Architecture portfolio
Gaia Meacci
Name: Gaia Meacci Nationality: Italian Birthdate: 23/06/1993 Hometown: Castiglion Fiorentino (AR) Residence: Via Umbro Casentinese 80, Castiglion Fiorentino (AR) Adress: Via Canaletto 14, Milano
EDUCATION 2007-2012
Liceo Scientifico Giovanni da Castiglione, Castiglion F.no High school 95/100
2012-2015
Università degli studi di Firenze Bachelor degree in architecture// Maria Chiara Torricelli, Giacomo Tempesta// Fallen leaves, riqualificazione di una scuola esistente 110L
2015-2017
Politecnico di Milano Town planning design Studio// Stefano Boeri, Michele Brunello// Bombing Sempione project Design Studio 1 // Cino Zucchi, Matilde Cassani, Paola Sturla// Another break in the wall project Preservation Studio// Mattia Previtali, Antonella Elide Saisi, Alberta Cazzani// Desio art center project Building Technology Studio// Ingrid Paoletti, Pietro Giuseppe Crespi, Claudio Del Piero// Greece Pavilion for Dubai Expo 2020 Design Studio 2// Giancarlo Floridi, Angelo Lunati// Resonance project // Soundscape Project with Elisa Cattaneo IC Advanced Design Studio// Kazuyo Sejima, Lars Hugo Jonas Elding // Inujima summer school of theater project
2018
Politecnico di Milano Master degree in architecture// Stefano Boeri, Azzurra Muzzonigro// with the collaboration of non-profit cultural association “Circola”// Atlas of a potential city, progetto per la gestione e il riuso dei beni confiscati alla criminalità a Milano 110L
2018
Università degli studi di Firenze Professional license Abilitazione all’esercizio della professione (sez A-Architetto) 2
WORK EXPERIENCES 2015
ARX STUDIO // Florence Internship // 3 months Concept design, drawings, diagrams, renders.
2016
STEFANO BOERI ARCHITETTI //Milan Internship // 3 months Curator of the third Istanbul biennal http://arewehuman.iksv.org/exhibition/milano-animal-city/
2016-2018
R+W DESIGN AND BRAND MANAGEMENT//Milan Intership Assistant press officer for the Milan Design Week 2016-2017-2018, Alpi collections, Piero Lissoni art director at Alpi Showroom.
2017-2018
POLITECNICO DI MILANO //Milan 150 hours collaborator School guidance for high school students
Now
POLITECNICO DI MILANO //Milan Urban and architectural Analysis on suburban areas of Milan for the Ri-formare Periferie Milano CittĂ Metropolitana programme and MIAW workschop
Now
POLITECNICO DI MILANO //Milan University tutor Architecture design studio of Filippo Orsini, Giulia Fini and Davide Ferrari of the Master of Science in Architecture- build enviroment interiors.
Jan. 2019
POLITECNICO DI MILANO //Milan University tutor Milano International Architecture design Workshop (MIAW) with Louise Wright, Anna Marie Fisker, Cany Hash, Elisabeth Hatz, Katherin Ashe.
WORKSHOPS 2014
Design and beuty Rogers University //Florence Design of an hostel in an abandoned area in Florence
2015
Luci del mare Florence University // Florence Reuse of a lighthouse in Taranto
2017
Inujima: architecture becomes environment Kazuyo Sejima// Inujima // Japan Restoration of an abandoned sewing factory in Inujima, Japan
2018
Feltrinelli Camp Fondazione Giangiacomo Feltrinelli// Milan International workshop for young European researchers in the field of Urban Studies
COMPETITION 2017
H20 // 24 hours competition Sustentable village over the water, that can support the basics needs for a small community survive in 2050
2018
l Piranesi Prix de Rome// Accademia Adrianea di Architettura e Archeologia Urban landscape// Architectural conservation// Architectural Design Group: Andrea Arcidiacono, Viviana DI Martino, Silvia Restelli, Silvia Ronchi Urban Design and Land Use Policies Group: Juan Manuel Palerm Salazar, Marianna Lombardo Landscape Design Group: Pasquale Mei, Filippo Orsini, Roberto Podda 3
PUBLICATIONS 2016/2018
Bombing Sempione https://milanoanimalcity.wordpress.com/portfolio/4_bombing-parco-sempione/ https://www.domusweb.it/it/notizie/2016/02/20/milano_animal_city_2016.html http://www.abitare.it/it/habitat/urban-design/2016/04/09/milano-animal-city/ http://www.artribune.com/tribnews/2016/02/dopo-aver-portato-gli-alberi-su-un-grattacielo-stefano-boerivuole-portare-a-milano-gli-animali-ecco-i-provocatori-progetti-degli-studenti-del-politecnico-di-milano/ http://milano.repubblica.it/cronaca/2016/02/20/foto/boeri-133845948/#1 http://www.milanotoday.it/milano-animal-city-2016.html http://milano.corriere.it/notizie/cronaca/16_febbraio_19/milano-animal-city-0351d734-d722-11e5-a4d1c8704a1e2204.shtml http://www.panorama.it/cultura/arte-idee/animal-city-2016-progetti-e-visioni-per-la-citta-di-milano/ http://www.brokennature.org/bombing-parco-sempione/
2018
Soundscape Project Sensorial landscape, natural patterns/ecological taxonomy. technonatural esperiments. author: Elisa Cristiana Cattaneo, editors: Davide Biselli and Caterina Cotado, publisher: Maggioli editore, series: Politecnica, year: first edition 2018 https://elisacattaneo.com/SENSORIAL-LANDSCAPE
SPEECH Atlas of a potential city June 2017
Milano Archweek 2017// Vesparch, Periferie//Rozzano https://www.eventi.polimi.it/events/vesparch2/
Dec. 2017
Strategie per l’assegnazione e la gestione anche temporanea dei beni confiscati alla criminalità// Quale futuro per i beni confiscati?//Politecnico di Milano http://www.circola.org/bookcity/
Jan. 2018
Dopo le mafie, progetto per la valorizzazione e la gestione partecipata dei beni comuni e confiscati alla criminalità//Regolamenti e prassi per l’assegnazione dei beni confiscati, opportunità e prospettive di coinvolgimento dei cittadini//Sormani Library Milan http://mssormani.comune.milano.it/Allegati/Eventi/Circola_DopoMafie.pdf
Feb. 2018
Dopo le mafie, progetto per la valorizzazione e la gestione partecipata dei beni comuni e confiscati alla criminalità// Urbanistica e criminologia a confronto per la riqualificazione dei beni confiscati alla criminalità//Sormani Library, Milan http://mssormani.comune.milano.it/Allegati/Eventi/Circola_DopoMafie.pdf
May 2018
Milano Archweek// Thesis maraton// La Triennale di Mialno, Milan http://milano.carpediem.cd/events/6866259-polimi-thesis-marathon-at-politecnico-di-milano/
May 2018
Inujima summer school of theater Pre-opening event Inujima Freespace @ Singapore Pavilion //Biennale Architettura 2018// Kazuyo Sejima + Ryue Nishizawa / S A N A A// Venice
LECTURES Mar. 2017
Politecnico di Torino// Bombing Sempione // Ontologia del Progetto https://ontologiadellaprogettazionepolito.wordpress.com/2017/03/21/lezione-7-valori-e-progetto-caso-1bombing-sempione/ 4
EXHIBITIONS Feb. 2016
Milano Animal City// Bombing Sempione// Sino European Center // Milan http://sinoeucenter.com/en/#selected-projects
Sept. 2016
Bombing Sempione//Teatrum Botanicum // Emerging Talents// PAV// Torino http://parcoartevivente.it/mostre/archivio/mostre-2016/teatrum-botanicum/ http://atpdiary.com/teatrum-botanicumpav/
Oct. 2016
Milano Animal City // Bombing Sempione//Stefano Boeri Architetti// Third Istambul Biennal https://www.stefanoboeriarchitetti.net/en/news/milano-animal-city-at-the-third-istanbul-design-biennial/ http://arewehuman.iksv.org/exhibition/milano-animal-city/
Sept. 2017
Soundscape// Tallin Biennal http://2017.tab.ee/programme/satellite-programme/exhibition-nature-through-mirror/
Oct. 2017
Soundscape// Chile Biennal http://www.impostergable.cl/en/participantes/academia/elisa-cattaneo-zc5s-2/
Sept. 2018
Bombing Sempione// Broken Nature//XXII Triennale Milano 2019// http://www.brokennature.org/bombing-parco-sempione/
VIDEO MAKING Jan. 2016
Milano animal city //Bombing Sempione https://www.youtube.com/watch?v=Vb2uq0tmueM
SKILLS Languages
Italian// native English // advanced // FCE Cambridge University
Softwares
Highly competent with Adobe Creative Suite, Rhinoceros, Autocad Competent Vray for Cinema 4d
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Content
Built projects _Milano animal city _House restoration
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Master thesis _Atlas of a Potential city
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Landscape and urban design _Bombing sempione _Walking through Inujima
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Architectural deisgn _Another break in the wall _Resonance
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Bulding technology _2020: space odissey
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Interior and exhibit design _Things money can’t buy
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Architectural criticism _Seeking God
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MILANO ANIMAL CITY
Exhibition for the THird Istanbul Design Bienial
intership: Stefano Boeri Architetti project year: 2016 site: Istanbul supervision: Stefano Boeri, Azzurra Muzzonigro
Are we human? This is an allegoric question that the Third Istanbul Design Biennial has decided to pose to the participating artists. We live in a historical context in which design and planning have gone forward so much as to have substantially altered the reality around us, creating a new form of artificial geology. We wake up in a bed designed by us, we move on a car designed by us, we eat in a kitchen designed by us ...Now we live in a world where design has become the world itself. Isn’t it therefore the time to redraw the design itself ? Based on this observation the biennial is organized into four thematic areas: designing the body, designing the planet, designing life and designing time. Stefano Boeri Architetti studio has decided to tackle the subject, both difficult and challenging, bringing the experience of Milan Animal City, the Town Planning course led by Stefano Boeri and Michele Brunello at the Polytechnic of Milan in the academic year 2015-2016. The students have faced an non-anthropocentric design,a design that not only meets the needs of our species, but that puts them in a broader view where humanity is no longer alone on the pedestal of life. The first step was in fact to imagine the city of Milan through the eyes of other animal species, and to deduce how this experience can impact our way of designing. This change of perspective is a fundamental gesture because, although it is obvious that we can never really see as a bat, a rat or a bird, make an effort to do so means first of all to admit that the way we see the world is only one among many others. 2,000 slides that characterize this installation, and can be observed on the lightbox, testify this first phase depicting the colors, the light and the distortions that reality assumes when seen by different eyes. The noises of the city and of the animals that come from the slides box, will not only render experience more evocative, but also provide an opportunity to reflect on the fact that urbanity and nature co-exist in reality despite of the fact that the first is dominating over the other. Besides, four posters show the design solutions that four groups of students have developed regarding this subject and how they tried to give a shape to the Renaturalization of the urban space. These are visions of the city where urbanization is seen as a form of re-colonization of nature ranging from the paradoxes of control, cohabitation, self-limitation, domain, technology. 9
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HOUSE RESTORATION New sewing school in Inujima
Workshop: Inujima, Architecture becomes environment Project year: 2017 Site: Inujima, Japan Team: Gaia Meacci, Filippo Oppimitti, Alessio Palmieri, Emanuele Moro, Carlotta Testa, Ottavio Pedretti. Supervision: Jazujo Sejima, Kae Ito
It seemed that the only way to realize the plan was to walk around the area over and over in order to become more familiar with environment. (Kazuyo Sejima) Inujima is the small Island, in the Japan Inner Sea, in wich, in the first half of 2017 we worked on, inside the Advanced Architectural Design Studio ( held by Kazuyo Sejima ). Various sceneries appear as you take a walk around this island created by gentle hills. The island has a gently sloping landscape so that, as you walk, the sea is continually coming into viewright next to you before disappearing again. Basins, which remain from the old quarries, appear in various points on the island as ponds. Though only one stone quarry remains active now, the ambiance of the time when quarries were thriving remains as these ponds create a landscape of its own. The old copper refinery is preserved as a heritage of industrial modernization and is now partially used as an art museum.Adjacent to the refinery, in the village, the “Inujima Art House Project� started in 2010 and empty homes and lots were transformed into exhibition spaces with careful attention to preserve the special characteristics of the place. The workshop allowed us to immerse in the context of the island, understand it and work in it, becoming active part of its conversion. We Participated in the interior renovation of one of the abandoned buildings near the main village. The interior renovation was divided in 3 parts: (1) set up the interior space of the house, clearing and cleaning it; (2) plaster the interior walls; (3) apply a finishing layer to the walls and prepare the space to be used for the local people. We also set up a space for showing the Triennale exhibition. And we designed and realized new fornitures for the space.
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ATLAS OF A POTENTIAL CITY
Project for the management and reuse of confiscated assets from organized crime in Milan
course: Master thesis project year: 2018 site: Milan team: Filippo Oppimitti, Gaia Meacci, supervision: Stefano Boeri, Azzurra Muzzonigro
Why must we deal with confiscated properties? We must deal with them because their confiscation is the strongest weapon against organized crime, we must deal with them because in Italy they represent an enormous economic value, estimated at more than a billion and a half euros, that is more than the total value of the the major European countries, we must deal with them because by now 27000 goods have been confiscated, but only 11 000 have been returned to the community Why do it in Milan? Because Lombardy is the fourth region of Italy for the number of confiscated assets and because almost half of these assets is located in the province of Milan. Is not a case that no one is aware of it. Is organized crime itself that has made invisibility, silence and anonymity the fundamental criteria in the choice of assets to occupy, to act undisturbed. The research deals with the confiscation of assets as a fundamental means for the fight against organized crime by designing new management systems and new reuse strategies to take advantages of this enormous economic and above all social potential still partially expressed. The first part of the thesis is a wide-ranging research, that analyses the phenomenon with a multidisciplinary approach, trying to face the great problem of the almost total absence of information on the quantity and quality of the assets confiscated. The analysis starts from the analysis of the phenomenon on a European scale and then focuses on the Italian case, deepening its historical evolution, the historical regulatory context and the process of conferment. Later it focuses on the case study of Milan defining a map of those goods that could be located. After having systematized the collected data, highlighted the critical issues found and tried to understand how to bring out the symbolic value and meaning that these goods possess, we have therefore defined a new scenario for the life cycle of these assets. The design part focuses on the one hand, in the definition, with a meta-project approach, of a system made of urban devices, social activators, that allow citizens to get in touch with these assets using them directly, and on the other hand in the development of a multifunctional project in the area surrounding Casa Chiaravalle, the largest confiscated asset in the north of Italy. 17
Which is the meaning of confiscated pro their criminal past? Is it right that these city or should they remain visible as a w that we designed takes into account both time divided into 3 TO PROVOKE, TO DEMAND INTE
Step 2 TO DEMAND INTERACTION
Ste TO DESA
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operties? How do they have to relate with assets disappear and return back to the witness to the community? The scenario h aspects and is configured as a path over fundamental steps: ERACTION AND TO DISAPPEAR.
ep 3 APPEAR
Step1 TO PROVOKE
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Our story begins with the seizure by the law enforcement of an asset in which the criminal activity was present. In this first phase the good is still owned by the suspect, but he cannot use it, and therefore the good is said to be “frozen�.
TO PROVOKE_ During this phase of the seizu we have planned to create artistic installations th the dissemination of an important social and mor
When the sequestration phase ends the asset is usable. The call for the management of these assets will be published through the web platform taking into account the opinions of citizens gathered in the previous phase. All the people who have previously expressed an interest in the property will then be notified of the publication of the call.
The management of the property can be for temp permitted by law but is not actually applied. In th non-profit group, low-income subjects, etc. Where the management of these sp
The proposed activities are different in many aspects in order to meet different needs and desires by creating real-pole attractors within the city. Through the web site it will be possible to visit a map where the devices that are inside the confiscated properties are pointed out so that every citizen, depending on the activity he wants to do, can go there.
By doing one of these activities, important links a touch with those people who deal with it daily, fi there and become aware of the fact that at one tim today it belongs to society a
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ure, in which is not possible to use these spaces, hat capture the city’s attention and contribute to ral witness: that something is changing in the city
These artistic installations will allow to connect to the website, to increase transparency and to reduce times. This platform is an intermediary between administrative bodies, social associations and citizens. In this first phase, the web site collects the opinions of citizens on how they would like this space to be used.
porary or permanent use. Temporary use is already his case, the categories taking part of the call are eas in the case of permanent use, the law reserves paces to social cooperatives.
TO DEMAND INTERACTION_Once achieved the permanent use, our goal is to ensure that these assets are opened to the city as much as possible, allowing the use not only to associations and their assisted people but also to the whole city. To spread this potentiality we have designed 57 urban devices which, offering different activities, encourage all citizens to interact with these spaces.
are created. Whoever enters into the good, get in find out what those social communities carry out me that good belonged to organized crime but that and is used for good reason.
TO DISAPPEAR_Since we believe that the criminal past and its sign should not affect these buildings forever, we decided to give them back to the city after 15 years, to begin a new life. This rehabilitation will be possible by letting go all the management mechanism through the call for social use. Once this rehabilitation is achieved, it is possible to put them on sale.
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Bocce court
Termal shelter
Grow room
Bed
Billiard
Couch surfing
Fitness Point
Darkroom for photography
Barbecue
Chess board
Homeless shelter
Sewing club Charity food storage Bird nest
Vertical garden
Pole dance
Tent Hotel
Public toilet Sauna
Cinema
Soccer table
Social Laundry
Spiritual space
Individual study pod
Solarium
Shelter
Users
Public storage
Basic infrastrucure
Under 30 Indoor
Water Electricity
Under 15
Over 30
Gas Over 60
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evices
No wi-fi zone
Charity clothing bin
Library
Green bench Pop up Store
Recording studio
Hammocks
Free wi-fi area Atelier
Dog House Banquet room
Book crossing station
Open Piano
Water Collector
Karaoke room
Free cloud storage
Leave a Message
Conversation pit Miniliving
Water Kiosk
Minikitchen
Beehive
Soup kitchen
Meditation zone
Skype room
Speakers’ corner
Bike station Swing
Climbing wall Puppet Theater
Balance of pleasure
Masses
Investment
Soup kitchen Miniliving
Cinema
Banquet room
Vertical garden
Pole dance Free cloud storage
Open Piano Social Laundry
Darkroom for photography Sauna
Recording studio
Sewing club
Atelier
Karaoke room
Group
Termal shelter
Public storage
Pop up Store
Puppet Theater Billiard
Shelter
Fitness Point
Swing
Bocce court Grow room
Green bench Book crossing station Library
Minikitchen
Skype room
Meditation zone
Bike station Hammocks
Spiritual space
Public toilet Homeless shelter
Charity food storage
Charity clothing bin Soccer table Water Collector Conversation pit
Barbecue
Chess board
Cost
Beehive
Lifetime
Individual
Couch surfing Climbing wall
Water kiosk
Individual study pod
Physiological
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Safety
Belonging
Esteem
Cognitive Aesthetic
Self-actualization
Prototype 1 Via Sommacampagna 8
Homosexual refugees Couch surfing|Climbing wall Urban context Parking lot
Road system
Green areas
Rail system
Services
Surface transport system.
Subway
Location
Typology
Accessibility
Preservation
Time discontinuity
Spatial deformation
Set of properties Verbal interaction Social help
Physical contact
Accomodation
Mental activity
Food
Art
Morning
Archive
Sport
Nature
Relax Potential economic gain
Expansion
Basic infrastrucure Indoor
Water Electricity
Afternoon
Gas
Users Under 30
Under 15
Centripetal
Over 30
Over 60
Evening
Focal
Investment
4 years 2500€
3 years
2000€ 1500€
Caged
3000€
2 years 1000€
1 year
500€
Individual
Bilateral
Group
Night
Masses
Multilateral
Balance of pleasure
Physiological
Plan | Section /1:50
Safety
Belonging
Esteem
M | XL
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Cognitive Aesthetic
Selfactualization
Prototype 2 Via Leoncavallo 12
Prototype 9 Via Varesina 66
Prototype 4 Via Jean Jaures 9
Social Market Minikitchen
Immigrant mothers Pop up store |Skype room
Co-working Individual study pod
Prototype 5 Via Vallazze 26
Prototype 6 Largo Fratelli Cervi 1
Prototype 7 Via degli Imbriani 5
Young center Charity clothing bin
Socio-cultural activities Meditation zone
Housing emergency Bird nest | Charity food storage
Prototype 8 Via Paisiello 5
Prototype 3 Via Ceriani 14
Prototype 10 Via Curtatone 12
Bike repair place Bike station |Book crossing station
Residence for disabled people Social laudry
Job Cafè Atelier |Grow room
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Headquarter
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dwgmodels.com
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Ground floor 1:200
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The growing tower
2030
2060
2090
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The vertical exhibition
Bar Reception
Bar | ReceptionBar | Reception
Offices Exhibition
Offices Exhibition
Offices|Exhibition
Offices | Exhibition Offices | Exhibition
First floor / 1:150
Ground floor / 1:150
Offices | Exhibition Bar | Reception
Groundfloor
Ground floor / 1:150 Ground floor / 1:150
Offices|Exhibition Offices|Exhibition
Offices Exhibition Offices | Exhibition Offices|Exhibition
Third floor / 1:150Third floor / 1:150
Offices | Ehibition Offices | Ehibition Third floor / 1:150
First floor / 1:150 First floor / 1:150
Second floor
Restaurant | Exhibition Offices | Ehibition
Offices | Exhibition
Third floor / 1:150
Third floor Offices | Ehibition
Offices | Exhibition Offices | Exhibition First floor / 1:150 Third floor / 1:150
Offices Exhibition Offices | Exhibition Offices | Ehibition
Restaurant Exhibition Restaurant | Exhibition
Forth floor / 1:150
Fifth floor / 1:150
Forth floor / 1:150Forth floor / 1:150
Restaurant | Exhibition Restaurant | Exhibition
Forth floor / 1:150Third floor / 1:150
Forth floor
Fifth floor / 1:150
Offices | Exhibition Offices|Exhibition
First floor / 1:150 Ground floor / 1:150
Ground floor / 1:150
Ground floor / 1:150
Forth floor / 1:150Fifth floor / 1:150
Fifth floor Restaurant | Exhibition
Fifth floor / 1:150Fifth floor / 1:150
Sixth floor / 1:150Sixth floor / 1:150
Sixth floor / 1:150 Fifth floor / 1:150
Sixth floor / 1:150
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Sixth floor / 1:150
Sixth floor
The multipurpose space
Groundfloor configuration 2
Chess Chess competition competition Chess competition Chess competition Chess competition Playground Playground Playground Playground Playground
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Local fair
Biodiversity Biodiversity seminar Biodiversity seminar seminar Biodiversity seminar Biodiversity seminar Groundfloor Conference Conference Conference Conference Conference Workshop WorkshopWorkshop configuration 4 Workshop Workshop
Office Office Office First floorOffice Exhibition Exhibition ExhibitionExhibition Office Office Office Office Permanet configuration
Office Exhibition Office
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Concert hall
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Local fair Groundfloor configuration 3
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Concert hall Concert hall
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Chess competition Playground
Ground Ground floor floor |typology Ground |typology floor 2 |1:150 2 |typology |1:150 Ground 2 |1:150 floor |typology Ground floor 2 |1:150 |typology 2 |1:150
Local fair
Ground Ground floor floor |typology Ground |typology floor 3 |1:150 3 |typology |1:150 Ground 3 |1:150 floor |typology Ground floor 3 |1:150 |typology 3 |1:150
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Biodiverse seminare conference workshop
Ground Ground floor floor |typology Ground |typology floor 4 |1:150 4 |typology |1:150 Ground 4 |1:150 floor |typology Ground floor 4 |1:150 |typology 4 |1:150
Office exposition
FirstFirst floor floor |1:150 |1:150 First floor |1:150 First floor |1:150 First floor |1:150
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BOMBING SEMPIONE A manifesto for a Critical Antropocentism
course: Town planning design workshop project year: 2015-2016 site: Parco Sempione, Milan, Italy team: Filippo Oppimitti, Gaia Meacci, Antonin Mangin, Beatrice Rogantini supervision: Stefano Boeri, Michele Brunello
The future is of the City and the cities of tomorrow must be conceived with a wider vision that takes into account not only the habitat of the human species. Our project pushes the accelerator on the paradox of non-anthropocentrism, making it clear that whatever man does to leave space to other species is nevertheless the work of the man himself, and it would be hypocritical to think that he really renounces his centrality in the universe. The result is an extremely cynical project that imagines to “bomb” Sempione Park in Milan, taken as an example of completely domesticated, peaceful, nature deprived of that unpredictability that makes it “other” from the city of man. We bomb and dig 20 meters on the whole area to artificially introduce a wild, unpredictable nature where man can enter at his own risk. We give a financial value to this space through a touristic interest, using the excitement produced by advertisement and consumerism. The more you pay, the closer you will get to the inside of the park There are two similar underground buildings one in front of the other, in the continuity of the wall. One is located in Arco della Pace and the other in Castello Sforzesco, both being linked by a funicular. The access-buildings around contain several levels. The poor up and the rich down, all that with a terraces shape so you can envy those downstairs. The envelope is a monumental concrete cage, the narrow voids between the bars bringing some mysterious light. In the walls around the park are two levels of galleries, the lower being at the level of the park with thinner bars. The price you pay in a way determines the model of the cage you choose for you walk around the park. And if you can afford it you can ever enter the park. But it is then up to you to ensure you own safety. You are a host inside your city, a depraved visitor of Parco Sempione, who spent money to finish in a cage.
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Deforestation is partly caused by our consump- Oils spills are of course a collateral damage of our The whole world of knowledge, of culture is a tion of meat, which production process contains massive use of fossil energies. Many examples kind of building. Humanity has invented much to less and less ethically acceptable could illustrate our anthropocentric understanjustify the destruction of nature ding of what surrounds us
In 1906 Parco Sempione hosted the Universal It is made according to the model of the English We bomb it. We bomb it for everybody to see this Exhibition on transportation, at a time when in- romantic gardens of the XIX century, with paths violence. We bomb it to impose this violence to dustrial technologies finally allowed us to control for walkers and cars going through a completely the sight of the joggers that we are. We destroy it. our physical environment artificial landscape We deforest it. We burn it
Our hands can dig
Our hands can plant
Our hands can bring animals
There is a certain excitement produced by the en- « Come to live an unforgettable experience into You see, « wild nature » doesn’t exist. All what exitrance in a very controlled space, as to challenge the wild nature » sts is your foolish attraction for a wildness that the rules of a place where everything is forbiddoesn’t exist anymore because you stepped on it den, paying for it 34
Parco Sempione can be seen as a symbol of an Being avid hunters, the Sforzas had the area sur- It was then abandoned in 1861 and became a paaffirmation of humans against any other form of rounded by defensive walls in 1460 and had it rade ground for the army, before finally being delife : anthropocentric, narcissistic, imperialist and populated with roe deer, hares... signed as a garden in 1894 by Emilio Alemagna beyond any doubt violent
We take it away from Milan inhabitants. It can Try to consider this wonderful idea that under our We assume the artificiality of an otherness we seem radical. But it is in a way the only possible feet can be something else. Something that was want to physically (re-)create. Our hands can deissue. It is violent always here and that we never saw, on which the stroy city is laid
Our hands can bring animals The space becomes We give a financial value to this space through a We push the cynicism to the creation of a price neither out of the city nor completely inside of it. the installation of a touristic infrastructure range for the visitors. The more you pay, the cloIt becomes something else, with other rules and ser you will get to the inside of the park via the another temporality exciting attractions we propose
The envelop is a monumental concrete cage, the And if you can afford it you can ever enter the In the walls around the park are two levels of narrow voids between the bars bringing some park. But it is then up to you to ensure you own galleries, the lower being at the level of the park puzzling light safety. with thiner bars. The price determines the model of the cage you choose for you walk around the 35
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Backstage part shops//sightseeing
Inside look tour shops//sightseeing//walk aroud the park (-10m) Exclusive vip experience shops//sightseeing//wild ballade(-20m)//restaurant// Animal encounter immersion inside the park// spa// lounge space
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Domus web: https://www.domusweb.it/it/ notizie/2016/02/20/milano_ animal_city_2016.html
Brokennature: http://www.brokennature. org/bombing-parcosempione/
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Artribune: http://www.artribune. com/tribnews/2016/02/ dopo-aver-portato-gli-alberisu-un-grattacielo-stefanoboeri-vuole-portare-a-milanogli-animali-ecco-i-provocatoriprogetti-degli-studenti-delpolitecnico-di-milano/
Abitare: http://www.abitare. it/it/habitat/urbandesign/2016/04/09/milanoanimal-city/
Panorama: http://www.panorama.it/ cultura/arte-idee/animal-city2016-progetti-e-visioni-per-lacitta-di-milano
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WALKING THROUGH INUJIMA Inujima Summer School of Theatre
course: Advanced Architectural Design Studio project year: 2017 site: Island of Inujima, Japan team: Filippo Oppimitti, Gaia Meacci, Matteo Zapparoli supervision: Kazuyo Sejima, Jonas Elding, Francesca Singer, Giulia Setti
It seemed that the only way to realize the plan was to walk around the area over and over in order to become more familiar with environment. (Kazuyo Sejima) Inujima is a small island in Seto Naikai. You can walk around the whole island in about 1 to 2 hours, and to understand the true essence of the island and the strategy to develop, we have imagined an ideal path across the island, crossing the various environments and landscapes that Inujima is made up of. after completing, this ideal journey (done by analyzing descriptions, aerial photos, photos taken from the net, plants, 3d models etc.) we decided to build on this island a summer school of theater. Therefore we decided to create a structure, active for only a certain period of the year that could attract new flows on the island without destroying its intimate and private identity. The intervention is a huge infrastructure, which includes all the school-related collective functions (classes, dormitories, canteen, relax spaces, auditorium, etc.) next to the harbor and four theater stages placed in four different areas of the island depending on the morphology and the environment: the first of these (the ruin) tackle the issue of preexistence, placing itself among the ruins of a former factory, the second (the slope) defies the height and vertigo, being placed on the top of a cliff, the third (the cliff) investigates the relationship between the land and the sea and in fact is placed on a beach and the last (the quarry) plays with the effects that the sun and shadows lead to architecture.
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ANOTHER BREAK IN THE WALL Young Hostel in the former Garage Sanremo site
course: Architectural design studio I project year: 2016 site: Via Zecca Vecchia, Milan, Italy team: Filippo Oppimitti, Gaia Meacci, supervision: Cino Zucchi, Paola Sturla, Matilde Cassani
As Christopher Alexander says, we can only check “misfits” or “malfunctions” on a first hypothesis and ameliorate it until they reach a satisfactory state. Our project started from the, risky and at the same time interesting, idea that the courtyard, even if at the urban level is a fundamental character of the historic center of Milan, it is only used as a place of passage and very little as a meeting place and social or public space, and therefore the best way to create a public space in the site where the project is, which is characterized by a great complexity and variety of alignments; was to erect a single limit element, a wall, which would have closed and defined a boundary. This idea, initially very rigid and full of conceptuality and feasibility complexity, has not been abandoned but investigated, discussed, modified, and transformed. The wall has been filled with openings that, establish a dialogue between the city and the project. As a result, the wall becomes a permeable filter between public and private space, without losing its limit and border nature, it was no longer a monolithic element that, with its presence, looms over the city, but becomes a system of spaces linked together , each with its own character, who actively contribute to the life and vitality of the urban tissue. Closed edges function as a framing device. These isolate a situation and thus offer new ways of perceiving a notion, a place or a condition. The perimeter wall cancels out distractions to create an area for focused experience. But edges do not only define a perimeter; the can also occur within, defining the transition between one group or action and others. Once boundaries are set, we can start to poke holes in them.
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RESONANCE Kindergarten and recording studio
course: Design studio 2 project year: 2016-2017 site: Via Beato Angelico, Milan, Italy team: Filippo Oppimitti, Gaia Meacci, Francesco Balsarini supervision: Giancarlo Floridi, Angelo Lunati, Elisa Cattaneo
Relating to the physical consistency of the urban context and the surrounding architectures through the materials, the typology, the dimensions, the proportion, the characters and the decorum, it has been the first intention of the project to fit perfectly in the atmosphere of the place. For this reason, the project uses a shed covering in north part of the site and a tower in the south to rise the height of the surrounding buildings and to not be compressed by the context. Differently, by a mere functionalist attitude, placing the school in a secluded environment, the project combines the school program together with a recording studio to increase its urban character. This hybrid typology is able to increase social relations in the local context thanks to its programme and its architectural forms. The public square is in this way the element of the project that gives more this sense of urban attitude being open to the surrounding context. From the urban scale analysis, the project immediately moves to the interior design to make an architectural form that comes from the programme and from living the interior spaces to reach the exterior shape. This has been a way to break with the common design process and to create an architecture thought to be lived.
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2020: A SPACE ODYSSEY Greek Pavilion at 2020 Dubai Expo
course: Building technology studio project year: 2016-2017 site: Dubai, United Arab Emirates team: Filippo Oppimitti, Gaia Meacci, Francesco Balsarini supervision: Ingrid Paoletti, Claudio del Pero, Pietro Giuseppe Crespi
Expo 2020 of Dubai is about the global collaboration and cooperation between people in our time. In the last years of globalization, the international corporations and the development of the technologies have considerably increased the connection between people and this can be an incredible opportunity to share our knowledge to build a better future. Increasing of urbanization, population expansion, and environmental crisis, togheter with the detruction of natural resources are clear messages that we cannot more rely on the planet but we have to shift our attention to a wider scale. It is the relationship between the human being and space what will be the theme of our pavilion. Passing between mythology, philosophy, science and technique of the ancient Greece our pavilion will be a long journey, through history, art, cinema and music that will lead the visitor to discover the universe and then himself. For us this relationship between humankind and the cosmos can be materialized in the architectural element of the ceiling. In a certain sense, the roof is the obstacle that divides this two realities and we want to break this barrier detaching it from the pavilion. This gesture is not only related to the attraction that humans have always had towards the universe but it also wants to be a tribute to the importance of astronomy in ancient Greece.
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1 LUCCON precaste concrete cladding 50mm Metal frame 40x30mm KAWALL Lumira aerogel- U 0,05 W/m²K Metal frame 40x30mm Perforated metal cladding <1mm 2
2 Concrete cladding 40mm Metal frame 40x30mm Climaplus YTONG 240x200x640mm - U 0,31 W/ m²K Metal frame 40x30mm Metal cladding <1mm
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THINGS MONEY CANâ&#x20AC;&#x2122;T BUY Uban schenography
Course: scenography and spaces for representation Project year: 2017 Site: Milan Team: Gaia Meacci, Filippo Oppimitti Supervisor: PierLuigi Salvadeo
Through the communication power of architecture our project drives us to reflect on one of the crucial themes of contemporary society, that of economic inequality. Some disconcerted data say that 1% of the worldâ&#x20AC;&#x2122;s population owns more than the remaining 99% and that in 2016 the 8 richest men in the world had the same wealth - about 426 billion dollars - of half the planet (3.6 billion poorer people) ). Starting from these statements, the project is positioned at the center of Piazza Affari, an emblematic place not only of the Milanese economy but also of Italian financial assets. The project manifests itself in the form of a temple to money as if richness were the only God still revered on earth. The classical structure of this sacred place is however broken, deforming the columns into pyramids, making the intercolumnation variable and piercing the ceiling decorated with bright gold. The project becomes a metaphor of how despite the contemporary society living in the unhealthy will to reach a status of richness only a few at the end succeed, so, to touch the golden ceiling of our temple, are only the tips of the pyramids while the broad bases remain anchored to the ground. Lost then in the unhealthy search for enrichment, men do not realize that true values are already around them, anchored under their feet, and that they can not be bought. The final result is a flexible scenography that can give light to a plurality of scenarios able to satisfy the different needs of the city
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SEEKING GOD
The search for holiness through the architecture.
course: History and Theory of Architecture project year: 2016 supervision: IrĂŠnĂŠe Scalbert
Religious and sacred spaces are among the most impressive and permanent buildings created by humanity and that have often evolved over centuries. However, what makes a sacred space sacred? Is it possible for architectural elements to convey the sacred? Growing up as a child, I was taught that the sacred space has naves, apse, altar and a magnificent monumentality. I was taught that in a sacred space there was protocol that everyone had to abide by, these set of rules range from appropriate conversations to acceptable attire. I was taught that I have to go in a sacred space every certain period of time and for a certain period of time. However, as I matured spiritually, I believe, as Rudolph Otto stated at the beginning of the twentieth century, that the sacred can not be taught, it can only be evoked, awakened in the mind.1 Thinking about sacred space in the terms of conformity is an assumption based on an implicit confession of atheism, as if God did not belong to all ages and as if religion was only a necessary social formality, preserved from past times in order to give our society an air of respectability. Ritual, as a formalized pattern of ceremonial movements, can confer a sense of the sacred to the ordinary. Architecture for worship can capitalize on this understanding, enhancing ritual and providing an additional dimension to the worship experience. Sacred place, for me, is not a space where you learn who God is, but instead it is a place where you feel who God is. The need to create sacred places is universal, the methods are shared, and our spirits are likewise fed in mosques, churches, temples, and synagogues. We build our sacred places to God, to saints and mystics, to all that we deem holy. Into them, we pour our hopes, dreams, fears, and wishes. However, the sensation of the highness of the God allowes me to differentiate myself as a human. Sacred place is a human creation, not a divine one, we say we build for God, but we build for ourselves to make us human. The only thing that architecture have to spread is the complete otherness of the Divine and the unsolvable contrast between infinite and finite, eternal and temporary, afterlife and life. 81
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Therefore, a holy space is just an experience, “Moreover, it is not a static experience, such as the viewing of art, nor a passive one such as listening to the retelling of a folks tale, but a dynamic experience in which the participant, moving through the architecture apprehends its messages both spatially and temporally.”2 In this sense, what are the architectural elements that make a sacred space sacred? Nikolaj Berdjaev was exiled from Russia when he said with conviction that God cannot be conceived as an object, not even as the highest object. God is not to be found in the world of objects.3 And so… where is God? I believe that the portals of the sacred experience are the contrasts and the transitions of everything that exist since ever and remained the same, those that are called by Rudolf Otto atmospheric qualities: darkness, silence and emptiness. The importance of light and darkness is presented dramatically in the opening sentences of the biblical record since in response to the darkness and chaos that was over the surface of the deep, God spoke and light came into being. Otto defined silence as the involuntary reaction to the presence of the numinous. Hence, a moment of silence amid, a worship service could signal an interruption of the space-time continuum, a hierophany. Emptiness is the condition of human presence without God and his consciousness is incomplete without him. The perfect balance of these atmospheric qualities can be found in the Bruder Klaus field chapel of Peter Zumthor. The mystical and thoughtproving interior is hidden by a very rigid rectangular exterior and shows that holy experience is something different from what you can expect. The interior is composed of a hollowed blackened cavity and charred walls that makes the space obscure and gives a feeling of tension. There is no plumbing, bathrooms, running water, electricity, therefore emptiness and silence are the only ones that rule the chapel and push to an intimate prayer and an air of mystery. But later, the rain that falls into the uncovered space, the draught that gets stronger with the opening of the door, the silence absorbed by the thick walls all focus our interest towards the opening which points to the sky4. The light that comes in from this oculus is as the glare’s God and makes the experience of the one inside more intense. The communicative space known from the Pantheon of Rome that is open to all gods is thickening here. And the thing that I appreciate most is that, all the meaning is concentred in what is out of the human control, all the things that happen in this place are unpredictable and changeable. As a conclusion, all these atmospheric qualities allow me to find God in the architecture. However, the question still remains, is it another approach to formalism of the God? Maybe it is just haughtiness and the truth is that “it is easy to understand God as long as you don’t try to explain him”5. 1.Rudolf Otto, Idea of the Holy 2. Thomas Barrie, Spiritual Path, sacred space 3.Nikolaj Berdjaev The Spiritual Crisis of the Intelligentsia 4 Peter Zumthor, Atmospheres 5.Joseph Joubert, The Notebooks of Joseph Joubert Douglas R. Hoffman, Seeking the Sacred in Contemporary
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Thank you Email: gaiameacci93@gmail.com Telephone:3286972319