Macchina: School of Music + Performing Space. by Gerardo Mendoza

RESEARCH THESIS AND DESIGN PROJECT

ARCH. BRIZ, FERNANDO

SUPERVISOR ARCH. PALLINI, CRISTINA

ARCH. MENDOZA, GERARDO

SCHOOL OF ARCHITECTURE URBAN PLANNING CONSTRUCTION ENGINEERING MILAN, IT

JUNE 2020

“A hovercraft gets incorporated as a constituent piece of the apparatus. An airship. A jetpack. A lunar module. I feel then as now the vocabulary of architecture is far too limited.”

Peter Cook, 2018

ABSTRACT

Flexible architecture is a seductive concept that invites us to dream of spaces that are changed voluntarily by the human, thus adapting them to their needs and immediate activities, generating utopic-almost-infinite configurations in the same place. Starting from this idea and avoiding flexibly empty spaces where furniture is the main character, Macchina is born from the premise of implementing a versatile and physically adaptable architecture that is therefore helpful to meet the needs of a real situation implemented within an existing building which by itself consists of its own historical character of high degree of importance in the city. Macchina is a project inserted in an existing building, the Politeama Auditorium at Como, Italy where the fusion is not only physical but also programmatical in order to reinforce an existing identity. The project covers three architectural scales (urban, architectonic and interior) resulting a complete design network. Macchina is a project with a background that involves various theories of architecture which throw the beginnings of a concept of architecture in motion. The project invites us to explore and live the fusion of the historical identity of a building with a physical and programmatic flexibility of a new architectural project.

SCALES OF DEVELOPMENT Urban design Architectural design Interior design

Welcome to M A C C HI NA

KEYWORDS

#machine #movablearchitecture #macchina #archigram #movableelements #versatile #logistics #flexiblearchitecture #performancespace #cultural #arts #music #schedule #openspace #urbandesign #interiordesign #acoustics #movablewalls #technology #technicalsystem #systems #modular #easymovement #change #facade #intervention #restoration #theatre #identity #motion #evolution

DEVELOPMENT OF RESEARCH AND DESIGN September 2019 - June 2020

CONTENTS

GENERAL BACKGROUND

- Demographic analysis of the City of Como - Analysis of the City of Como a) Urban analysis b) Historic analysis - Existing building: Politeama

CONCEPT: BACKGROUND

- Historical background “Macchina” a) Renaissance b) Le Corbusier c) Archigram

ARCHITECTURAL CONCEPT: REFERENCES Thanks for reading. Arch. Briz, Fernando MSc. Architecture and Urban Design Arch. Mendoza, Gerardo MSc. Architecture-Built Environment-Interiors

This Thesis Research and Design has been fully addressed and designed by the architects Fernando Briz and Gerardo Mendoza, both in collaboration and in mutual association contributing to the whole statement of the work in matters of investigation, drawings and creative design.

Thesis supervisor Arch. Pallini, Cristina Special supervision Prof. Valente Casal Ribeiro, Helder Francisco Prof. Mastalli, Nicola Prof. Nastri, Massimiliano

-- Teatro Oficina: Lina Bo Bardi - Kà: Cirque Du Soleil - The Shed: DS+R - Perelman Performing Arts Center: REX

URBAN DESIGN

- XREF - Conceptual approach - Master Plan - Urban Stage - Urban Connection (Politeama/Como)

ARCHITECTURAL DESIGN -XREF - General Architectural Program - Conceptual approach - Architectural Project - Design Diagrams - Floorplans - Perspective sections - Motion technical references - Motion technicalities - Sections - Facades - Facade sections - Details - Technical specs - Material pallete - Furniture and finishes references - Renders

PRESENTATION BOARDS REFERENCES SPECIAL THANKS

June 2020

GENERAL BACKGROUND - Analysis of the City of Como a) Urban analysis b) Demographic analysis c) Historic analysis - Existing building: Politeama

“[ . . . ] more than the sum of its celebrity interlopers, reclusive Swiss billionaires and their bashful Italian mistresses. Pergament, 2006

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DEMOGRAPHIC ANALYSIS With the implementation of factories, the silk industry began around the year 1400. However, over time it began to have a shift as the main economic source giving way to the opening of various businesses throughout the city. Likewise, due its natural attractiveness, its mild climate, public spaces, various cultural and recreational activities, the proximity to cities of great importance such as Milan and Lugano, the City of Como is a strong point of attraction not only for locals but for national and international visitors. The population of Como is a population in constant movement. Understanding the behavior of people is essential in order to carry out an architectural project that adapts to the demographic conditions of a city, at the same time, analyzing the trends of growth or reduction of the population gives us a clear idea of the direction that must be taken. follow. The population of Como, as can be seen in the graphs, is decreasing, this is due to the fact that there are few births and the percentage of deaths is higher. The population of elderly people turns out to be a majority so that in the future, if this trend continues, the general population will be diminished. It is also visible from the charts that more people is leaving Como to other places in Italy than the new people who come. This trend is a clear example of how various urban facilities are needed in Como, to generate interest in the City. Medium / large infrastructure projects are required that ultimately generate exponential population growth and improve people’s quality of life. 11

THE POPULATION CHANGE OF COMO FROM 2001-2018

86.000 84.000 82.000 80.000 78.000 76.000 2001

2002

2003

2004

2005

2006

2007

2008

2009

2010

2011

2012

2013

2014

2015

2016

2017

2012

2013

2014

2015

2016

2017

2018

Andamento della popolazione residente. COMUNE DI COMO - Dati ISTAT al 31 dicembre di ogni anno - Elaborazione TUTTIITALIA.IT

NATURAL MOVEMENT OF THE POPULATION Nascite Decessi

1.100 1.000 900 800 700 600 500 2002

2003

2004

2005

2006

2007

2008

2009

2010

2011

Movimento naturale della popolazione COMUNE DI COMO - Dati ISTAT bilancio demografico 1 gen - 31 dic - Elaborazione TUTTIITALIA.IT

2018

THE POPULATION CHANGE OF COMO FROM 2001-2018 Como Provincia di CO Lombardia +2.91% +1.94% +0.97% -0.00% -0.97% -1.94% -2.91%

2002

2003

2004

2005

2006

2007

2008

2009

2010

2011

2012

2013

2014

2015

2016

2017

2018

Andamento della popolazione residente. COMUNE DI COMO - Dati ISTAT al 31 dicembre di ogni anno - Elaborazione TUTTIITALIA.IT

PYRAMID OF AGES Celibi/Nubili

Coniugati/e

Vedovi/e

Divorziati/e

MASCHI

FEMMINE

ETÀ

ANNO DI NASCITA

100+

1917 O PRIMA

85-89

1918-1922

90-94

1923-1927

85-89

1928-1932

80-84

1933-1937

75-79

1938-1942

70-74

1943-1947

65-69

1948-1952

60-64

1953-1957

55-59

1958-1962

50-54

1963-1967

45-49

1968-1972

40-44

1973-1977

35-39

1978-1982

30-34

1983-1987

25-29

1990-1992

20-24

1993-1997

15-19

1998-2002

10-14

2003-2007

5-9

2008-2012

0-4

2013-2017

4.000

3.000

2.000

1.000

2.000

3.000

4.000

Popolazione per età, sesso e stato civile - 2017 COMUNE DI COMO - Dati ISTAT al 1° gennaio 2017 - Elaborazione TUTTIITALIA.IT

“In the foothills of the Alps in northern Italy, [ . . . ] the wishboneshaped lake awakens from its slumber [ . . . ]” Williams, 2014

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CITY OF COMO.

In the foothills of the Alps in northern Italy, Lake Como, [ . . . ] the wishbone-shaped lake awakens from its slumber in mid-March when glamorous crowds begin flocking to the pretty towns clustered around its midsection: Bellagio, Menaggio, Tremezzo, Varenna. But in recent years, the city of Como, on the lake’s southwestern tip, has quietly blossomed into the most interesting spot for visitors [ . . . ]. A raft of openings has infused new life there, transforming the oft-overlooked transit hub into the lake’s new place to be seen. (Williams 2014)

URBAN ANALYSIS Around 10,000 years ago during the Ice Age, Lake Como had its origin thanks to movements of large glaciers. It is the deepest lake in Europe counting with 410 meters deep at its deepest point. It has a perimeter of 170km making it the third largest lake on the continent. The territory of Como began its population under the influence of the Golasecca culture in the Late Bronze and Early Iron Age. However, this is only the beginning after going through various invasions; leading to the Como area to suffer loss and improvements in its development as a territory until what is known today as the City of Como. The Roman influence is one of the most important since it is the one that disputed the emergence “the city” of Como. The city was initially founded as Novum Comum by Julius Caesar in 59 BCE following the typical Roman urban trace with its perpendicular and regular grid line. In this way the “old city” of Como began to become an important point for trade and commerce. But not only that, it was also seen as a recreational site for the wealthy of the time who enjoyed its mild climate and the experience of being submerged in a natural environment that converged with the emerging city. The development and growth was such that it quickly became also an area of attraction to various conquests such as the Milanese Rule which around 1127 ended but leaving as a result the destruction of the ancient city of Como. Later, the Holy Roman Emperor Frederick Barbarossa was in charge to rebuild it and thus surround it with walls and architectural elements to protect it. Milan’s dominance was not the only one, as it was under the French and Spanish regimes and later under the Austrian Reign. Finally, Giuseppe Garibaldi was in charge of liberating the city and taking it to be part of the Kingdom of Italy. The City of Como is located within the region of Lombardy about 40 km at north from the city of Milan, Italy. As in ancient times, it is a spot of interest and attraction nowadays but hosting resthomes for the weekend, villas, commerce, areas of cultural and natural attraction that are visited daily by tourists, locals and nearby visitors. 16

MILANO-COMO LOCALIZATION MAP HIGHWAY MILAN - COMO 55 MIN TRAIN MILAN - COMO 80 MIN

LUGANO VARENNA BELLAGIO

LAKE OF COMO

LAKE OF LECCO

LECCO

CITY OF COMO

VARESE

BERGAMO

CANTU

BUSTO ARSIZIO

SARONNO

VIMERCATE MONZA

RHO

MILAN NOVARA SAN DONATO MILANESE ABBIATEGRASSO

CREMA

OLD ROMAN URBAN TRACE MODERN COMO URBAN TRACE

FULL - VOID MAP

4. 5.

10.

8. 9. 3.

11.

1. 2.

12. 13.

1. S. GIOVANNI TRAIN STATION 2. PARCO “LE MANI” 3. POLITEAMA / PIAZZA C. DELLE ALPI 4. GIARDINO DEL TEMPIO VOLTIANO 5. STADIO G. SINIGAGLIA 6. LAGO DI COMO 7. PIAZZA CAVOUR 8. CATTEDRALE DI S. MARIA ASSUNTA 9. TEATRO SOCIALE 10. PALAZZO TERRAGNI 11. BASILICA DI SAN FIDELE 12. MUSEO ARCHELOGICO P.GIOVIO 13. BIBLIOTECA COMUNALE DI COMO 14. SANTUARIO DEL SANTISSIMO CROCIFISSO 15. CONSERVATORIO DI MUSICA G. VERDI 16. PORTA TORRE (ANCIENT ROMAN RUINS)

LANDMARKS MAP

16. 14.

15.

S. GIOVANNI TRAIN STATION LAGO DI COMO TRAIN STATION BIKE PARKING BUS STOPS MAIN PEDESTRIAN STREETS

MOBILITY MAP

SCHOOLS HOSPITALITY

RELIGIOUS PARKING

COMMERCE EATERIES

URBAN EQUIPMENT MAP

HISTORICAL ANALYSIS: POLITEAMA The Politeama was conceived around 1908 with the idea of creating a new popular theater that complemented the existing Social Theater and had the same prestige but giving rise to hosting cultural activities including theater plays and thus increasing innovation and the public for this activities. A year after the idea was conceived, construction work began under the command of the architect Federico Frigerio to end in 1910. It was then that the famous Politeama Theater was inaugurated with the play “La Bohème” by Giacomo Puccini. The building maintains a strong identity since, from its architectural structure, it is the first building made of reinforced concrete in the city, as well as programmatically it was filled with various activities since it was thought as a multipurpose building where the theater, films projections, circus, restaurant, cafe, hotel and bar shaped the place throughout. Over the years the building had variations in its program such as being a temporary hospital in times of World War I as request of the army. Subsequently, the theater focused itself as cinema thanks to the rise in the film market around the 1930s. The place continued to be home to various screenings and popular gatherings until it was closed for three years in 1985 for renovations and security measures. When it finally opened its doors again, only the cafe and restaurant operated as the main attraction, leaving the projections as periodically events, limiting public access only to the balconies due to security issues.

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Finally, the Politeama stopped operating as a cinema in 1992, keeping commercial activities open. A few years later it was when the Theater had to see its final closure in 2005. Although the Politeama currently remains abandoned and in poor condition, its great cultural identity maintains it as an iconic place in the city of Como. The building has provided opportunities for various architectural intervention projects, however, none have suffered the fate of being conceived and bring to the Politeama the new rise it cheers from its entrails. 23

IMG 006 Politeama under construction between the years of 1909 - 1910

IMG 007 The Theatre Politeama and Sesto San Giovanni Railway Station. Decade of 1910

IMG 008 Politeama year 1920

IMG 009 Politeama year 2000

September 14th, 1910. The theatre was inagurated with the opera representation of “La Bohème“ by Giacomo Puccini

The necessity of providing the City of Como a “Popular Theatre“ apart from the Teatro Sociale started around the year of 1908 and the works and construction started until 1909 under the directions of Arch. Federico Frigerio. The space was perceived as a multiple-use building that would host a popular theater serving also as a cinema, café, circus, bar, restaurant and hotel.

September-October 1925. Host of numerous plays of Luigi Pirandello including “Six Characters in Search of an Author“

Within the First World War the building was occupied under request of the army as temporary hospital during that time.

Starting around 1914 the place was host for periodically circus acts until the decade of the 1930’s.

The place gained popularity and a main usage as cinema and projection place due to the increasing of the film and movie industry without changing it’s program for the following decades.

It’s doors were closed from 1985 until 1988 to have general interventions and safety regulations. Casual and more periodic projections occured leading the restaurant and cafe as main usage of the place. The theatre was used for projections but the public access was limited only to the balconies due to safety measures.

1920

1930

1980

Politeama Theatre was used not only for theatrical performances but also for cinematographic projections debuting in 1911.

1910

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TIMELINE “The Aviator” was the last film projected in 2005.

The British band Muse recorded its fifth studio album called The Resistance in a studio of its own in Lago di Como, Italy in 2008-2009. The orchestral ensamble was recorded in Milan in the same year.

The place stops operating as cinema in the year of 1992 keeping the restaurant and caffè operating.

Politeama closed permanentely it’s doors on 2005

Nowadays the theatre remains abandoned and in a bad state of conservation since more than 10 years. It has been under the spotlight by inspiring diverse architectural projects but none taken into reality.

1990

2000

PRESENT

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“ [ . . . ] il Politeama è diventato lui stesso protagonista di una pellicola cinematografica, quando Paolo Virzì ha scelto proprio la storica sala comasca per denunciare l’ingratitudine tutta italiana nei confronti dell’arte e della cultura.” La Provincia di Lecco. 2016

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EXISTING BUILDING: GROUND FLOOR

EXISTING BUILDING: FIRST FLOOR

EXISTING BUILDING: SECOND FLOOR

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EXISTING BUILDING FACADES

EXISTING BUILDING SECTIONS

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CONCEPT: BACKGROUND - Historical background “Macchina” a) Renaissance b) Le Corbusier c) Archigram

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RENAISSANCE

During medieval times, the machine concept was applied only to carry out essential tasks, thus implemented locally and in certain communities. It was until the Renaissance that an interest in artifacts that could facilitate those tasks and activities in general began to emerge, starting being used by workers and apprentices.

Thus, at this time the concept of machine began to be an activity of investigation and experimentation by various actors such as Leonardo DaVinci and Brunelleschi in various fields covering architecture, military and hydraulic systems and production in general. “Machines were enhanced and newly developed for new tasks (sometimes even with no practically applications), with better capability, better precision, larger production.” (Ceccarelli, Marco 2008). The purpose of this interest in machine development was mainly to satisfy a problem or facilitate it, specifically referring to architecture “the increasing size of architectonics works required enhanced machinery and architects were stimulated to provide suitable solutions for their own purposes.” (Ceccarelli, Marco 2008) as addressed on the construction of the dome of the Cathedral of Santa Maria del Fiore where Brunelleschi had to idealize a new system in order to properly achieve his masterpiece, “no known lifting mechanisms were capable of raising and maneuvering the enormously heavy materials he had to work with, including sandstone beams, so far off the ground.” (Mueller, Tom) “(A first phase of) the Renaissance of Machines can be characterized by a growing community of designers referring to the approaches by Brunelleschi, who is an example and personality of architect being designer and user of machines for architectonic goals; and Mariano di Jacopo, who can be seen as a first professional whose main activity was focused in the development of machines. Both personalities are representative of category of professionals who developed and used machines as results of practical knowledge of tasks and solutions… “ (Ceccarelli, Marco 2008). But this is just a first approach to the concept of machine as a pure element of production or task solving artifact which lead us to the following approach and open question which has been tried to be answered through times, how can architecture work as a machine as this “perfect artifacts” work by themselves?

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LE CORBUSIER

“The idea of machine became a way to introduce scientific and logical reasoning as the basis of designing architecture through the establishment of standards.” (P. Atmodiwirjo, Y.A. Yatmo 2015).

LeCorbusier had the idea of conceiving architecture as a way in which engineering implements machines to solve situations or problems. This principle gave guidelines to various design ideas trying to satisfy the needs of man trying to systematize the space and thus see it as a machine for living. However, the architecture responds to various parameters that could not be solved only in an engineering way technically speaking and therefore is why, for example, LeCorbusier’s movement is translated as “standards for living”. These standards are those that together with other social aspects make a suitable mechanism to make “inhabit” possible. “Architecture as a machine could be understood as an assemblage of elements, as constituting different parts that together make up the whole system”. (P. Atmodiwirjo, Y.A. Yatmo 2015). “Various works in architecture and other related disciplines had addressed both the abstract and concrete meanings of the machinic concepts. […] Some works took further the idea of machine in architecture through the concepts such as mechanics and appliances (such as the) idea of the house as an ensemble of mechanical gadgetry. […] The idea of machine involves the mechanisms of interface, complexity and causality, and therefore it provokes some critical ways of comprehending the relationship between elements involved in a system.” (P. Atmodiwirjo, Y.A. Yatmo 2015). However, ideas of architecture as a machine begun to mutate into a more functional way instead of mechanical thinking where the spaces must respond to the needs of human beings. It is here that LeCorbusier theories begun to be seen as standards that could be applied to satisfy general basic needs for any user. “[…] The standardization of architecture could play its important role, in defining the spatial quality that could not be compromised. Establishment of standards becomes possible (and also necessary) for certain aspects of architecture.” (P. Atmodiwirjo, Y.A. Yatmo 2015). Architecture responds not to only obvious basic needs but to various factors that could shape the concept of machine as gears in its construction, for example, “understanding humanistic side of architecture (which) becomes very important since the architecture and design also needs to have a role as an instrument of ‘social engineering” that could impact on the improvement of the society and human behavior”. (P. Atmodiwirjo, Y.A. Yatmo 2015). At the end the architecture responds to various stimuli from the user, and it is the job of the architect or designer to be able to take the parts and form a whole that works optimal and translate it into a physical-spatially matter. However, the question of why and how properly architecture does not function physical-mechanically to respond to these stimuli or human needs will continue to be under the spotlight of controversy.

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ARCHIGRAM

“Archigram didn’t rail against modernity so much as they wished to accelerate it. […] They acted against what they saw as a tediously conservative environment, not because of radical political sentiments, but because of the inability of art and architecture to keep pace with the products, lifestyles, and machinery that were already part of daily life.” (Anderson, Darran 2017). Human life and activity is in constant change; it is here where this trend asks why maintain a rigid architecture where the user adapts to the space instead of the other way around. Could space be the one that adapts to changes in society in general, depending on the specific interests, needs and wishes of the users? Archigram speaks not only of the changing or adaptable space to human stimuli but also of a network made up of these mechanical-archetectonic changes as in The Plug-In City where they happen to be responding to those stimuli from the day-to-day as well as those over time. “Changes over time render different aspects of cities (bathrooms, workplaces, shops) redundant at different rates. The Plug-In City could adapt by removing and replacing components. […] (Architecture is) simply too rigid to enrich modern life. People’s needs in terms of space changed dramatically with the birth of a child, the urge to be alone or to study, or the desire to simply throw a party.” (Anderson, Darran 2017). Archigram talks about why not to consider architecture as buildings that allow us as users to have the freedom to choose how to live the space and thus opening up possibilities of having a more dynamic life against the rigidity that at some point a delimited space could dictate. “I wonder if the purpose of architecture could actually be to be a point of stasis in an ever-changing world. ”(Greene, David. 2018)

ARCHITECTURAL CONCEPT: REFERENCES - Teatro Oficina: Lina Bo Bardi - Kà: Cirque Du Soleil - The Shed: DS+R - Perelman Performing Arts Center: REX

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TEATRO OFICINA, LINA BO BARDI

The project is focused on a proposal of an experimentation theatre where different performances can be held. The main idea of the project is to generate a space in which artists can innovate and experiment with the spaces, the way of giving performances and the way in which the people appreciate them as well.

One of the most important peculiarities of this project is its capacity for adaptation and transformation. The fact that this building is designed to evolve over time is implied. An evolving building tends to extend its useful life and its flexibility plays a fundamental role in the development of the activities carried out in it. The Teatro Oficina fulfills this premise given its architectural nature, where the stage is adapted depending on the type of performance and the contact between the artist and the viewer becomes more intimate.

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In addition to what was said before, there is another concept that in this case study plays a transcendental role, experimentation. This building made by Lina Bo Bardi is perfectly designed to experiment in the broad sense of the word. A building that, given its technical and spatial characteristics, is suitable for experimenting with functions. For example, within the project there are carried out different types of artistical expressions, classical and contemporary performances, concerts, art galleries, exhibitions and workshops. Even the way in which the different performances are exposed changes since the detachable structure platforms where the spectators are located becomes part of the scenery. This means that the artist and the viewer break the physical barrier in which a performance is perceived, and these become one single actor together generating an experiment where artists, the public and space merge into a single entity. The experiment itself does not end in architecture, space and performance, but it extends to the human being, specifically to the senses. This new vision of the Teatro Oficina seeks to generate in the viewer different perceptions of the performance in question, given that the architectural elements along the 50m long scenic platform, at the same time as the 4 levels where the spectators are accommodated, generate different perspectives in the user in an audiovisual matter, so in the end, the total perception of performance changes depending on where the viewer is located. #performance #experimentationtheatre #innovation #experimentwithspaces #adaptation #transformation #evolvingbuilding #flexibility #stage #intimate #functions #detachablestructure #breakthebarrier #singleentity #senses #differentperceptions #teatrooficina #linabobardi

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KÀ, CIRQUE DU SOLEIL

Interaction with the public can be a peculiarity in theatrical performances where there is an interpersonal and spatial relationship, breaking the traditional act of spectator in front of the actors. However, making the space an actor of its own in the set is something much more trivial and difficult to achieve beyond the use of props and scenery. In this case, Cirque Du Soleil makes the stage play itself as an important role, almost as a leading one in almost every occasion. The interaction in three parts is achieved where the audience is the spectator of not only actors doing stunts but interacting with mechanized mobile architectural elements to provide a complete show portraying the stage to be a character on its own. IMG 031

The show involves different elements that are mechanically moved and changed depending on the act, but emphasis should be placed on the 15x7m and 40tons platform, which is rotated and moved up to 360 degrees displaying a screen with led projections creating a vertical stage where actors perform and interact with it with various acrobatic acts. The platform gains a place on stage not as an architectural element but as one more character on the spot. The staging is beyond set design and projections without minimizing the work of the actors. There is an elaborate work of engineering that achieves the movement of the elements, but it is undoubtedly the will to design and perceive architecture as a character, giving life to inert or simple elements that are part of a theater by themselves as it would be a fixed stage which when it is given an identity of movement it comes to life and naturally and it creates an interaction with the actor on stage and therefore with the public in a visual way outside of what is commonly seen.

#performance #interaction #public #spatialrelationship #propsandscenery #stageasmainrole #audience #mechanism #mechanizedstage #acrobaticacts #engineering #architectureascharacter #identityofmovement #KA #cirquedusoleil

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THE SHED, DILLER SCOFIDIO + RENFRO PERELMAN PERFORMING ARTS CENTER, REX ARCHITECTS

What is flexible architecture? The term flexibility could be represented in different versions of the term. We can compare two scenarios where, on one hand, the architectural design is flexible since the elements in within tend to change, such as pivoting mobile walls that change the space. In contrast, flexibility could be the design of an open floor plan where the furniture is the one that performs the changing function depending on the user’s needs. To what extent is the architecture considered flexible-adaptable for the user and what are the elements that conform it? In these two references they address the term flexibility for a specific function, arts and performances, where architecture itself is what changes but focusing the design on certain specific changing elements in order to provide versatility to the activity carried out within buildings. The Shed presents itself with large open spaces at the interior in order to be used in various ways such as art galleries or artistic representations and performances. But the remarkable feature is the physically transformation of the building on the outside. By means of a mechanical system, the covering shell is moved telescopically along 80m long rails to create another spontaneous and versatile space for various activities of the same artistic nature. The Perelman Performing Arts Center physically changes as well but keeping it only in the inside of the building where guillotine-movable walls generate various adaptable performance spaces according to the needs of the staging, size of the performance and amount of public. In the end, what both places express is a design that responds in a flexible way to the sometimes ambitious needs of artists and directors. The architectural elements change to generate space options that adapt to almost any performance idea.

#performance #change #motion #flexiblearchitecture #design #changingelements #openfloorplan #adaptationfortheuser #specificfunction #versatility #physicaltransformation #spontaneousspace #variousactivities #artisticnature #adaptableperformancespace #needs #theshed #dillerscofidio #renfro #perelmanperformingartscenter #rexarchitects

MORE INSPIRATIONAL REFERENCES

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FACOLTÀ DI ARCHITETTURA POLITECNICO DI MILANO MILAN, ITALY VITTORIANO VIGANÒ

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MAISON DE VERRE PARIS, FRANCE PIERRE CHAREAU + BERNARD BIJVOET

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ESCOLA DE MÚSICA DO MERCADO CULTURAL DO CARANDA BRAGA, PORTUGAL EDUARDO SOUTO DE MOURA

URBAN DESIGN

- XREF - Conceptual approach - Master Plan - Urban Stage - Urban Connection (Politeama/Como)

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XREF: CONEXIDADE INSTALLATION, Estúdio Chão

This urban project is located in one of the most artistic neighborhoods of Rio de Janeiro, Praça XV. The architects of the Estúdio Chão studio carried out this project thinking about the versatility of various urban devices that can be used by people from the neighborhood as well as by people who come from other parts of the city. The neighborhood by itself awakens a bohemian aura, of performance, of music, among other artistic expressions that are, precisely, one of the main characteristics that are sought for the urban project of Macchina.

Aiming at sheltering the great diversity and simultaneity of actions, and at the same time operating in dialogue with the privileged urban situation, the architecture was conceived as an ephemeral citadel superimposed on the neighborhood, its flows, and its landmarks. The urban project of Macchina, as the project just mentioned, seeks to generate that each landmark plays an important role within the arrangement of the different urban stages that will be found in different open spaces throughout the city of Como. The various structures, all in scaffolding structure, were designed to house the diversity of activities such as concerts, lectures, workshops, street performances, and skateboarding. Thus, they also served as formal and constructive experimentation from a narrow range of components that underscore their ephemeral character. Lightweight overlays and closures such as the greenhouse shading screens were designed to soften the strong summer sun while enhancing the strong language of the support structure(scaffolding).

#urbanproject #art #artistic #riodejaneiro #brazil #versatility #urbandevices #neighborhood #bohemianaura #performance #music #artisticexpressions #lamacchina #diversity #simultaneityofactions #ephemeral #landmark #role #play #urbanstage #como #scaffoldingstructure #concerts #lectures #streetperformances #constructiveexperimentation #conexidadeinstallation #estudiochao

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XREF: LUMINOUS DRAPES, STUDIO TOGGLE

This pavilion is located in the outdoor plaza of the newly opened Sheikh Jaber Al-Ahmad Cultural Centre in Kuwait City. It was designed by Studio Toggle. The design of the pavilion stemmed from a desire to create a lightweight, soft and malleable space habitable in different ways. The pavilion created uses the adjacent building as a catalyst for activity. The building itself imposes a program that the pavilion assimilates and translates to generate different outdoor activities. This generates a co-relationship between the device and the pavilion’s programming system that is reflected in the minimalist architecture and in the pavilion’s own materials, a characteristic that seeks to be implemented in the urban project of Macchina.

The pavilion uses parameters that shape the various taxonomies of voids that catered to the programmed activities, mapped on to a modular grid. A low-tech, cost-efficient, incremental, modular system was developed using re-usable construction scaffolding and laser-cut IKEA drapes. This project is used as a reference in the urban project of Macchina because it works as a device subject to specific programming, which results in an activity within the ephemeral architectural entity. This urban device whose modular base generates flexibility and versatility of options to carry out various artistic activities.

#pavilion #kuwaitcity #design #architecture #lightweightstructure #malleablespace #activity #function #program #outdooractivities #minimalistarchitecture #minimalism #parameters #module #modulargrid #scaffolding #flexibility #versatility #luminousdrapes #studioroggle

CONCEPTUAL APPROACH The concept on which the urban project of Macchina is based is a very simple idea. It is based on an analogy with current machines which are subject to a specific programming that through a connection, the result is an specific activity. In order to understand the concept, it is necessary to break down each of the elements that develop the programming: 1. DEVICE / INPUT:

1. URBAN ACTIVATORS (DEVICES) / PROGRAM (INPUT)

The device in this design analogy is a building with a unique character in the city of Como. (Urban Activator). The input itself is the function of the building. (Program) 2. INPUT INSERTION: The Input is inserted into the device, generating a programming language, a unique character to the building in question. 3. OUTPUT / CONNECTION: The result of the previous step evokes in an Output (Activity), that is, a tangible action that is achieved through a direct connection between the aforementioned elements and the Output itself.

2. INPUT INSERTION INTO THE DEVICE

4. URBAN TYPOLOGY: The final result of the concept derives in a building (Device) with a specific program (Input) that through a direct connection such as a public space, generates an Output (Activity) generated from the building’s program.

3. OUTPUT (ACTIVITY) GENERATED BY A CONNECTION

“[. . .] a computer-controlled city designed for change with removable elements plugged into a ‘megastructure’ service framework.” ARCHIGRAM, Chalk, Cook, Crompton, 1964,

4. APPLIED URBAN TYPOLOGY

MASTER PLAN Macchina’s Master Plan consists of generating, throughout Como, a network of outdoor performance spaces, enhanced by different buildings of an artistic nature that give the city a very particular atmosphere. 1. URBAN ACTIVATORS Different buildings with urban potential were identified in the city due to their artistic character and architectural program. This buildings are: - La Macchina (New Project in the Politeama Auditorium) - Teatro Sociale - Como`s Conservatory of Music

1. URBAN ACTIVATORS

2. LINKED OPEN SPACES

3. PROGRAM AND CONNECTIONS

4. ACTIVITY NETWORK

2. LINKED OPEN SPACES Public spaces or open spaces where activities generated by Urban Activators can be developed were identified. 3. PROGRAM / CONNECTIONS The different urban connections through which Urban Activators reach the optimal open space were identified. 4. ACTIVITY NETWORK As a result, a network of outdoor performance spaces is generated, connected to each other, through public spaces and pedestrian streets, making access to them easy for pedestrians. The purpose of this network is to create an artistic atmosphere in the city of Como, enhanced, by the most important artistic buildings in the city.

URBAN MASTER PLAN

PERFORMATIVE DEVICES. To complete the urban project Macchina, a system of urban stages of light, economical and versatile construction, (scaffolding), was designed. As analyzed in the aforementioned urban references in Brazil and Kuwait, this ephemeral system adapts perfectly to the design premise. The general design of the urban stage consists of a 2m x 2m modular platform. This basic design can be multiplied to generate a diverse range of stages for different performances, depending on the number of people and the act to be performed. For example, the students of the La Macchina School of Music can perform some musical events in one of the public spaces of the urban project network. The urban stages will be located in open spaces for public use. Important open spaces for the city of Como such as Piazza Cacciatori delle Alpi, Tempio Voltiano`s Park, Piazza del Duomo, and the ancient Roman Ruins placed in the south of the City.

AXO VIEW FROM POLITEAMA AND PIAZZA CACCIATORI DELLE ALPI

The idea of generating a versatile and light architectural entity is precisely to assemble and disassemble these urban stages quickly and without generating a great impact on public spaces within the network. With this premise a flexibility of urban stages is generated and above all, a respect to the public spaces and historical monuments of the city of Como.

AXO VIEW FROM GIARDINI DEL TEMPIO VOLTIANO 62

SINGLE MODULE STAGE

DOUBLE MODULE STAGE

AXO VIEW FROM CATTEDRALE DI S. MARIA ASSUNTA AND PIAZZA DEL DUOMO

FULL MODULE STAGE

EXPLOSION DIAGRAM

AXO VIEW FROM DE ROMAN RUINS OF COMO 63

URBAN CONNECTION (POLITEAMA / COMO) The urban project of Macchina, has as one of its Urban Activators, the architectural intervention made in the Politeama Auditorium (Later it will be seen in detail). The urban intervention in Macchina architectural project consists of the creation of a new urban corridor, both interior and exterior, that connects the two main entrances to the building. At the same time, these entrances are connected by means of a new public space at the entrance to the School of Music and a connection between the Politeama and Piazza Cacciatore delle Alpi at the main entrance to the Auditorium, open spaces that are within the network of performance outputs where the urban stages will be located. The new urban corridor inside the building will have the function of being able to connect both entrances through an art gallery and exhibition area, while the exterior corridor will have urban furniture to be used during the day. The new architectural project of Macchina thus solves a current problem of direct connection with the city of Como, granting a new connection system between the city and the user of the building.

POLITEAMA`S URBAN CONNECTION

ARCHITECTURAL DESIGN - XREF - General Architectural Program - Conceptual approach - Logistics proposal - Architectural Project

XREF: LOUVIERS MUSIC SCHOOL REHABILITATION AND EXTENSION, OPUS 5 ARCHITECTS This architectural intervention project is located in Louviers, France. The project is based on a rehabilitation to an abandoned building and its expansion by means of architectural elements of contemporary language that highlight the architectural intervention of the project. The architectural program consists of 24 classrooms, a score library and two big orchestra rooms, a program that is further developed and seeks to be implemented within La Macchina project. This project is one of the main references that were taken to design La Macchina Music School, as they share certain similarities in the architectural program and in particular design conditions, such as the architectural intervention on an abandoned building and the square meters of construction (2000m2).

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#architecturalintervention #louviers #france #rehabilitation #bandonedbuilding # expansion #contemporarylanguage #program #classrooms #library #orchestrarooms #lamacchina #references #musicschool #similarities #designconditions #louviersmusicschool #opus5architects

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GROUND FLOOR

SECOND FLOOR

FRONT FACADE

FIRST FLOOR

SECTION A

LATERAL FACADE

XREF: MUSIC ACADEMY OF ROUBAIX , ZIG ZAG ARCHITECTURE This architectural intervention is located in Roubaix, France. This project seeks to maintain, based on a contemporary architectural language, the proportion of the existing building, making evident the architectural intervention with materials such as steel, wood and glass. The set of orthogonal volumes that are embedded in the existing building generates a dynamic and striking architectural image, since in effect, the orthogonal volumes intended for the orchestra rooms and the auditorium maintain the harmony of the existing building, but at the same time, generate a distinctive and unique character.

IMG 055

This architectural reference, such as the one mentioned above, has as its architectural program an academy of music. In matters of program, logistics and square meters of construction, it is a little different from what is sought to be achieved with Macchina project, but in terms of volume disposal, the proportion of the existing building as a premise of design and above all, the materials used in this architectural project are the elements that are taken as reference for Macchina. #architecturalintervention #roubaix #france #contemporarylanguage #proportion #existingbuilding #evident #materials #steel #wood #glass #orthogonalvolumes #dynamic #harmony #uniquecaracter #architecturalprogram #academyofmusic #volumedisposal #elements #reference #musicacademyofroubaix #zigzagarchitects IMG 056 70

GROUND FLOOR

FIRST-SECOND FLOOR

SECTION A

SECTION B

SECTION C

SECTION D

XREF: TOHOGAKUEN SCHOOL OF MUSIC , NIKKEN SEKKEI This architectural project is located in Tokyo, Japan. This particular project is not about an architectural intervention in an existing building. The architectural program of this project is, as in the previous references, a music school whose design premise is, based on orthogonal volumetric elements, spatially disaggregated, creating gaps between the circulation spaces, the classrooms and service spaces in such a way that the classrooms have visual contact with the outside and natural light enters the interior. Of this project in particular, the arrangement of the classrooms was used as a reference inside Macchina, at the same time as as an interior design reference, since the materials used in this project, such as concrete, steel and wood, at the same time as the orthogonal arrangement of the classrooms, coincide with the spatial codifications of the project. Another very important factor taken as a reference from the Tohogakuen School of Music, was the acoustic isolation strategy used. The acoustic panels located on the walls and on the ceiling are movable, allowing the distribution of the sound waves in an optimal way inside the space. #architecturalproject #tokyo #japan #program #musicschool #orthogonalvolumes #disaggregation #visualcontact #outside #naturallight #spacialarrengement #reference #interiordesign #materials #concrete #steel #wood #spatialcodification #acousticisolation #acousticpanels #soundwaves 72

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GROUND FLOOR

SECTION B FIRST FLOOR

SECTION C PERSPECTIVE SECTION A

SECTION D

“You have to decide what do you want to create, a Molotov Building or a Maná Building.” Mastalli, 2019 Making reference between two Mexican bands, Molotov and Maná

WHY?: Potentialities ESSENCE:

One of the first reasons to consider to start the design process is precisely the fact that despite the state of abandonment in which the Politeama finds itself, over the years it has had a particular character, its own essence. This is one of the strongest arguments to consider to generate the architectural program, since Macchina is just that, a reprogramming of the original Politeama software, art, performance and music.

BUILDING IN ABANDONED CONDITIONS - OWN IDENTITY

LINK:

Due to the abandonment, it is normal that the building over time has suffered a disconnection with the city of Como. Currently, despite the great location of the building (corner between Via Tollomeo Gallio - Viale Felice Cavallotti) on building lacks any type of urban connection since it is completely closed and lattice, sunk into oblivion. One of the premises of Macchina is the connection. The aim is not only to give Politeama its rightful place in Como, but at the same time, to generate a new urban corridor.

NO URBAN CONNECTIONS - NO NATURAL LIGHT

DEVICE:

The Politeama, speaking from a physical point of view, due to the lack of maintenance, presents various material and structural damages throughout its geometry. One of the most notable and, in fact, dangerous damages, is the one found in the backstage of the building. The structural damage is very advanced and even in a few years, it could collapse. La Macchina proposes to remove this old device and insert a new one, keeping the original programming but with current avant-garde. BACKSTAGE WITH STRUCTURAL DAMAGE - MUST BE REPLACED

HOW?: Program MOTION MEANS EVOLUTION:

A building created to be flexible, to change, to adapt ... Macchina base programming strategy consists of three different devices: Device 1 - POLITEAMA Device 2 - POLITEAMA`S MAIN STAGE Device 3 - MACCHINA The three main devices have an individual programming that can work by itself. At the same time, the 3 devices can work in different configurations with the idea of combining their components and generating a broader programming. The programming of La Macchina therefore tends to change depending on the connection configuration to which the devices are subject. This means that in the end, more flexible architectural spaces are generated, giving more versatility to the project and the program itself. This design premise seeks to define a series of programs and activities that the building, given its changing and flexible nature, can have.

DEVICES DIAGRAM

MACCHINA: STREET VIEW 1 WELCOME TO MACCHINA

ARCHITECTONIC INPUT (PROGRAM)

INTERIOR VIEW: CORRIDOR + GLORIFIER

PERFORMANCE SPACE La Macchina’s performance space is designed to host a very wide range of artistic shows of different kinds. Some of the configurations studied for the project are: MAIN STAGE: It is the original configuration of the Politeama`s stage. It is a unique setting to be appreciated only in the Auditorium.

MAIN STAGE.

MACCHINA TEATRALE.

FULL MACCHINA.

MACCHINA TEATRALE: In this configuration, the mobile platforms of La Macchina penetrate the main stage of the Auditorium, becoming protagonists of the performance. FULL MACCHINA: In this configuration what is known in the cinema as “The 4th wall” is broken. Both the main stage of the Auditorium and the inverted main stage of Macchina merge to generate an extended performance typology.

GROUND FLOOR

FIRST FLOOR

SECOND FLOOR

INVERTED MAIN STAGE: It is the re-interpretation of the main stage of Politeama but now seen from La Macchina. The proportion of the stage is equally maintained but with a more “intimate” character of performance. DRAMATIC DEPTH: It is a configuration created for large performances. The mobile platforms of La Macchina are staggered to generate a unique visual depth that makes the space an innovative typology for all kinds of performances. FLEXIBLE HEIGHT: In this configuration the height of La Macchina becomes the main protagonist. Acrobatic or experimental performances can be carried out.

INVERTED MAIN STAGE.

DRAMATIC DEPTH.

FLEXIBLE HEIGHT.

GROUND FLOOR

FIRST FLOOR

SECOND FLOOR

INTERIOR VIEW: AUDITORIUM RECEPTION HALL

INTERIOR VIEW: MACCHINA RECEPTION HALL

A` MAIN STAGE +0,33

RECEPTION / FOYER +0,15 AUDITORIUM

MACCHINA

MACCHINA RECEPTION

+0,15

GROUND FLOOR. B`

INTERIOR VIEW: CAFFÈ LETTERARIO

INTERIOR VIEW: MÉDIATÈQUE

+4.30

RECORDING STUDIO

+4.30

A` CAFFÈ LETTERARIO +3,60

MACCHINA

MEDIATEQUE

FIRST FLOOR. B`

SCHOOL OF MUSIC: 2ND FLOOR CORRIDOR

“You should design poetically. The architectural elements should feel free as individual characters of the play detached from the structure.” Riberio, 2019 B

RECORDING STUDIO

A` +7,05

MACCHINA

TEACHER`S ROOM

SECOND FLOOR. B`

PERSPECTIVE SECTION: PERFORMANCE SPACE + AUDITORIUM

RUNWAY CRANE SPECS. The single girder overhead crane can be installed on traveling rails on the brackets of building pillars. This type of crane has a relatively larger capacity and can utilize space below ceiling rafters, and so a wider lifting range is assured. Guiding the path using side rollers provides smooth traveling and the girders can be designed according to the rated load and span. Moreover, the shorter overall length of the end carriage and the gearedmotor installation in optimum position allows for a more effective use of work space. Track wheel maintenance is easy because of the open frame construction.Travel is smooth because of a guide mechanism with side rollers SINGLE SPEED CRANE This crane employs geared motors to ensure smooth starts and stops. It is suited for general work. DUAL SPEED CRANE This crane is capable of pendant button-controlled speed shift between low and high speed (reduction ratio of 4:1). It is suited for work requiring varied speed operation.

IMG 059

MANUAL GEARED TYPE CRANE This manual geared type crane balances travel smoothly by synchronizing the driving wheels on both sides. With a relatively shorter travel distance, it is suited for low frequency work. OPTIONAL SOFTRUN DEVICE This device electrically controls motor speed which enables to accelerate smoothly in travel and minimizes load swing at start-up. It is highly suited for handling high inertia loads or operating long span cranes.

Spec. and description taken from kito.co.jp product catalogue.

IMG 062 92

IMG 061

IMG 060

IMG 063

IMG 064 93

RUNWAY CRANE SPECS.

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Spec. aand chart taken from kito.co.jp product catalogue. 94

HYBRID RUNWAY PLATFORM SYSTEM Runway beam + motorized end truck system applied with metal deck platform system

Macchina framing

System detail

07 05

03 02

HYBRID RUNWAY PLATFORM SYSTEM 01. MACCHINA STEEL STRUCTURE 02. STEEL CORBEL ATTACHED TO MAIN STRUCTURE 03. RUNWAY BEAM 04. MOTORIZED END TRUCK 05. PLATFORM STEEL STRUCTURE 06.METAL DECK SLAB SYSTEM 07. TOP METAL-SHEET FINISH

PERSPECTIVE SECTION: SCENIC ARC VIEW

HYBRID RUNWAY PLATFORM SYSTEM EXPLOSIVE DETAIL

HYBRID RUNWAY PLATFORM SYSTEM ASSEMBLED DETAIL

SCENIC ARC RE-DESIGN EXPLOSIVE DETAIL

HYBRID RUNWAY PLATFORM SYSTEM 01. MACCHINA STEEL STRUCTURE 02. STEEL CORBEL ATTACHED TO MAIN STRUCTURE 03. RUNWAY CRANE BEAM 04. MOTORIZED END TRUCK

SCENIC ARC RE-DESIGN

05. PLATFORM STEEL STRUCTURE

01. EXISTING SCENIC ARCH STRUCTURE

06.METAL DECK SLAB SYSTEM

02. REINFORCING STEEL STRUCTURE

07. TOP METAL-SHEET FINISH

03. REINFORCING STEEL BRACKETS

08. REMOVABLE RAILING

04. STEEL COVERING

“Ladies and gentlemen ... la Macchina Teatrale.” Pallini, 2019

MACCHINA TEATRALE: ORCHESTRA PRESENTATION

100

DRAMATIC DEPTH: ARTISTIC PERFORMANCE

101

FULL MACCHINA: FASHION SHOW VIEW FROM POLITAMA`S MAIN STAGE

102

103

FULL MACCHINA: FASHION SHOW VIEW FROM MACCHINA`S INVERTED STAGE

104

105

SCHOOL OF MUSIC PARAMETERS: The music school has a different programming system than the performance space. In this part of the project, the versatility and flexibility of the classrooms is what it is wanted to be achieved. It is worth mentioning that the Louviers Music School project by Opus 5 Architects was used as reference for the architectural program (check reference). At Macchina Music School, what is sought is to insert a parameter that ultimately catalyzes movement. This parameter can be defined by time (days, hours, academic calendar), the number of people, the type of classes, etc. In this case, the movement of the architectural elements that define the spaces is carried out vertically, by a crane system that will be explained in detail later. For the initial design of the logistics, the movement of the architectural elements and the definition of the program, a normal school day was taken as the parameter, as well as its different schedules (morning, midday and afternoon). Looking to match the number of classrooms to the Louviers Music School project.

SCHOOL OF MUSIC ( MORNING)

SCHOOL OF MUSIC ( MIDDAY)

SCHOOL OF MUSIC ( AFTERNOON) 106

SCHOOL OF MUSIC ( MORNING)

SCHOOL OF MUSIC ( MIDDAY)

SCHOOL OF MUSIC ( AFTERNOON)

THIRD FLOOR.

FOURTH FLOOR.

FIFTH FLOOR.

107

Louviers Music School / Opus 5 Architects Overall Typology

Number of Units

Square Meters by Unit

Total Square Meters by Unit

People by Unit

Total of People by Unit

Piano Room

Drumkit Studio

Percussion

Jazz

Instrumental Formation

240

120

Musical Formation A

Small Ensamble

Musical Formation B

Electronic Music

Individual Rehearsal

Orchestra 2

Total

647

324

* MOVABLE AULA (F) FIXED AULA Macchina School of Music (Morning) Overall Typology

Number of Units

Square Meters by Unit

Total Square Meters by Unit

People by Unit

Total of People by Unit

Piano Room (F)

Drumkit Studio (F)

Percussion Studio (F)

Instrumental Formation*

Musical Formation *

296

148

Small Ensamble (F)

Medium Ensamble*

Electronic Music (F)

Individual Rehearsal (F)

Full Orchestra*

153

Band Rehearsal (F)

Total

733

* MOVABLE AULA (F) FIXED AULA

108

367

Macchina School of Music (Midday) Overall Typology

Number of Units

Square Meters by Unit

Total Square Meters by Unit

People by Unit

Total of People by Unit

Piano Room (F)

Drumkit Studio (F)

Percussion Studio (F)

Instrumental Formation*

Musical Formation *

259

130

Small Ensamble (F)

Medium Ensamble*

114

Electronic Music (F)

Individual Rehearsal (F)

Full Orchestra*

Band Rehearsal (F)

Total

386

733

367

* MOVABLE AULA (F) FIXED AULA Macchina School of Music (Afternoon) Overall Typology

Number of Units

Square Meters by Unit Total Square Meters by Unit

Piano Room (F)

Drumkit Studio (F)

People by Unit

Total of People by Unit

Percussion Studio (F)

Instrumental Formation*

228

114

Musical Formation *

222

111

Small Ensamble (F)

Medium Ensamble*

Electronic Music (F)

Individual Rehearsal (F)

Full Orchestra*

Band Rehearsal (F)

Total

272

734

367

* MOVABLE AULA (F) FIXED AULA

109

SCHOOL OF MUSIC: LOUNGE AREA

110

+10,50

+9,50

SCHOOL OF MUSIC

ADMINISTRATION

THIRD FLOOR (MORNING)

THIRD FLOOR (MIDDAY)

THIRD FLOOR (AFTERNOON)

111

112

SCHOOL OF MUSIC (MORNING)

SCHOOL OF MUSIC (MIDDAY)

SCHOOL OF MUSIC (AFTERNOON)

THIRD FLOOR.

- INSTRUMENTAL FORMATION ----

- INSTRUMENTAL FORMATION -----

- INSTRUMENTAL FORMATION (37 people)

- FULL ORCHESTRA (77 people)

- FULL ORCHESTRA ----

- FULL ORCHESTRA -----

- MUSICAL FORMATION -----

- MUSICAL FORMATION (19 people)

- MUSICAL FORMATION X2 (37 people)

- MEDIUM ENSAMBLE ----

- MEDIUM ENSAMBLE (57 people)

- MEDIUM ENSAMBLE ----

- PIANO ROOM (15 people)

- PERCUSSION STUDIO (14 people)

- DRUM KIT STUDIO ( 8 people)

TOTAL OF PEOPLE: 114

TOTAL OF PEOPLE: 113

TOTAL OF PEOPLE: 112

FOURTH FLOOR.

- MUSICAL FORMATION X4 (74 people)

- PIANO ROOM (15 people)

- SMALL ENSAMBLE (15 people)

- ELECTRONIC MUSIC ( 19 people)

- INDIVIDUAL REHEARSAL X3 (6 people)

TOTAL OF PEOPLE: 129

FIFTH FLOOR.

- INSTRUMENTAL FORMATION ----

- INSTRUMENTAL FORMATION (37 people)

- INSTRUMENTAL FORMATION X2 (76 people)

- FULL ORCHESTRA ----

- MUSICAL FORMATION X4 (74 people)

- MUSICAL FORMATION X2 (37 people)

- MUSICAL FORMATION -----

- PIANO ROOM (15 people)

- SMALL ENSAMBLE (15 people)

- INDIVIDUAL REHEARSAL X3 (6 people)

- BAND REHEARSAL X2 (15 people)

TOTAL OF PEOPLE: 125

TOTAL OF PEOPLE: 127

TOTAL OF PEOPLE (MORNING): 368

TOTAL OF PEOPLE (MIDDAY): 367

TOTAL OF PEOPLE (MORNING): 368

+15,00

SCHOOL OF MUSIC

FOURTH FLOOR.

113

SCHOOL OF MUSIC: CORRIDOR VIEW

114

SCHOOL OF MUSIC +19,50

ADMINISTRATION

FIFTH FLOOR (AFTERNOON).

FIFTH FLOOR MORNING).

FIFTH FLOOR (MIDDAY).

115

PERSPECTIVE SECTION: SCHOOL OF MUSIC

GUILLOTINE WALL SPECS. Harrington RH wire rope hoists are designed and built for today’s heavy-duty wire rope hoist applications including fabricating, die handling, paper mill and production line work. State-of-the-art design features and construction make the RH extremely durable, highly reliable and very low maintenance for years of trouble free service. The RH includes features that are expensive options on competitive hoists to include standard electromechanical load limiting device, fan-cooled motors and rubber trolley bumpers. Maintenance and failures associated with disc type brakes are eliminated with our revolutionary conical rotor brake system. The sealed hoist electrical enclosure means airborne grit and contamination will not penetrate the hoist to cause premature failure of electrical components. A truly unique wire rope guide prevents improper rope alignment on the grooved drum. The RH’s design is maintenance friendly. Examples are a hinged electrical panel and external upper/lower limit switches tominimize hoist downtime and expense.

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RH Electric Wire Rope Hoists and Trolleys Standard Specifications Capacities (Tons): 2, 3, 5, 7 1/2, 10, 15, 20 Lift Range (feet): 20’ to 105’ Lifting Speeds (ft/min): 16, 24, 32, 48 Dual Lifting Speeds (ft/min): 16/5, 24/8, 32/10, 48/16 Trolley Travel Speeds (ft/min): 40, 64, 80 Dual Trolley Travel Speeds (ft/min): 64/16, 80/20 Supply Voltages: 230-3-60, 460-3-60 Control Voltage: 110VAC Reeving: 4/1 (four-part single reeved) or 2/1 (two-part single reeved) Configurations: • Deck/base mounted or lug suspended hoists • Standard or ultra-low headroom trolley hoistsz Spec. and description taken from harringtonhoists.com product catalog.

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GUILLOTINE WALL SPECS.

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Spec. aand chart taken harringtonhoists.com product catalogue. 119

REFERENCE PROJECT: 242 STATE STREET / OLSON KUNDIG

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GUILLOTINE WALL SYSTEM Electric Hoist Motor + Lift Pulley System applied to lift an acoustic wall.

Macchina framing

System detail - 01 11

10 D-01

D-02

D-03

D-04

GUILOTINE WALL SYSTEM

07. FLOOR ACOUSTIC SEAL

01. LIFT PULLEY SYSTEM

08. ACOUSTIC FALSE CEILING

02. ELECTRIC HOIST MOTOR

09. STEEL CEILING ACOUSTIC SEAL

03. LIFT PULLEY SYSTEM STRUCTURE

10. MACCHINA STEEL STRUCTURE

04. “C” CHANNEL PLATE FOR WALL RIGIDITY

11. MACCHINA CEILING

05. ACOUSTIC LIFTING WALL

12. SPONGE ACOUSTIC SEAL

06. STEEL STOP FOR LIFTING WALL

13. METALDECK SLAB SYSTEM

121

GUILLOTINE WALL SYSTEM Electric Hoist Motor + Lift Pulley System applied to lift an acoustic wall.

System detail - 02

System detail - 03

10 12

122

GUILOTINE WALL SYSTEM

07. FLOOR ACOUSTIC SEAL

01. LIFT PULLEY SYSTEM

08. ACOUSTIC FALSE CEILING

02. ELECTRIC HOIST MOTOR

09. STEEL CEILING ACOUSTIC SEAL

03. LIFT PULLEY SYSTEM STRUCTURE

10. MACCHINA STEEL STRUCTURE

04. “C” CHANNEL PLATE FOR WALL RIGIDITY

11. MACCHINA CEILING

05. ACOUSTIC LIFTING WALL

12. SPONGE ACOUSTIC SEAL

06. STEEL STOP FOR LIFTING WALL

13. METALDECK SLAB SYSTEM

GUILLOTINE WALL SYSTEM Electric Hoist Motor + Lift Pulley System applied to lift an acoustic wall.

System detail - 04

System detail (floor plan zoom) - 05

10 04

GUILOTINE WALL SYSTEM

07. FLOOR ACOUSTIC SEAL

01. LIFT PULLEY SYSTEM

08. ACOUSTIC FALSE CEILING

02. ELECTRIC HOIST MOTOR

09. STEEL CEILING ACOUSTIC SEAL

03. LIFT PULLEY SYSTEM STRUCTURE

10. MACCHINA STEEL STRUCTURE

04. “C” CHANNEL PLATE FOR WALL RIGIDITY

11. MACCHINA CEILING

05. ACOUSTIC LIFTING WALL

12. SPONGE ACOUSTIC SEAL

06. STEEL STOP FOR LIFTING WALL

13. METALDECK SLAB SYSTEM

123

PERSPECTIVE SECTION: PERFORMANCE SPACE + SCHOOL OF MUSIC

124

GUILLOTINE WALL SYSTEM DIAGRAM

GUILLOTINE WALL SYSTEM ASSEMBLED DETAIL

GUILLOTINE WALL SYSTEM EXPLOSIVE DETAIL

GUILOTINE WALL SYSTEM

07. FLOOR ACOUSTIC SEAL

01. LIFT PULLEY SYSTEM

08. ACOUSTIC FALSE CEILING

02. ELECTRIC HOIST MOTOR

09. STEEL CEILING ACOUSTIC SEAL

03. LIFT PULLEY SYSTEM STRUCTURE

10. MACCHINA STEEL STRUCTURE

04. “C” CHANNEL PLATE FOR WALL RIGIDITY

11. MACCHINA CEILING

05. ACOUSTIC LIFTING WALL

12. SPONGE ACOUSTIC SEAL

06. STEEL STOP FOR LIFTING WALL

13. METALDECK SLAB SYSTEM

125

SCHOOL OF MUSIC MORNING: FULL ORCHESTRA MORNING ARRANGEMENT

126

127

SCHOOL OF MUSIC AFTERNOON: INSTRUMENTAL FORMATION AFTERNOON ARANGEMENT

128

129

SCHOOL OF MUSIC: PIANO ROOM TYPOLOGY

130

SCHOOL OF MUSIC: DRUM KIT SUDIO TYPOLOGY

131

+25,00

+19,50

+15,00 +12,80

+9,50

+10,50 +7,05

+4,30

+0,00

+3,60

+0,00 -3,20

LONGITUDINAL SECTION A-A’

SIDE FACADE - EAST

132

TRANSVERSAL SECTION B-B’

TRANSVERSAL SECTION C-C’

MAIN FACADE - SOUTH

BACK FACADE - NORTH

0 1

133

D-01

D-02

D-03

DETAILED SECTION 1 134

01. ULTRA-HIGH PERFORMANCE CONCRETE (UHPC) LOUVER 06.

02. CHANNEL GLASS FACADE PANEL 03. EXTERIOR VENTILATION LOUVER 04. FACADE STEEL PLATE UNION

PRECAST CONCRETE

03.

05. “C” CHANNEL MULLION

07.

06. POLYCARBONATE ROOFING PANEL 07. STRUCTURAL UNION STEEL PLATE

05. 09.

08. “CROSSED” SHAPE STEEL COLUMN

STEEL

09. TRUSS STRUCTURAL SYSTEM

01.

02.

04.

08.

10. “C” CHANNEL ENCLOSURE 11. METALDECK SLAB SYSTEM 12. “I” PROFILE MAIN STRUCTURAL BEAM CHANNEL GLASS

13. POLITEAMA`S EXISTING FACADE 14. EXISTING FACADE STEEL PLATE UNION 15. STEEL RAILING

D-01

16. “I” PROFILE SECONDARY STRUCTURAL BEAM 17. DOUBLE GLAZED FACADE

GLASS

01.

02.

04.

08.

05. 01.

02.

04. 05.

11.

13.

14.

10.

12. 08.

D-02

D-03 135

D-04

D-05

DETAILED SECTION 2 136

01. ULTRA-HIGH PERFORMANCE CONCRETE (UHPC) LOUVER 02. CHANNEL GLASS FACADE PANEL 03. EXTERIOR VENTILATION LOUVER

Channel Glass Veil + Ultra-High Performance Concrete (UHPC) Louvers Facade System.

04. FACADE STEEL PLATE UNION

PRECAST CONCRETE

05. “C” CHANNEL MULLION

Politeama was the first reinforced concrete building in the city, characteristic that gives a high importance identity. Macchina is designed taking consideration the strong character of the existing building. The Channel Glass facade that works as a covering veil of the machine is covered by another layer of louvers made by Ultra-High Performance Concrete (UHPC) which creates a unity of the new with the existing by its material properties. As well the facade as a louvered veil works as protection of the solar radiation over the 4 sides of the new intervention.

06. POLYCARBONATE ROOFING PANEL 07. STRUCTURAL UNION STEEL PLATE 08. “CROSSED” SHAPE STEEL COLUMN

STEEL

09. TRUSS STRUCTURAL SYSTEM 10. “C” CHANNEL ENCLOSURE 11. METALDECK SLAB SYSTEM 12. “I” PROFILE MAIN STRUCTURAL BEAM

CHANNEL GLASS

13. POLITEAMA`S EXISTING FACADE 14. EXISTING FACADE STEEL PLATE UNION 15. STEEL RAILING 16. “I” PROFILE SECONDARY STRUCTURAL BEAM 17. DOUBLE GLAZED FACADE

GLASS

04.

02. 01. 04.

15.

11.

02. 01.

08.

05.

12.

16.

05.

16.

12.

05.

08.

17.

D-04

D-05 137

CHANNEL GLASS FACADE SPECS. HIGH-PERFORMANCE CHANNEL GLASS FACADE SYSTEM SF-60 (DOUBLE-GLAZED).

ACOUSTIC

GLASS DIMENSIONS – Length: up to 23 ft. (7 m), depending on wind loads – Widths: range 9” to 19.5” (230 – 480 mm); custom widths available for large projects – Flange depth: 1.6” (41 mm) for interior use and 2.4” (60 mm) for exterior/interior use – Thickness: 0.24” (6 mm) for interior use and 0.28” (7 mm) for exterior/interior use

4.5” (114 mm) daylight-friendly double-glazed channel glass walls provide outstanding acoustic benefits. Our silicone-sealed interlocking channel glass systems without insulation are projected to deliver STC 38. With added insulation inserts, the systems can deliver STC up to 43 (for interior walls) and OITC up to 36 (for exterior walls).

GLASS MATERIAL OPTIONS – Ultra-brilliant low-iron glass (15-25% post-consumer) – Standard glass (30-40% post-consumer)

Notethat STC 40 is considered the “onset of acoustic privacy” (speech becomes inaudible through the wall). In comparison, Sheetrock-clad interior stud walls of the same thickness offer lower STC 33 without insulation and STC 39 with fiberglass insulation; they are also completely opaque to light.

GLASS SAFETY OPTIONS – Standard (non-safety) – Tempered safety (meets ANSI Z97.1 & CPSC 16CFR 1201 safety requirements) APPROX. WEIGHT – 4-5 lbs/ft² (20-25 kg/m²) single-glazed – 8-10 lbs/ft² (40-50 kg/m²) double-glazed LIGHT TRANSMISSION (VLT, DOUBLE-GLAZED) – Uncoated channel glass: 72% – Low-e channel glass: 64% – Low-e & insulated channel glass: 37% CUSTOMIZATION – Custom sizes: custom channel widths & flange lengths available for large projects – Custom colors: hundreds of colorfast, scratch resistant, translucent & opaque fritted glass colors – Enhanced privacy options: sand-blasted or fritted

REFERENCED BRAND

138

IMG 066

IMG 067

IMG 068

139

GENERAL ENVELOPE-FACADE EXPLOSIVE DIAGRAM MACCHINA STRUCTURAL SYSTEM 01.MACCHINA NEW STEEL STRUCTURE FACADE SYSTEM 02. CHANNEL GLASS FACADE FRAME 03. CHANNEL GLASS / GLAZED FACADE PANEL 04. ULTRA-HIGH PERFORMANCE CONCRETE (UHPC) LOUVER SYSTEM ROOFING SYSTEM 05. EXTERIOR VENTILATION LOUVER SYSTEM 06. TRUSS STRUCTURAL SYSTEM 07. POLYCARBONATE ROOFING PANEL EXISTING BUILDING POLITEAMA 08. REINFORCED CONCRETE EXISTING FACADE

140

ENVELOPE-FACADE DETAIL DIAGRAMS 01. MACCHINA STEEL STRUCTURE 02. “C” CHANNEL MULLION 03. CHANNEL GLASS FACADE PANEL 04. ULTRA-HIGH PERFORMANCE CONCRETE (UHPC) LOUVER SYSTEM 05. “C” CHANNEL ENCLOSURE 06. METALDECK SLAB SYSTEM 07. STRUCTURAL UNION STEEL PLATE 08. DOUBLE GLAZED FACADE

141

142

MACCHINA: EAST FACADE VIEW OF THE ACCESS PIAZZA

143

SCHOOL OF MUSIC: MEDIUM ENSAMBLE AULA TYPOLOGY

144

INTERIOR CHANNEL GLASS WALL 01. Framing 02. Wacotech™ TIMax Channel Glass Insulation 03. High-Performance Channel Glass wall system I-60 (DOUBLE-GLAZED)

FALSE CEILING SYSTEM 01. Steel framing 02.Woodskin™ Rotating synthetic felt acoustic panel 03. Acoustic drywall covering panel 04. Lighting fixtures

INTERIOR GUILLOTINE WALLS 01. Framing 02. Insulation 03. Acoustic drywall panel 04. Woodskin™ Framing 05. Woodskin™. FOLD acoustic panel. Varnished birch plywood.

INTERIOR WALLS 01. Framing 02. Insulation 03. Acoustic drywall panel 04. Woodskin™ Rotating synthetic felt acoustic panel 05. Varnished plywood palletes. 145

CHANNEL GLASS INTERIOR WALLS SPECS. HIGH-PERFORMANCE CHANNEL GLASS WALL SYSTEM I-60 (DOUBLE-GLAZED)

ACOUSTIC

GLASS MATERIAL OPTIONS – Ultra-brilliant low-iron glass (15-25% post-consumer) – Standard glass (30-40% post-consumer)

REFERENCED BRAND

146

IMG 069

IMG 070

IMG 071

147

ACOUSTIC GUILLOTINE AND INTERIOR WALLS SPECS. WOOD-SKIN TECHNOLOGY AND DESIGN

ACOUSTIC PERFORMANCE

Patented digital fabrication process able to translate any design into a one-of-a-kind, self-structured, threedimensional surface. The combination of proprietary software, composite materials, and CNC machines helps architects and designers to bridge the gap between digital representation and the building environment.

The WOOD-SKIN system has great acoustic characteristics depending on the position and the treatment of the surface;

Through software, complex surfaces are easily managed and tessellated. The surface is unfolded and highly optimized to be produced and shipped flat onsite, where it is folded back into the designed 3D shape.

• non-perforated surface: WOOD-SKIN behaves as an excellent diffuser/reflector for the mid-high frequencies; • airgap 30-50cm and perforation rate 5-15%: WOOD-SKIN has a low-mid frequency absorption; • airgap 5-10cm and perforation rate 20- 50%: WOOD-SKIN has a medium to high frequency absorption.

APPLICATIONS Wall, ceiling, façade, counters, columns and more

Once configured in 3D, they acquire many new features, including remarkable acoustic properties. The diffusion of the sound obtained by the ‘breaking’ sound waves, and the resulting ability to create immersive aural environments is owed to WOOD-SKIN’s signature geometry. But the same membrane behavior made possible by the textile backing also allows the absorption of sound waves.

MATERIALS Wide range of wood (such as plywood, wood veneer, semi-finished products), laminates, aluminum, felt, cork, HPL and others upon request

Thanks to the digital nature of WOOD-SKIN, it is possible to enrich our surfaces with variable perforation density, creating areas with specific performance criteria. Sound-absorbing materials positioned on the back follow the underlying form organically, creating a controlled system capable of adapting to the demands of any acoustic project.

FINISHES Varnish, laminate, veneer.

A solution that adapts not only to the form of a given space but to the acoustic experience that it is intended to provide.

COLORS Wide range of hues depending on materials and finishes ENVIRONMENT Indoor / outdoor

REFERENCED BRAND

148

IMG 072

MEDIUM - HIGH FREQUENCIES ABSORPTION: • 14 - 18% of surface perforation; • High performance (α > 0,8 from 400Hz to 2000 Hz); • Speaking sound absorption, perfect for auditorium, restaurants, lobbies, conference rooms, offices, open spaces and more; • Various sound-absorption material on the back LOW FREQUENCIES ABSORPTION: • 6 - 10% of surface perforation; • Advanced performance for specific low frequencies absorption with maximum control of 3D configurations, perforations density, and geometries; • Perfect for concert halls, record rooms and every space with specific acoustic needs..

IMG 074

IMG 073

149

REFERENCED FINISHES, MATERIAL BRANDS AND FURNITURE INSPIRATION

150

EXTERIOR MATERIALS

INTERIOR MATERIALS

PRECAST CONCRETE

STEEL

CHANNEL GLASS

WOODEN PALLETES + ACOUSTIC FELT

GLASS

CHANNEL GLASS + GLASS

LIGHTING FIXTURES

FURNITURE

STAGE LIGHTING

LIGHTING, FURNITURE AND OBJECTS apparatusstudio.com

FURNITURE MAKER AND DESIGN STUDIO oandd.dk

STAGE LIGHTING portmanlights.com

INTERIOR ACOUSTIC FINISHES

FACADE AND INTERIOR GLASS WALLS

SURFACES FOR ARCHITECTURE AND DESIGN wood-skin.com

ARCHITECTURAL GLASS AND SYSTEMS bendheim.com

MUSICAL INSTRUMENTAL INSPIRATION

151

PERSPECTIVE SECTION: FULL PROJECT

“Guys, I see the light at the end of the tunnel.” Pallini, 2019

“And now performing... straight from

Mexico City...MAXON!

Fernando’s Band based in Mexico City

INVERTED STAGE: CONCERT

MACCHINA: STREET VIEW 2

PRESENTATION BOARDS

162

163

164

165

166

167

168

169

170

171

172

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174

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176

177

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183

REFERENCES

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SPECIAL THANKS

194

FERNANDO BRIZ

MSc. Architecture and Urban Design

I would like to start by thanking Professor Cristina Pallini, for the time, knowledge, trust and above all, the guide she put in us and in this project. To Professor Nicola Mastalli, to Professor Helder Francisco Valente Casal Ribeiro, to Professor Massimiliano Nastri for having shared their great experience in each of the thesis revisions. To my colleagues Alexander Guzman and Beatrice Maineri with whom I started this project in the Architectural Design Studio class taught by Professor Cristina Pallini. I also want to thank each of the teachers I met in this amazing adventure at Politecnico di Milano, I will never forget their teachings and their great lessons. To my friends from the Master of Science in Architecture and Urban design. I would never have imagined learning so much from so many different cultures and countries. It would be impossible to mention so many people, but you know who you are and how grateful I am to each of you. I want to thank Italy for becoming my second home. I also want to thank the people I left behind in Mexico, Juan Carlos Alvear, Ruben Gutierrez Nesme among other great architects who taught me what I know professionally. To my ITESM CCM teachers for forging me as an architect. To my friends who have become my brothers. To Gerardo Mendoza for not only being my thesis partner, but also my best friend. To Samantha Rivera for giving us asylum in her house during the Covid-19 quarantine and for being an incredible person and friend. To Jennifer Enriquez for all the motivation and being part of my daily inspiration, but above all, I want to thank my family with my heart. To my parents and my brothers, because if it were not because of you, none of this would be possible. Infinite thanks for the support, the love and your effort, this success is not only mine and it is dedicated to you. I love you with all my heart. Me gustarìa empezar agradeciendo a la profesora Cristina Pallini, por el tiempo, el conocimiento, la confianza y sobre todo, la guìa que puso en nosotros y en este proyecto. Al profesor Nicola Mastalli, al profesor Helder Francisco Valente Casal Ribeiro, al profesor Massimiliano Nastri por habernos compartido su gran experiencia en cada una de las revisiones de la tesis. A mis compañeros Alexander Guzman y a Beatrice Maineri con quienes empecè este proyecto en la clase de Architectural Design Studio que imparte la profesora Cristina Pallini. Quiero agradecer tambièn a cada uno de los profesores que conocì en esta gran aventura en el Politecnico di Milano, jamàs olvidarè sus enseñanzas y sus grandes lecciones. A mis amigos del Master of Science in Architecture and Urban design. Jamàs me hubiera imaginado aprender tanto de tantas culturas y paises diferentes. Serìa imposible mencionar a tantas personas pero ustedes saben quienes son y lo agradecido que estoy con cada uno de ustedes. Quiero agradecerle a Italia por convertirse en mi segunda casa. Quiero agradecer tambièn a las personas que dejè en Mèxico, Juan Carlos Alvear, Ruben Gutierrez Nesme entre otros grandes arquitectos que me enseñaron lo que sè profesionalmente. A mis profesores del ITESM CCM por forjarme como arquitecto. A mis amigos que se han convertido en mis hermanos. A Gerardo Mendoza por no solo ser mi compañero de tesis, si no mi mejor amigo. A Samantha Rivera por darnos asilo en su casa durante la cuarentena del Covid-19 y por ser una increìble persona y amiga. A Jennifer Enriquez por toda la motivaciòn y ser parte de mi inspiraciòn diaria, pero sobre todas las cosas, quiero agradecer con el corazòn a mi familia. A mis padres y a mis hermanos, por que de no ser por ustedes, nada de esto serìa posible. Gracias infinitas por el apoyo, el amor y el esfuerzo. Este èxito no es solo mìo y va dedicado a ustedes. Los amo con todo mi corazòn.

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196

GERARDO MENDOZA

MSc. Architecture-Built Environment-Interiors

This Thesis does not represent only the result of an arduous dedication towards the development of a project. It is not only the result of years of study plus two invested in achieving a higher level degree that opens doors in the professional world. It is also an accumulation of personal goals that started as a dream, as an idea, and that now becomes tangible. Goals accomplished accumulated over the months that not only forge a person intellectually but increase a person’s maturity and values. To my father, my mother and my sister who have unconditionally supported each and every one of my decisions in life. For their love, for their strength and for keeping me afloat in every possible way. I am proud to be a part of your life. Thank you for believing in me and being my guides in this adventure away from home. I love you. To all my family for believing in me even when I have doubted myself. Thank you for your insatiable “cheers” that always keep my head up high. To those who are not here anymore, but their presence has been felt countless times, thank you. I love you. To each and every one of my ‘close ones’ in Mexico, you know who you are, who have not only been part of my professional journey in these two years but throughout my personal growth. For your unconditional love and support, for always being there, thank you. I am proud of each one of you, you are my strength. I love you. I appreciate the knowledge provided by Politecnico di Milano that has led me to approach people of high intellectual level from whom I had the opportunity to learn, teachers, students and friends. For the high demand and competitiveness that it implements and that, therefore, has made myself ask for more not only as a professional but also on a personal level. To TWA who was my professional teacher and trigger for my interest in well-cared and detailed design, thank you. To the teaching acquired in my preparation in Mexico, thank you Tec CCM. To those new people I have met who have left their mark of experience and learning, good and bad, thank you. To those who transcended and who I can now call friends, thank you. I love you and I hope not to distance or in anycase, meet soon again. For contributing your professionalism, intellect and teaching, for your interest and support in the development of this Thesis, Prof. Cristina Pallini, Prof. Helder Francisco Valente Casal Ribeiro, Prof. Nicola Mastalli and Prof. Massimilano Nastri, thank you. For the same vibe, for coinciding in the same adventure, for your unconditional love and support, babylove, thank you. I love you. Amigo, we made it. Fernando Briz, thanks. For living the adventure at the same time, for finally making a project together as we wanted following our own design and criteria. For being my best friend and for your unconditional personal support, thank you. I love you, brother. Esta Tesis no representa únicamente el resultado de una ardua dedicación hacia el desarrollo de un proyecto. No es únicamente el resultado años de estudio incluyendo dos invertidos en conseguir un título de mayor nivel que permita abrir puertas en el mundo profesional. Es también una acumulación de metas personales que iniciaron como un sueño, como una idea y que ahora se hace tangible. Metas cumplidas acumuladas con el paso de los meses que no solamente forjan a una persona intelectualmente sino incrementan la madurez y valores de una persona. A mi padre, mi madre y mi hermana quienes han apoyado incondicionalmente todas y cada una de mis decisiones en la vida. Por su amor, por su fortaleza y por mantenerme a flote en todo aspecto posible. Estoy orgulloso de ser parte de ustedes. Gracias por creer en mí y ser mis guías en esta aventura lejos de casa. Los amo. A toda mi familia por creer en mi aún cuando yo he dudado de mí mismo. Gracias por sus “porras” insaciables que me mantienen con la frente en alto. A aquellos que no están, pero su presencia se ha sentido innumerables veces, gracias. Los amo. A todos y cada uno de mis ´cercanos´ en México, ustedes sabes quienes son, que no solo han sido parte de mi travesía profesional en estos dos años sino en mi crecimiento personal. Por su amor y apoyo incondicional, por siempre estar, gracias. Estoy orgulloso de cada uno de ustedes, son mi fuerza. Los amo. Agradezco el conocimiento brindado por parte de Politecnico di Milano que me ha llevado a acercarme a gente de alto nivel intelectual de la cual tuve la oportunidad de aprender, profesores, alumnos y amigos. Por la alta exigencia y competitividad que implementa y que por ende ha llevado a exigirme no solo como profesionista sino a un nivel personal. A TWA quien fue mi maestro profesional y detonador hacia mi interés por el diseño cuidado y detallado, gracias. A la enseñanza adquirida en mi preparación en México, gracias Tec CCM. A aquellas nuevas personas que he conocido que me han dejado su huella de experiencia y aprendizaje, buena y mala, gracias. A aquellos que trascendieron y que ahora puedo llamar amigos, gracias. Los amo y espero no distanciarnos o encontrarnos pronto. Por aportar su profesionalismo, intelecto y enseñanza, por su interés y apoyo en el desarrollo de esta Tesis, Prof. Cristina Pallini, Prof. Helder Francisco Valente Casal Ribeiro, Prof. Nicola Mastalli y Prof. Massimilano Nastri, gracias. Por la misma vibra, por encontrarnos en la misma aventura, por tu amor y apoyo incondicional, babylove, gracias. Te amo. Amigo, lo logramos. Fernando Briz, gracias. Por pasar la aventura a la par, por finalmente hacer un proyecto juntos como hemos querido a nuestro gusto y criterio. Por ser mi mejor amigo y por tu apoyo personal incondicional, gracias. Te amo.

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Gracias por leer. Thanks for reading.

Thanks for reading. Arch. Briz, Fernando MSc. Architecture and Urban Design Arch. Mendoza, Gerardo MSc. Architecture-Built Environment-Interiors This Thesis Research and Design has been fully addressed and designed by the architects Fernando Briz and Gerardo Mendoza, both in collaboration and in mutual association contributing to the whole statement of the work in matters of investigation, drawings and creative design.

Thesis supervisor Arch. Pallini, Cristina Special supervision Prof. Valente Casal Ribeiro, Helder Francisco Prof. Mastalli, Nicola Prof. Nastri, Massimiliano

June 2020

Macchina is a project inserted in an existing one where the fusion is not only physical but also programmatic in order to reinforce an existing identity. The project covers three architectural scales (urban, architectonic and interior) resulting a complete design network. Macchina is a project with a background that involves various theories of architecture which throw the beginnings of a concept of architecture in motion. The project invites us to explore and live the fusion of the historical identity of a building with a physical and programmatic flexibility of a new architectural project.

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