regular grid with the diagonal paths which overlap one to each other. Imagine a model of public space in Manhattan, Times Square: its shape has nothing to do with the European concept of square, but it has a function of junction, of passing, hub of activity and images. SPACE REPORT - the Streets Fundamental in the morphology of the urban network are the old streets, preexisting and resistant to the grid: Middle Road (now Fifth Avenue), Broadway and Bowery (paths traced during Indian settlement).
BUILT SPACES
MORPHOLOGY OF MANHATTAN
DENSITY
OPEN SPACES
MARGINS
RELATION SPACES
GRID
VIEW 1 - FROM EMPIRE STATE BUINDING
VIEW 2 - WEST SIDE YARD
HIGH LINE THROUGH HISTORICAL URBAN FABRIC
VIEW 3 - VEGETATION BETWEEN THE TRACKS
VIEW 4 - HIGH LINE FROM WEST SIDE YARD
HIGH LINE ELEMENT OF URBAN REGENERATION
FRAMEWORK AREA MIDTOWN - CHELSEA - WEST SIDE YARD
BEFORE 1934 DEATH AVENUE
1934-1980 1980-2006 HIGH LINE NATURE CONQUERS THE HIGH LINE
2006-TODAY HIGH LINE AS A NEW URBAN PARK
STRATEGY_ The first strategy’s aim is to take part actively in the island’s margins artificialization and coast regeneration processes. The challenge is to redevelop a space up to now marginal, degraded and excluded from the city. This area is not seen as a limit, a line, a conclusion, but becomes the very location of the project. From the beginning the port city of New York related itself to the sea thanks to the element of the pier, and even the new Hudson River Park project, whose area is strongly linked to ours, exploits the element of the port to create a new space along the coast and a new connections between city and sea. So the High Line changes, turns its path and leaves the old introspective track that surrounds West Side Yard in order to continue toward the river, drawing a new coast line that interacts with the water and becomes a point of essential exchange: from the city to the Hudson river, and from the river to the High Line. HORIZONTAL LANDSCAPE_ In Manhattan, the verticality symbol city, the approach we kept wants to generate a pier, creating a horizontal landscape, almost recalling a horizontal skyscraper shape figure. This does not mean the will to act against the context, but the reinterpretation of the city’s relational space, which is represented, in Manhattan, right by the bases of the buildings. So we strategically dialogue with the horizontal dimension, the relational space dimension, through the High Line, that ends in the project area. The High Line is a horizontal longitudinally developed element, 8 meters raised from the level 0 of the city. The project consists of the construction of a linear system, which fits in continuity with the High Line’s system, taking up its dimensions both in plan and section, but multiplying its module, expanding it until reaching the size of the Manhattan’s block, in order to work in a different area compared to the one where the High Line is supposed to interact up to now: the High Line is no longer contained by buildings but located in a large open space, the West Side Yard. The linear system is divided into different sequences, all characterized by show spaces. The central position, which connects the Hudon river park, the High Line ending point and the Penn Station(the very entrance door in Manhattan), generates a new meeting point within the city.
THE HIGH LINE DEVIATES ITS PATH
ENTER IN THE MOLES’SYSTEM
TAKE THE SIZE OF MANHATTAN’S BLOCK
MEMORY OF THE ORIGINAL COASTLINE
DESIGN STRATEGY
LEVEL +8m theater of the city - stage tower holographic theater - stage sailor theater - concert hall vertical theater - stage LEVEL +4m commercial spaces school of music school of dance theater of the city - cafeteria library holographic theater - cafeteria concert hall sailor theater
LEVEL 0m exhibition spaces commercial spaces school of music school of dance theater of the city - stage library holographic theater - dressing
LEVEL -8m woods
The thesis project takes part actively in the architectural and cultural debate linked to the contemporary theater. The theater, a place of representation and cultural space, times and society mirror, passed along the years different thresholds of transformation that changed it and showed different issues, generating important architectural debates. The modern trend is to create more neutral spaces: indifferent scenes, which have the only purpose to entertain in their own space various typologies of representation. Theater, however, in history, has not been static from the Greek architecture to nowadays. Indeed there were times, for example during the baroque, where the trend was the design of new developments, of structural changes, establishing new relations between the elements, and generating different interactions between the space of the stage and the space of audience.
VERTICAL THEATER
TRADITIONAL THEATER
HOLOGRAPHIC THEATER
FLOATING THEATER
VERTICAL THEATER
TRADITIONAL THEATER
HOLOGRAPHIC THEATER
TEATRO NAVIGANTE
SAGRERA.
STRATIFIED
FLOWS
Location:BARCELONA_SPAIN Year: March/July 2009 Architectural Design Studio 1
BARCELONA VERTICAL LANDSCAPE DESIGN OF A NEW LANDMARK W O R K G R O U P : D’apolito Alessandra, Dolci Federica T U T O R S : Bertelli Guya, Dall’Asta Juan Carlos, Rovetta Germano
Published in "Urban section. A newskylineforBarcelona” by Guya Bertelli and Juan Carlos Dall'Asta, Maggioli publisher, Milano, 2011 Exhibit of the project at Sixth International Biennal of Barcelona
SAGRERA. STRATIFIED FLOWS
Barcelona’s high speed network finds its consolidation in the area called “the Sagrera”. Placed on the northern side of the Catalan megalopolis, at the end of the Cerdian expansion in proximity of Besos River and Park of the Trinitat, the Sagrera retraces parallel to the ancient path of the Meridian directed towards the French border. The area, included in Saint Andreu District IX, today is object of a huge requalification project thanks to the masterplan designed in 2004 from the Canadian architect Frank O. Gehry. The area is shaped like a straight line, exactly parallel to the tracing of the Meridian on the axis of the Carrer of the Clot, directly connected to Placa de Les Glories Catalanes and to Park de the Ciutadela. The reading in sequence of Sagrera, Placa de Les Glories Catalanes and Park de the Ciutadela shapes a new city’s urban order, a new city’s section, that identifies a new relationship with the water‐ front. The project keeps the same concept and form of the Gehry’s masterplan, the flowing morphology leading the habitants to the center of the Barcelona, the skyscraper’s shape which, underlining the building’s levels, creates a sense of dynamism and vertical connections between different functions, and communicates with the bridge and the station.
RAIL
PUBLIC SPACE
CONNECTION
INTERFERENCE
CONCEPT
SAGRERA.STRATIFICATED FLOWS_10
MORPHOLOGY
CONNECTIONS
SAGRERA AREA
MASTERPLAN
ARTIFICIAL SOILS
SOIL COMPOSITION
STRUCTURE
VOLUMES
examples of accommodation inside the tower MAXI ACCOMMODATION FOR 20 PEOPLE
SECTION
PLANS
TERRITORIAL EXCHANGER
Location:MILAN_ITALY Year: October 2011/ February 2012 Architectural Design & Construction Studio W O R K G R O U P : D’apolito Alessandra, Dolci Federica, Giordanelli Dario T U T O R S : Mangiarotti Anna, Paoletti Ingrid, Diluzio Givanni, Chiesa Giancarlo
TERRITORIAL EXCHANGER
AFTER EXPO 2015: PROJECT OF URBAN REDEVELOPMENT
Location: MILAN _ ITALY Year: October 2009/February 2010 Town Planning Design Studio TEAM GROUP: Dolci Federica D’apolito Alessandra W O R G K G U P : iordanel li DR arioO D’apolito Alessandra, Dolci Federica, G tS t: i Mang M a r t a , Ga iordanelli Dario Ti Ur To OR i a r o t ti Ann T U Paol T Orid R S : etti Ing Erba Valeria, Divita Stefano, Rolla Sandro
AFTER EXPO 2015: PROJECT OF URBAN REDEVELOPMENT
In the north-west of Milan, where the outskirts of the city seems to merge with the municipalities of Rho Pero and Baranzate, find their place two areas: the project Expo 2015’s area and Cascina Merlata’s area, where there is a design of a new residential, commercial and office settlement. THE EXPO 2015 The Expo 2015’s project has been heavily criticized on several aspects: first of all the lack of economic resources to build, then the high environmental impact (use of land and resources) of the intervention, starting from its location. The area is enclosed by infrastructures, which make the area difficult to access, apart from being extremely impactful in terms of visual and noise pollution. You can immediately see, in fact, as the A4 Milan-Turin runs from east to west, the railway line Milan-Turin (now HST) and the A8 Milano-Laghi (which form a "gap" intersecting with the A4)run from south-east to north-west. The Expo area is finally closed on the west side by SS33 Sempione, which passes close to the new Rho-Pero and flows north-east linking up with the SP233 Varesina. CASCINA MERLATA The expo area will then be integrated on the south, with Cascina Merlata‘s area, bounded on north by A4 highway, on south by Via Gallarate, on west by the Pero industrial zone and on east by the Cemetery of Milan. Here there is a real estate development intervention promoted by Euromilano which includes a new residential, commercial and office settlement that initially will be used to accommodate those who work for Expo event and then will be used to accommodate social housing units.
TERRITORIAL FRAMEWORK
SETTLEMENT SCHEME
ENVIRONMENTAL SCHEME
INFRASTRUCTURE SCHEME
PROJECT AREA
POLARITY
POLARITY ENERGY
INTERACTION BETWEEN POLES
EXPO AREA PLANIVOLUMETRIC
MASTERPLAN OF EXPO AREA
MASTERPLAN OF CASCINA MERLATA AREA
CASCINA MERLATA AREA PLANIVOLUMETRIC
EXPO SERVICES: 1 - Municipal Conference Centre 2 - civic center 3 - primary school 4 - preschool 5 - Public Library 6 - exhibition spaces 7 - church 8 - oratory 9 - secondary school 10 - theater 11 - nursery TERRITORIAL SCALE SERVICES sports center CASCINA MERLATA SERVICES: 1 - exhibition spaces 2 - Public Library 3 - secondary school 4 - nursery 5 - preschool 6 - primary school 7 - Civic Theatre 8 - Church 9 - oratory 10 - game and media room council 11 - Equipment for the park
BUSINESS SERVICES
DETAIL OF PUBLIC SPACE DESIGN IN CASCINA MERLATA AREA
COMMERCIAL RESIDENCE
RESID.&COMMERC. PRODUCTIVE
PEDESTRIAN PATHS
PUBLIC GREEN AREAS GREEN AGRICULTURE
PRODUCTION / RESEARCH ACCOMMODATION
SURVEY AND REUSE DESIGN OF CARTHUSIANA’S RUSTICI IN CERTOSA DI PAVIA AREA
Location: PAVIA_ITALY Year: March/July 2011 Architectural Restoration Studio
w o r k G R O U P : D’apolito Alessandra, Dolci Federica, Giordanelli Dario T U T O R S : Bellini Amedeo ,Galli Letizia, Pellegatta Cristina, Luce Fabio
SURVEY AND REUSE DESIGN OF CARTHUSIANA’S RUSTICI IN CERTOSA DI PAVIA AREA
The Certosa di Pavia is a monumental unit of high tourist attraction. Cultural prestige goes with an agricultural landscape of great charm, but there are some critical elements that obscure the overall quality of the fabric. REUSE PROJECT_ The Certosa’s proposed redevelopment wants to strengthen the tourist function of the unit, proceeding with the regeneration and the consequent reuse of unused space, currently degraded. The provided functions recall the Certosa’s agricultural and natural past. In addition to the wish of giving a function to areas hosting laboratory and exhibitions activities, supported by visitors reception, the choice is to open to agricultural park’s people. The paths within the fields are very interesting and could become an additional attraction to the current visitors path, thanks to very interesting views of the whole architecture. The fish pond and the pergola are now neglected, but could become strong points of attraction if requalified, and go back to being valuable elements of Certosa’s agricultural park. The whole area of Certosa’s rustic is now underexploited or abandoned; once it was a workplace for very skilled craft workers, who kept it in a good state of maintenance, now it’s waiting for a reuse function assignment, compatible with the exceptional context. The reuse proposals for the interior of the building are: STABLES_ Stables rooms will host again horses, used to tow the vehicle that covers the distance Station-Certosa, and as an attraction for tourists. FARM_ A farm, open to the rustic courtyard, will attract visitors to enjoy the products grown in Certosa’s fields. SHOP AND BOOKSHOP_ The monk’s herbalist's shop is very popular among visitors. A bookshop provided with extensive Certosa’s bibliography would be a further element of quality for visitors. MEDIA LIBRARY WITH PRECIOUS TEXTS OF CERTOSA’S COLLECTION_ Carthusiana’s prestigious rooms will host terminals for the multimedia viewing of rare books preserved in the Certosa. The conference room will provide space for meetings and specialized seminars.
CARTHUSIANA’S ARCHITECTURAL SURVEY The Carthusiana’s conference hall has been subjected firstly to longimetrical direct survey, then to photographic survey and finally it was rielaborated with pc two and three dimensional software.
MEASURE THE LANDSCAPE Architecture of urban relation
Location: PIACENZA_ITALY Year: August/September 2010 International Workshop: OC-”OPEN CITY” FROM LANDSCAPE TO EXTERIOR DESIGN
w o r k G R O U P : Beri Mattia, D’apolito Alessandra, Dolci Federica, GalliFrancesco,LeantilarosaAlessandro,Montoro Salcedo Ana, Raffa ALessandro, Piemonti Derek, Roncancio Juan Carlos, Vernoos Omid, Zohair Mo T U T O R S : BitsianisGiorgos,Dall’AstaJuanCarlos,Ezechieli Carlo, Gomez Arciniegas Carlos, Previtali Andrea
Published in "OC - Open City. International Summer School” by Guya Bertelli and Juan Carlos Dall'Asta, Maggioli publisher, Milano, 2011 International Workshop “Open City_from landscape to exterior design”. First prize winner
MEASURE THE LANDSCAPE Architecture of urban relation
READING THE CITY The project starts with the analysis of the city and its context. We recognized three elements: the river, the city walls and the highway. We defined a gap between two limits, in which exists a third important element: the infrastructure. Even if the highway is not a good quality element, it plays a leading role because of its structure, which creates a rhythm in the view of the city and different perception ways thanks to its different levels. STRATEGIES Because of its strong identity the infrastructure represents the milestone of the project. For the first time the highway can organize the territory and become the line that coordinates the space. The highway is a longitudinal element marked from transversal connections in some specific points. This operation defines a series of sequences that correspond to different paradigms. A more specific analysis focuses on the station area because it is close to the infrastructural ring encompassing the city. The project consists of a unique and linear area that connects the city and the river; it starts from the fortifications’ traces, from which it receives energy and pumps it out toward the river. The definition of the direction starts from some considerations about the historical matrix of the city. The new project’s matrix is different from the roman grid and centuriation. Dimensions and geometry of the city depend on the territory and water elements. In addition, in the project area the Rifiuto canal represents the initial element that organizes the industrial district, due to technical and functional reasons. These are the reasons why the project assumes as a matrix the direction of the canal.
THEATER AND MIRADOR
PUBLIC SPACES
CULTURAL RE-USE
SPECIAL HOUSING
OVERPASSING THE RAILWAY station and hotel
ROMAN
ARCHEOLOGY
MUSEUM
Location: VILLA ADRIANA_TIVOLI_ITALY Year: August/September 2011 International Seminar of Museum Studies at Villa Adriana: PRIZE OF ARCHEOLGY AND A R C H I T E C T U R E “GIAMBATTISTA PIRANESI” W O R K G R O U P : D’apolito Alessandra, Dolci Federica, Lavault Juliette, Nmtu Diana, Riboni Chiara T U T O R S : Caliari PierFederico, Scelsi Walter
IX edition of International Seminar “Premio Piranesi Prix de Rome” . FIABA Mention Winner
ROMAN ARCHEOLOGY MUSEUM
THE PROJECT OF THE IMPERIAL ROMAN MUSEUM Aim of the competition is the creation of the Roman Imperial Museum, intended as a new generation museum geographically deployed according to the sensitive points of the great Roman Empire’s architecture, in Villa Adriana in Tivoli and in Terme di Caracalla in Rome. The museum is organized according to a dual content showing mode: A- MATERIAL MODE, characterized by a classic kind of museum project, which involves the design of an architecture in which is placed a collection of physical findings, original or reproductions. Its location is in Villa Adriana, inside the archeological site. Specifically, the project is located within Praetorium and Grandi Terme. The project involves the boundaries’ reconstruction, to let people experience the central void. We designed a L shaped building, whose wing is placed at the top of the Praetorium, where finds its place the Visitor Center, containing exhibition spaces, a café and a bookshop. Also we restored a covered exhibition path that reconstitutes the ancient Roman Gymnasium’s perimeter. B- IMMATERIAL MODE, characterized by an exhibition based on the relationship between monument and ephemeral installation. It does not consist of a physical collection of works, but a deployment of organized content in changing formats that involve in particular performing arts and contemporary theater. Its location is in the Terme di Caracalla in Rome. The immaterial project stands in contrast to the material one, in fact in this case the exhibition area is placed inside an elliptical space whose boundaries are well defined and where the inner space is not usable by visitors. The aim is to make the visitor perceive the inner space despite archeology is visible only from the outside. This is possible by placing in the center of the ellipse the sculptural installation characterized by mirrored walls that reflect the archeology outside and bring the natural element, that surrounds the archeological site, inside the ellipse, so that it becomes part of the scene of the shows that will take place within the ellipse.
“Construire c’est collaborer avec la Terre: c’est mettre una maque humaine sur un paysage qui sera modifié a jamais.” Marguerite Yourcenaire, “Mémoires d’adrien”
VILLA ADRIANA
TERME DI CARACALLA
GYMNASIUM LEVEL PLAN
MUSEUM LEVEL PLAN
VISITOR CENTER LEVEL PLAN
PLANIVOLUMETRIC
SKETCH OF THE EXHIBITION AREA, PLACED IN THE OLD ROMAN GYMNASIUM
VIEW FROM THE VISITOR CENTER
SKETCH OF THE EXHIBITION AREA, PLACED IN THE OLD ROMAN GYMNASIUM
VIEW OF THE VISITOR CENTER
TERME DI CARACALLA PROJECT BASED ON RELATIONSHIP BETWEEN MONUMENT AND INSTALLATION MAYFLY
TERME DI CARACALLA AREA
DAILY VIEW OF THE SCULPTURE INSTALLATION FOR SHOWS
NIGHT VIEW OF THE SCULPTURE INSTALLATION FOR SHOWS
NEW
ERBIL'S
CIVIC
CENTER
Location: ERBIL _ IRAQ Year: December 2012 Competition for the new Erbil civic center. Project developed during the internship at A.R.S. Progetti S.P.A. TEAM GROUP: Dolci Federica D’apolito Alessandra Giordanelli Dario TUTORS: Mangiarotti Anna Paoletti Ingrid
T E A M : Daniele Fanciullaccci (Chief Executive), Patrizia Barucco (Direttore della Cultura e Unità Beni Culturali), Antonio Tripodi (Ufficio Tecnico), Federica Dolci
New Erbil's civic center design is based on local traditional architectural principles The project site despite of the traffic is easily reachable because is located by the side of a main urban street. The project involves a courtyard building that contains spaces for the community by becoming the civic center a real attraction pole and a qualifying element of the area. The building contains a theater and attached spaces: dressing rooms, rehearsal rooms for dancers and musicians, a bar and offices. The concept resume elements of tradition. The typical faรงades closed to the outside for shelter from the glances are reproposed to shield the outside area with a brick wall (material used in the local architecture). The brick wall hides in its plot small holes to allow the passage of light reinterpreting the mashrabiye, openings screened by a wooden grid. The internal faรงade, on the contrary, it is glassed allowing people inside the building to look at the courtyard, real hub and place of social life. The theatre is different from the rest of the building as the dominant element. The foyer, double-height, is characterized by a large window that allows you to see to the citadel of Erbil.
INTERIOR RENDER WITH 3DS MAX
Location: MILAN _ ITALY Year: July 2013 3ds Max Design Course
TEAM GROUP: Dolci Federica D’apolito Alessandra Giordanelli Dario TUTORS: Mangiarotti Anna Paoletti Ingrid
Il pV ro get to d el nuo vo cI en t ro P ci v icoE p e rI l a N UO O C EN T RO C IV C O E R R B L città di Erbil si basa sui principi della tradizione locale. Il lotto è situato in un’area di scarsa qualità architettonica lungo una delle principali arterie urbane, quindi facilmente accessibile, ma allo stesso tempo molto trafficata. Il progetto prevede un impianto a corte che contiene spazi per la collettività facendo diventare il centro civico un vero polo attrattore elemento ficante Luogo: edERBIL _qualiIRAQ dell’area. A nn o : D i c e teatro e 2 0 1 2 L a s t ruttura cont i e ne embr un sp a z i a n n es s i: co amerini , pr o ve a per balle ri n i C o n c o rs d isalei d e p e r e m us i ci s t i, un b ar e uffi ce i. la r e a l i z za zi o ne d l centro I l c on c ept r i prende r ebi gl i ele em e nt i d el l a c iv i c o d i E r l l a b or a t o t r a di z io n e.l I p ic i pros pe t ti co hiu s. iR v er s o d u r a n t e oti s t a ge p r e ss A . S . l ’ a mb i en t e esterno per ripararsi dagli P r o g e t t i Tg Eu Aa MrG Ps :tr Da ol ee dn eg ro ic s dR iOUe nc ei i Fv na o riproposti per D’apolito Alessandra schermare l’intorno con un muro di mattoni Giordanelli Dario (materiale utilizzato nell’architettura l lS e: ) Ma c h e n a s c on d e To Uc Ta OR n g iar o t t i A n na nella sua trama piccoli P f o r i pi er p e r m ettere il passaggio a o l ett In g r i d della luce reinterpretando le mashrabiye, C A P I G R U P P O : aperture schermate da una grata in legno. Il Daniele Fanciullaccci (Chief Executive), pa rt or si pz ei ta to i n t e r no , a l c o n t ra èul v e t r at o P Ba r u c c o ( Di r et t o r e dr ei lo l, aC t u r a e p e r m e t t e n d o a c o l o r o c h e s v o l g o n o l e Unità Beni Culturali), Antonio Tripodi aU tf tf ii vc ii to àT de icn gi uc ao r) dare verso la corte interna ( vero e proprio snodo e luogo della vita sociale. La sala per lo spettacolo si differenzia del resto dell’impianto come elemento dominante. Il foyer, a una doppia altezza, è caratterizzato da un’ampia vetrata che permette una visuale verso la cittadella di Erbil.
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f.m.dolci@gmail.com
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h t t p : / / i s s u u . c o m / f e d e r i c a d o l c i / d o c s / p o r t f o l i o _ i t a
L I N K E D I N : http://www.linkedin.com/in/federicadolci