Gabriele Bortoluzzi
Gabriele Bortoluzzi
PORTFOLIO
Bachelor of science in Architecture UniversitĂ IUAV di Venezia 2014/2015
TABLE OF CONTENTS Preface Architecture design and planning Integrated design studio 1 Workshop of Architecture Venice 2013 - W.A.VE. Surveying and representation Integrated design studio 2 Workshop of Architecture Venice 2014 - W.A.VE. Pompei_save the history Restoration International Winter Workshop Urban planning Workshop of Architecture Venice 2015 - W.A.VE.
Visualization and Design Logo_Santa Cristina Gela Visualization workshop_Baumatte Meaningful journeys History of contemporary architecture Landscape architecture Apprenticeship Postface
PREFACE In this portfolio I decided to not merely list in chronological order all works carried out during these years. Instead, I divided the portfolio in multiple sections, from design to the courses that had contributed the most to develop my current knowledge of architecture. In the first section - design - one can find all projects that are partially an outcome of some courses and helped develop my artistic and technical knowledge finalized to the design of an actual “space�. In the second section - design and visualization - I included some works which, although derived from projects external to the University, taught me how to incisively and objectively evaluate the way a project can be clearly presented and illustrated. This is relevant because subjects such as visual communication, photography, design and typesetting, are nowadays expected to complete each other and to integrate in a project framework, regardless of the visual support in use. In the third and last section - meaningful journeys - I dedicated a tiny space to the courses that mostly contributed to developing critical thinking on subjects that sometimes are not considered relevant for architecture, or at least not yet.
ARCHITECTURE DESIGN & PLANNING
Him I call an Architect, who, by sure and wonderful Art and Method, is able, both with Thought and Invention, to devise
Leon Battista Alberti
INTEGRATED DESIGN STUDIO 1 professor Maura Manzelle
The project required by “Integrated Design Studio 1” consisted in designing a single-family dwelling to be incorporated in a wider context. All dwellings had to be inevitably linked to each other by their roofing, this way defining a long and unique housing belt nearby a lake. As a result they were expected to share a common element, the roof. The house was designed for a family of three. It was required to have a room available as studio and other spaces linked together without the use of aisles. The design choice led to employ wide glass walls on the southern side, the one close to the lake, and tiny windows on the north side, the one facing the street. Moreover the spaces were imagined with a minimal resort to aisles and hallways in order to obtain a more dynamic and open space. The number of residents, their characteristics and the project’s requirements were the student’s choice.
Gabriele Bortoluzzi
Integrateed Design Studio 1
axonometric projection
Integrateed Design Studio 1
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Integrateed Design Studio 1
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Integrateed Design Studio 1
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Integrateed Design Studio 1
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sctructural diagram
Integrateed Design Studio 1
1. flooring 2. connection layer in cement 3. heating layer 4. sound-proof layer 5. concrete slab for plants 6. concrete and masonry flooring system detail
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W.A.VE. 2013 arch. Fabrizio Barozzi - Estudio Barozzi Veiga
The workshop required converting the industrial area of Porto Marghera, taking into consideration the urban layout. During the workshop each team tried to model a fragment from an industrial environment; changing, expanding, adding, densifying or replicating the existing features. Every team designed an architecture based on a common urban project. Our team’s design choice was to think of an architecture that was capable of mitigating the park, which resulted from the master plan. This project separates the area of the public park however, it also defines and delimitates it. The result is an actual divider in which offices are located at lower levels and different type of houses in different sizes at upper levels.
Gabriele Bortoluzzi Gian Luca Elasti Caterina Dubini Virginia Santilli
w.a.ve. 2013
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SURVEYING & REPRESENTATION prof. Giuseppe D’Acunto
The surveying course was based on a case study about one of the Giardini della Biennale’s pavilions. Every pavilion was studied by one or several teams which at first completed a building survey and then completed a deep analysis of the pavilion’s story and its architect. Our team chose the Swiss Pavilion. The team focused primarily on digitalizing a tri-dimensional model which was supposed to support the study of the lightning in one of main rooms of the Pavilion called “sala della pittura”. This room was designed to avoid the sunlight from directly hitting the paintings exhibited inside. Thanks to an accurate survey, and with the aid of a digital light simulator, it was possible to study the room’s effectiveness throughout the year. This analysis was useful to understand the architect’s choices.
Gabriele Bortoluzzi Eleonora Fiorin Nicolò Baldan Emanuele Stefanuto
surveying & representation
HISTORICAL INVESTIGATION The architect Bruno Giacometti (1907-2012) was son of painter Giovanni Giacometti and brother of Alberto. During the 1920s he met Karl Moser, the founder of “Swiss modernist architecture”, who inspired him to study architecture in Zurich. He became an exponent of the “Neues Bauen” that he liked to define as “contemporary” as he once said: “this is how I design my buildings, in order to be useful for the peers”. Architectural thinking The fact that Giacometti preferred a conservative architectural style and the quality of the craftsmanship, led him to express a minimalist approach aimed at avoiding the marginal architectural elements. He favored suitable and useful materials and was against the monumental architecture and its luxury. The pavilion Already in 1932, Switzerland owned a pavilion inside the “Giardini” area. This was later sold to Egypt in 1951 when an additional portion of a public garden was annexed to the Biennale’s area. Switzerland obtained a new lot where to build a brand new pavilion for the 26th edition of the exhibition. The lot was located on the perimeter of the Biennale area and close to the new entrance facing the sea. The project was initially assigned to the architect Rino Tami (1908-1994) who rejected the assignment. Subsequently, a contest was announced for building the new pavilion and Bruno Giacometti won. His project, despite exceeding the lot available surface, was accepted as it included some open spaces. The working site was opened in December 1951 and the following year, in May, the building was completed although unfinished. It was eventually inaugurated on the 14th of June at the opening ceremony of the 26th Biennale exhibition.
surveying & representation
archive’s image - plant
surveying & representation
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surveying & representation
STUDY OF LIGHT
The substance of painting is light
AndrĂŠ Derain
surveying & representation
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45.438611 N - 12.326667 E Winter solstice GTM +1 - 12:07 pm tilt 21째
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INTEGRATED DESIGN STUDIO 2 prof. Franca Pittaluga
The area assigned to the project was located in Sirmione and constituted of a green territory close to the Garda lake. The “Integrated Design Studio 2” course was based on the project of a residential building that was able to host at least 350 people inclusive of a car park for the residents. The project development was focused on a unique building with an underground car park and some public areas on each floor near the flats’ entrance. The project structure was a result of the willingness of dividing its area in two sub areas, one facing the city and the second facing the lake, but still interrelated by passageways on the ground floor. On the area facing the lake, I tried to maximize the integration of the building with the water and so the project envisaged a dedicated space available for boat activities, a bathing area with a submersible jetty, a secondary platform and public changing rooms. The flats were designed to host several family sizes, between 2 and 4 people, with or without terraces.
Gabriele Bortoluzzi
Integrated Design Studio 2
Integrated Design Studio 2
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Integrated Design Studio 2
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Integrated Design Studio 2
loam soil waterproof layer termic insulation 80mm vapour barrier termic insulation 100mm concrete slab 250mm sctuctural shape HE 400 B internal finishing detail
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Integrated Design Studio 2
W.A.VE. 2014 arch. Umberto Napolitano - LAN Architectecture
The project was focused on the requalification of an island located at “Porto Marghera”. The master plan aimed to convert an ex-warehouse area into a small autonomous residential neighborhood where each industrial tank is converted to sustain an useful social activity for the new “city” life. The project’s scope was to convert one of the industrial tanks into a detached branch of the Ca’ Foscari Univerisity of Venice. The architecture looks inner-centric. The main entrance allows an external observer a glimpse at the internal courtyard that is also located at a lower level compare to the entrance itself. The internal part of the building shows glass walls, which are supposed to provide natural light to every area inside the building. On the ground floor it hosts some public offices, a bar and an auditorium, while at the upper levels are located classrooms, laboratories and a small exhibition area.
Gabriele Bortoluzzi Eleonora Fiorin Carlotta Ridolfo Mario Conti
w.a.ve. 2014
w.a.ve. 2014
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w.a.ve. 2014
masterplan model
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POMPEI - Save the History contest
The contest required designing a museum nearby the ancient ruins of Pompei. The idea was to offer an attractive location for the citizens and, at the same time, to enhance the cultural heritage of the territory. The site location, between a metropolitan area and a place of huge archaeological value, is well connected with a thoroughfare that makes it the perfect place for a modern building which is expected to attract local population and tourists. Suitability for a modern urban environment, surrounded by an ancient area, will be obtained by means of a balance between coherence and continuity. It will be a hybrid representing the unification of two different contexts that harmoniously coexist in Pompei. From these assumptions comes the willingness to design a building inspired to the ruins. A building that will be able to remind an area sacred to history with a contemporary approach, without ending up on a fake ancient creation.
Gabriele Bortoluzzi Eleonora Fiorin
Pompei - Save the History
Pompei - Save the History
exploded isometric
Pompei - Save the History
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Pompei - Save the History
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RESTORATION prof. Mario Piana
The restoration course was focused on the analysis, and subsequently strengthening, of a wall portion of the Sant’Eustachio Abbey located in Nervesa Della Battaglia. Once we studied the structure of the abbey, the project proceeded with its requalification. The aim was to make it accessible, perhaps with the aid of a boardwalk, even by visitors with reduced mobility. In order to avoid undermining the Abbey’s structure and leaving it visible as it was originally, the project was very simple consisting in only stabilizing the essential elements. The refurbished floor is designed to avoid the wells to get in contact with the rainwater. Moreover the metal boardwalk makes it even possible to visit some areas, which normally are inaccessible due to the bad structure condition.
Gabriele Bortoluzzi Eleonora Fiorin Carlotta Ridolfo
restoration
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wall’s peak protection surface treatment, cement removal plaster reinforcement stabilization diagram
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INTERNATIONAL WINTER WORKSHOP arch. Satoshi Okada - Satoshi Okada Architects
This workshop was based on the design of an edifice located in the “Biennale’s Giardini” between the Belgium and Dutch pavilions. The aim was to work in an additive or subtractive way as the Japanese school teaches. Once every possible additive, subtractive and transforming composition was explained, each team was expected to start its project from a nine meter side cube, without the possibility of exceeding this measure. The scope of the edifice was free and potentially expected to be a new pavilion or public toilets. Our team, after having carefully considered the public toilets currently available, decided to proceed with this type of facility. However we also tried to leave a passageway for a “less crowded” area on the backside of the edifice.
Gabriele Bortoluzzi Eleonora Fiorin Carlotta Ridolfo Giacomo Pelizzari Koichi Takahashi
international winter workshop
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international winter workshop
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international winter workshop
design operations
URBAN PLANNING prof. Paola Viganò
The urban planning course’s area of interest was focused on the Camposampierese federation, a conglomeration of several municipalities in the Padua’s county. The project aimed at working around the concept of a “widespread city”; trying to recreate a connection, on the urban structure, between several municipalities distributed on the territory. In order to pursuit the project scope we started from deep study of the areas encompassed within the federation analyzing their common factors. The result of our work was the idea of using the waterways, wisely used in the ancient time for connecting the territory, but nowadays abandoned and not well organized geographically speaking for being of any social utility. The result is a complete requalification of the rivers and canals in order to support the short trips and even the recourse to the bicycles, but mainly to improve the livability of some areas of great potential but currently in disuse and not well considered. Moreover the project comes with an ecological support to the environment as it involves the use of phytodepuration and millworks tanks in order to ease the water flow in the event of flooding or heavy rain.
Gabriele Bortoluzzi Eleonora Fiorin Carlotta Ridolfo Anna Giusti
Urban Planning
Urban Planning
pedestrian path wooden strip green area wet field phytopurification tank millwork tank legend
Urban Planning
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main intervention areas
Urban Planning
Urban Planning
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Urban Planning
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W.A.VE. 2015 ARTEC Architekten
The workshop was focused on the design of a Hotel widespread on the whole territory of the Lido di Venezia. A portion of the territory was allocated per team and the aim was to study and find the best location where to build a branch of the widespread Hotel. We worked on the most important and most densely populated area of the territory so we thought that the best location for our project was nearby the Blue Moon, a famous architecture designed by Giancarlo De Carlo. In order to be coherent with the building already in place, we found the idea of using a small portion of the lot developing in height very interesting. The result is a cylindrical building made of brise soleil, which has a circular staircase inside and some rooms with glass walls in order to have the right balance between privacy and visibility.
Gabriele Bortoluzzi Gian Luca Elasti Maria Giulia Ferrari
w.a.ve. 2015
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VISUALILZATION & DESIGN
From the spoon to the Town
Ernesto Nathan Rogers
SANTA CRISTINA GELA Contest_Logotype
The contest required designing a new logotype, that was typical and characteristic, for next opening of the comunal library in Santa Cristina Gela, near Palermo city. The logo had to be thought for each type of support, colored and not.
Gabriele Bortoluzzi
santa cristina gela
BIBLIOTECA SANTA CRISTINA
VISUALIZATION WORKSHOP Baumatte
The workshop was focused on architectural visualization. It taught how to make a realistic picture, starting from plans and sections only. Some of metters were: Fundamentals of visualization Composition and color theory Introduction to physics of light Introduction to physics of materials Image analysis, compositions, lights, colors
Gabriele Bortoluzzi
visualization workshop
MEANINGFUL JOURNEYS
To be modern is not a fashion, it is a state. It is necessary to understand history, and he who understands history knows how to find continuity between that which was, that which is, and that which will be
Charles-Edouard Jeanneret-Gris (Le Corbusier)
HISTORY OF CONTEMPORARY ARCHITECTURE prof. Marco De Michelis
The course about the history of contemporary architecture was extremely useful to understand and acknowledge in depth the artistical side of architecture. I personally found particularly interesting and stimulating being aware of how to confront the techniques and the usability of architecture closely linked to Art.
Gabriele Bortoluzzi
history of contemporary architecture
pädagogisches skizzenbuch Paul Klee
pedagogical method Klee described his teaching at the Bauhaus as: “a practice with formal means” In fact his lessons were extremely rational and scrupulous. He studied the laws behind artworks and his methods of exposing and representing them was rich of images and easy to remember. His work was mainly articulated in two stages: demonstrating his theory about shape and analyzing the painting. It was during his painting course that students were expected to create and correct their artworks, moreover they were required to explain what they wanted to communicate with their work: “Klee drew with a piece of chalk on a small blackboard what students were supposed to do in order to obtain the desired effect. He subsequently debated about it and finally erased it leaving the students to make their deductions” Intuition was the foundation of his teaching method: his pedagogy wasn’t based on frontal lessons between a teacher and students. In fact only who was able to penetrate into Klee’s world, with the power of intuition and reliving the experience, was able to understand his means: “ with him we were able to understand, by means of an immediate inner experience, the developing of the human existence in all its wonderful aspects” In fact Klee’s teaching spoke of ideas, of life and everything else, zoology, biology, chemistry, physics and literature contributed to clarify how our behavior was linked to the whole humanity. “When came the time of teaching I had to clarify myself exactly what I was subconsciously doing before” This is how these pages were born and presented to the public on its original form during the first Bauhaus Exposition on the summer 1923 in Weimar. They were subsequently published as Pedagogisches Skizzenbuch on 1924 as the second volume of the Bauhausbuc series edited by Walter Gropious and Laszlo Moholy-Nagy. The workbook included the principles of Weimar’s Staatlisches Bauhaus theoretical teaching method. At the
history of contemporary architecture
same time it is also a collection of the painter’s teaching material useful for the students who were expected to develop knowledge about formal and exposing principles in order to use them during the workshops. More than in various science textbooks (music, anatomy, fluid dynamic, physics) is mainly in Klee’s drawings and its layout, edited by Laszlo MoholyNag (absolutely a pioneer for his age) that is evident the cooperation between different arts and professions. This was typical of the Bauhaus where all arts had to cooperate aiming to a shared artistic goal. structure of the Skizzenbuch The Skizzenbuch’s structure is quite inscrutable and not easy to read. The sketches seam to share no link with the teaching path. The partial works, which reveal the essential representation’s laws, are not actually displayed and it is the text that describes them. The workbook seams to present some final results as potential starting points for the teaching.During a lesson in January 1924, Klee said: “I cannot do what I would prefer to do: consider one single shoot as a unity that includes a wider collection of these things. Therefore I have no other choice than accepting to use the analytical method” Klee’s method was inspired by science with the difference that he wasn’t elaborating any certain theory. He was continuously dismantling, describing and confronting things. When he was facing a problem, he didn’t suggest any conclusive solutions but only temporary ones which led to new questions and doubts. structure On the first pages of the manual Klee shows several different solutions for dividing the workspace. He calls these models structural rhythms which depend on repeating the same object side by side or one on top of the others. Klee begun from this rhythm to develop some other ones more complex with elements of different importance. In doing so he obtained some variations inside the repetition. The chessboard is a great example of this strategy. line The first Klee’s sketches led us to think about the idea behind a line that is initially active, but if set in motion, becomes passive and generates a surface.
history of contemporary architecture
the three cases Initially we have a line which is active and without an ending point. The same line become the mean for transforming a point in a surface and eventually the line becomes passive once it completes the surface which becomes the active element in the end. Physical structure It is possible to find the same concepts of active, vehicle and passive in the living beings. The bone is passive, the muscle is the vehicle and the brain is the active. exercises In chapter 12, Klee suggests some exercises about the use of the three elements: the active, passive and the vehicle. Klee shows four examples: the first is the power hammer water wheel. The water cascade (active), the wheel’s structure (the vehicle) and the power hammer (passive). The second example is the watermill with the gravity and the mount (active), the power of the flowing water (the vehicle) and the wheel which is passive.. Klee proceeds using a third example, the plants’ reproduction with the male stamens (active), the insects that carry the stamens (the vehicle) and the female fruit, which is passive. The last example is the bloodstream: the heart is the active element which pumps the blood that is the passive element ending with the lung which is the vehicle that modifies the blood before being pumped back to the heart. the work The work is completed by addition or subtraction, as after the initial developments there is a counter action when the work is reconsidered and evaluated step by step. In fact, who is creating is also supposed to check if the work that he is doing is correct. Development wise the work is dependent on its creator’s limits: the eye follows the intended work’s path. From a creation point of view, the work depends of the eyes limits and their inability to see clearly and simultaneously an entire surface even if small. dimensions In the second part Klee highlights three dimensions: 1^ dimension: left (right) 2^ dimension: above (below) 3^ dimension: in front (behind) He explains how considering the two-dimensionality of parallel lines, such
history of contemporary architecture
as the railways, the third dimension of the space can be reproduced on a canvas only in an illusory way. He discovers the essence of the horizontality, meaning the eye’s height, and the verticality that is the straight line on the surface. Focusing on the verticality Klee defines the difference between logic prospective and psychological prospective. He shows us the image that seems psychologically wrong to ourselves, but that is logically correct, due to our incapacity to recognize the verticality of the reality if we don’t find it on the projection. the scale Klee introduces the scale concept, which is a crossing of verticality and horizontality that defines the equilibrium concept: asymmetrical equilibrium, agitated equilibrium and restored equilibrium. It is also possible to spot the first representation’s schemes. Top and pendulum From the concepts of scale and plumb line (otherwise of the erected position), through the halfway ream of water and air, we swap to the top and pendulum: the top means that a scale lays on a sole and stable foothold, the pendulum is just a plumb line that swings. If we eliminate the gravity a pendulum can define a circle and, varying its length, become a spiral. the arrow Klee dedicates several pages on the Pedagogisches Skizzenbuch to the graphical element called arrow. It does not only give the sense of dimension and define a direction but it also represents a continuously growing energy. This extraordinary energy growth (in term of production) or energy consumption (in term of use) is necessarily connected with the direction of the movement. In fact the sketch shows the continuative production of energy from the white color, which represents the present, to the black color, which defines the future. composition Eventually the workbook is interrupted with the concept of composition. Like his works, even the drawings, words, explanations and exercises of Klee seam to start with primary elements (shapes, colors, forces) where the juxtapositions, contrasts and contradictions define a new harmony together, on which the composition is based.
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concerning the spiritual in art Wassily Kandinsky
art and the pursuit of inner being Inner being is the soul of a work and not the materiality for its own sake. This is the key subject of Kandinsky’s script. He does not only tries to express the concept of true art’s starting point but also its scope, or how art should affect our senses and sentiments. In light of these thoughts, Kandinsky speaks about shapes, color’s theory and how these elements are able to transmit emotions and different sensations. introduction In the introduction Kandinsky express the basics of artworks: “every work of art is the child of its time” This means that every cultural period leads to a different kind of art that is also the expression of its people’s behavior: “Efforts to revive the art-principles of the past will at best produce an art that is still-born” In the introduction Kandinsky express the basics of artworks: every artwork is son of its age. This means that every cultural period leads to a different kind of art that is also the expression of its people’s behavior: a trend which aims to revive old art’s principles can only produce artworks which look like a still born child. Kandinsky expresses this concept to explain that an artwork can obviously revive old concepts but that it will be soulless for sure. Using again the Greek’s principles would be impossible for us. We may reproduce the same design but we will never feel its interior life. Everything that comes from outside us has no future. This same happens for materialistic concepts that are produced without faith, scope or aim. The artist, whose emotions are not pulled by these concepts, is the one who will try to awake sophisticated sentiments, which are still nameless, by means of art. Unfortunately nowadays’ public is rarely capable to capture and understand these emotions. The spectator looks at art hoping to find an imitation of nature with its own elements. Only few look for “emotions held in natural shapes” or the inner poetic: Stimmung. Especially on the last
history of contemporary architecture
example: who listens can capture a consonance with his soul. These works if truly artistic, tend to maintain noble the people’s souls preventing them from becoming rough. So the artist is the one who tends to shed light on the deep human heart. It is the one who sees and, like a prophet, who shows us. The one who has a mysterious inner vision and who raise humanity by means of it. the movement The spiritual life can be represented by a triangle divided in sections which vortex points upward. From the bottom to the top, in every section belongs a decreasing number of people and artists are also part of them. The lower is the section of the triangle taken into consideration; the higher will be the quantity of people who will understand the artist’s words. These artists are the prophets of their level. They are the ones who help the slow progression of the triangle because they are the only who tend to look over their section. Thanks to their “looking over”, the triangle ascends as well. “Where the apex was today the second segment is tomorrow” Unfortunately the knowledge shared by the artists in their section, that Kandinsky called the “spiritual feeding”, is captured even from people who don’t belong to the same section. For them this is poison and it makes them falling from this section to a lower one. This is due to the fact that the artist offers works that are apparently artistic but with impure contents. These kind of works literally slow down the ascending movement in the triangle and when art has no artists who can share the “spiritual feeding” we have periods of decadent souls. It is exactly in these periods that humanity tends to give more importance to materialism. In this age, arts are abused exclusively for materialistic goals and it remains soulless. However, despite the general blindness, the chaos and the striving for fake artists, the triangle keeps moving. The artists will eventually be able to find that artistic content and to transmit it, affecting everyone’s emotional sphere, being able to share what was recently lost: “this WHAT is the internal truth which only art can divine, which only art can express by those means of expression which are hers alone” spiritual revolution Those who aren’t satisfied with an imposed knowledge are prone to bring everybody who belong to their section toward the upper one. The problem lies in the fact that these individuals, even if elevated, tend to keep connecting to the old thinking, due to fear and refusal of being apparently foo-
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led. Even on the highest sections we can find hidden fear or loss of certainty. This is due to their education and to awareness that politics, scientists or statists venerated today were charlatans and cheaters that didn’t deserve to be taken seriously. Luckily it is possible to find great people able to see forward; minds able to organize things, as Kandinsky used to say. Back to the triangle metaphor, Kandinsky explains the sections and how people inside have interactions based on the stage they are. On the lowest level for example we can find the people, as explained before, that don’t have questions. They take and assimilate what is given to them without asking “why”, “how” or “what”. On the upper stage there are people that Kandinsky defines “atheist”. These are theorists who, however, refer to the past. They think to spread the right knowledge, good “soul feeding” but who are actually wrong. In doing so they also provide wrong ideas to the people that belong to the lower levels. By going upward on the triangle, we can find the erudite. These are people who ask questions, who doubt about everything but who never reach any conclusions. Here we don’t find fear but the will to destroy “the mainstays settled by humanity” and to look forward compared to the others. Eventually, in the highest section we can find the people who look for the spiritual truth. They look at the inner world and research the truth on intangible things. Among them we can find the theosophists who try to get close to the spiritual matters by means of the inner knowledge. In the end the triangle vortex is occupied, sometimes, by one man alone: “His joyful vision cloaks a vast sorrow. Even those who are nearest to him in sympathy do not understand him” This is due to the fact that nobody stands on the same level. People listen to him but cannot capture what he has to say so they call him a cheater or they call him a sick man ready for the madhouse. the piramid Every artist produces artworks using resources available to him. Writers use words, musicians use notes, painters use colors and shapes. In this way every art is in the position to express its best by means of its exclusive resources. Every artist, consciously or unconsciously, tends to value the inner elements, which he is able to produce with his own art. The direct consequence is the comparison between the representative of every art form. Music, as said before, uses the time and its manipulation in addition to notes. However music will never be able to show the whole artwork to the public in a brief instant, which is possible for painters. On the other side
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paint cannot expands through time and so for its best expression it borrows figurative elements that music doesn’t needs. Kandinsky very well explains this subject on the “spirituals in art” and he explains that each art form has its own power that cannot be substituted by another one. Each art form is a face of a pyramid, which is strictly linked to the others even if clearly separated and all of them tend to elevate the spirit toward the sky. conclusion The art itself must have the power to master the future, indeed it has to be abstract, prophetic and provocative. This is the only way for artists to produce artworks that are not “sons of their age”, and so constrained with a short life, and capable to stimulate the spectators’ souls. It doesn’t have to pursuit an outer success, for its own sake. It has to transmit sentiments, inner usefulness, not giving importance to the materiality.
LANDSCAPE ARCHITECTURE prof. Michela De Poli
The landscape course involved the analysis of a chosen subject, among the ones suggested by the Professor, bringing examples of actual projects currently in place of landscape design. The subject I chose is light, as it is extremely relevant for many other architectural aspects and not only related to landscapes. I found the course particularly formative, as the landscape architecture is not well considered yet, even if it is fundamental when implementing a project.
Gabriele Bortoluzzi
landscape architecture
light
sunlight “colour is life”
- Johannes Itten -
This was written by Itten in his famous book “color art” but there cannot be any color without light and so it would be more appropriate to say: light is life. Thanks to light we can perceive spaces; explore and feel them in different ways. The experience varies with light, in fact, in its presence the landscape interacts differently with us and with its surrounding space being able to change its availability. “landscape architecture is an architecture of relations. It is defined by: in relation with or as a function of. It lacks the connection with the soil, with the site, the urban and territorial contexts, and with the user experience.” - Renato Bocchi -
landscape architecture
Daylight, seasons, time, weather conditions Throughout the day the space we live in changes. This change is due to several factors such as the time and the weather condition if we consider a short amount of time. However if we take into consideration a wider time span it changes based on the seasons as well. One of the most important impressionist painters questioned himself about how the space varies due to the light. He decomposed the matter and ended up studying the light’s smallest elements, its reflections and refractions with materials and space. The most famous example of this study is for sure the Rouen Cathedral of which he painted more than fifty canvases with fifty different light variations. “I have to work really hard to reproduce what I am looking for: the exact moment. The influence of the weather on things and the light that characterize them.” - Claude Monet -
landscape architecture
cattedrale di Rouen - Claude Monet
landscape architecture
Moon light and shadows A landscape changes, as previously said, due to the light which is not only “sun light” but can also be the “moon light”. Thanks to the second one the space changes drastically on how it’s perceived. A space that looks apparently empty, because is dark, can be revealed if illuminated. “a space apparently empty, but actually overflowed […] this space is architecture […] shaped by light. ” - Eduardo Chillida -
landscape architecture
Garden of light - Keiichi Tahara, Toyo Ito
landscape architecture
methods, equipments Vegetation, Geometries, Textures, Colours, Minerals, Limits, Artificial lights, These are all tools that help creating a landscape while designing it the material is the space itself. “the sculptor material is the space and the vacuum as well.�
- Eduardo Chillida -
landscape architecture
Garden of light - Keiichi Tahara, Toyo Ito
landscape architecture
projects
Stonehenge Stonehenge is probably the architecture and the landscape design par antonomasia. The place where architecture was born. There are born geometries and the relation between light and landscape. “once the first architrave was settled, a new human knowledge was born and its true nature is the light desing.� - Livio Vacchini -
landscape architecture
Stonehenge
landscape architecture
montana tindaya Chillida shows a great example of how the main material for a project is the space itself. For this project Chillida literaly digs a mountain starting from the solid rock and ending with a vacuum; a vacuum that can be inhabited. The vacuum created for this space allows the light to illuminates the interior surfaces of the mountain and so to be explored and lived.
landscape architecture
Montana Tindaya - Eduardo Chillida
Carlana Mezzalira Pentimalli
APPRENTICESHIP Carlana Mezzalira Pentimalli studio
I have done my apprenticeship in a studio based in Treviso and Padova, Italy. The owners graduated in Venice where they currently cooperate with some research projects and can be praised for having won some national and international awards. In 2011 they were awarded with the “New Italian Blood� prize and entered in the Italian top 10 of the most promising architectural studios run by under 40s. In 2012 they also won the Young Italian Architects prize and were recognized as the best architectural studio under 35. My duties were focused on the final setting of the blueprints before the delivery and on assembling the scale models, both for studies and actual projects for private clients. I have found understanding how an actual architectural studio works on the projects and how it deals with clients and collaborators both useful and formative.
POSTFACE I am of the opinion that architecture is a subject that arises in a crossroad with the humanistic culture on one side and science and innovation on the other. I believe that an architect must have knowledge of technology, sociology, art history, restoration, building technics, aesthetics, city planning and composition. Luckily it is still a perfectly renaissance styled branch of knowledge where everything refers to everything. Architecture requires a flexible mind set and the ability to adapt to different situations with an overview of the project, and this is independent from the actual work you are in. I believe that a great gift that architecture is leaving behind is the sight, or rather the capacity of interpreting the space, of communicating with shapes and also of understanding the iconographic potential of the real and the virtual. In conclusion, I hope to be able to proceed with my studies and assimilate more of what Architecture is able to offer.