“ Strolling one evening in a wood I happened to grasp the shadow of plants ...” Étienne-Louis Boullée
Index
Design Studio 3 P. Barbarewski
2015
E. Giani
2014
N. Bolla
2013
M. Sroczynska
2015
R. Wrzosek
2015
J. Girkay
2015
S. Marini
2015
M. Klotz
2013
S. Irarrazaval
2014
M. Aires Mateus
2015
Design Studio 2 Design Studio 1
Urbanistic Urbanistic Restoration Architecture Theory
Workschop 1 Workshop 2 Workschop 3
I.U.A.V. University of Venice, 2015 Professor : P. Barbarewski Place : San Giobbe,Venice
HyperArchitecture: Our world is now deeply influenced by the massive use of the Internet; In this view we can no longer pretend to live according to an obsolete lifestyle. Priorities changed: what matters is the service that is closer to me. From this perspective the individual no longer needs to reach specific places; Internet therefore allows you to create and explore a micro personal world of opportunities ranked according to distance from the observer. The project tries to identify new programs according to the new habits of our epoch.
Manifesto
(No-stop City, Archizoom/ San Giobbe,Venice)
Group Project Typology: Student house
Roof
Functions aggregation Interpersonal connections
Scale 1:2000
Abacus of several “events� in the building
Visual relationships
Rapporti visivi
Diagram of the different types of building section
Longitudinal section (scale 1:500)
Maquette
We first argued that modernity is banned in Venice, by the people and the entire world. In this perspective, the project looks like an artificial addition of land to the territory of the city. The entire complex does not exceed 5 meters hight, therefore, looking at the city by train, the individual perceives only the coverage, designed to be an artificial dune. Grounf Floor (scale 1:500)
Cross section ( scale 1:500)
Maquette
Starting from this large covered area, we were inspired by visions of “No Stop City� to achieve, inside the settlement, one metropolitan lifestyle. The culture of congestion focuses on relations that take place among students who move into this infinite continuous plane. To achieve this goal of total openness and sharing, each student has a single housing (3mx3m), which is configured as a closet. Mezzanine Floor (scale 1:500)
Articulation of life inside the dormitory
Students living in the dormitory are immersed in an infinite open space equipped with all basic needs, from the private baths to the kitchens. The mezzanine floor, which is accessed through movable ramps, serves as hydroponic cultivation for the nutritional needs of the community.
clips di fissaggio copertura scorrevoli
rivestimento in zinco-titanio, sp. 8/10 mm, pendenza 1,5% verso grondaia aggraffatura angolare
lamiera grecata di supporto, h 55 mm, sp. 12/10 mm, pendenza 1,5 % verso grondaia
doppia guaina impermeabile
vetro cellulare, 70 mm
EPS, 100 mm
strato di ventilazione
lamiera grecata non collaborante, h 75 mm, sp. 12/10 mm HE 320 IPE 225
barriera al vapore, 5 mm
IPE 200 alleggerita
linea vita
tubi rettangolari in acciaio
pendino
lamiera grecata di supporto, h 35 mm, sp. 10/10 mm molla
rivestimento in acciaio inox lucidato a specchio, pannelli piani, sp. 10/10 mm pluviale
EPS, 50 mm traversina
HE 320
doghe in alluminio, sp. 5/10 mm, verniciate bianche sistema curtain wall vetrocamera 6+15+6 mm
pavimentazione in resina, 10 mm massetto in calcestruzzo armato, 70 mm isolamento termico in EPS, 70 mm membrana di impermeabilizzazione, 5 mm
doppia piastra in acciaio pavimento esterno in cemento lisciato, 10 mm
tirafondi
platea in c.a.
magrone, 100 mm
pali fondazione Ă˜ 200 mm
livello acqu
scossalina in acciaio inox lucidato a specchio, sp. 10/10 mm
m
Plaster model
ua
The structure is anchored to the ground by means of micro piles and is set on a slab. The most far part from the shore, instead, is floating and can be moved by the use of a special rail placed on the cover. The faรงade system is kind of curtain wall and has a woven metal shielding. Scala 1:10
Maquette
Dettaglio costruttivo del sistema di facciata Type of accommodation
I.U.A.V. University of Venice, 2014 Professor : Esther Giani Place: Ex magazini frigorifero,Venice
Set design
Individual Project Typology: Residential
Morpheme: Altana The roof terrace is an addition to the Venetian house and comes from the impossibility of having a terrace in the prospectus; It accessed by a skylight and it is argued often on a chimney; The structure is wooden and maintains a system of railing segments cross. The construction system is composed of a primary framework of wooden beams.
Morpheme: Window The Venetian window has a stone frame , more or less decorated according to the building. Often the element is build with a Gothic taste with a side of teeth and a set of grooves. Often there is a small shelf. Interesting are the locks of shutter (green by law) which are divided into three main types.
Morpheme: Poggiolo It belonge only to wealthy palaces; It is a projection of a few tens of centimeters and consists of two pillars to the sides, almost always decorated with a medal at the centerline; There are two types of “columns�: the Raphael or the later version with a cube in the middle of the two jars. Normally it is supported by two brackets.
Morpheme: Fireplace Fireplaces are added in the facade throughout the minor architecture of Venice. They are composed of two shoulders and a stone arc system of bricks. They can be individual or aggregated and overlapping. When the chimney reaches the top frame revolves around it. They close with different types of smokestack.
Morpheme: Cantonale The cantonal maintain a defined disposition of Istrian stone ; What changes with the wealth of the owners is the anlgle system: it presents the architecture less a rounded corner that ends with a leaf, while in buildings it triggers a column (often tortile) separate or built into the wall.
Piero Vidoni
Top view
The project aims to correlate the typical morphs of Venetian with the modernity of contemporary living. The material is brick, prepared with different compositions. The shape was inspired from the bow of the ships which often run across the channel in front of the building. Isometric view
rventi =
UnitĂ Small
UnitĂ Medium
S+S+S
S+M
M+L
UnitĂ Large
Ground Floor (scale 1:200)
On the ground floor are present deposits for the inhabitants of the palace. Separated ,ranks a post office for the community. Arasing from the basement start a half cycle of reinforced concrete that develops for the whole height, culminating in the roof, where it turns into a barbecue. Minor prospectus / Longitudinal section
First Floor (scale 1:200)
Cross section / Main prospectus
UnitĂ :
L request : 90 - 120 m2, 2 bedrooms, living room, kitchen, studio, 2 bathroom. The appartment has a centric plan, developed around the mail table. One main willness was to allineate living room, kithcen and studio, allowing all the component of family to mantain a sight contct during the normal days activity .
Request : 35- 45 m2, 1 bedroom, living room, bathroom, studio One feature of the appartment is the windows in the faciade. They are composed with a wooden frame. Facing the appartment the frame is combined with some fornitures: it can become a desk or a table.
S
M
Request : 60-75 m2, 2 bedrooms, living room, kitchen, studio, bathroom. The plant is diveloped following the typology of brick housing with parallel walls. The plant was inspired by the a tipical structural typology in Venice, the parallel walls.
I.U.A.V. University of Venice, 2013 Professor : Nicolò Bolla Place : Ex magazini frigorifero,Venice
The idea for the project came from the observation of the geometric patterns of Persian carpets. The plant of the student house starts from this pattern. The units are a mix of different geometry elements combined together; The façade system, where there are the student’s units, protrudes outside the building with a prism. The distribution system is conventional but shows interesting combinations between units. They have been designed to be modular, but also to give maximum functionality than light and furniture. Inspiration
individual Project Typology: Residential
The system comes from the willness to give the opportunity to every student to enjoy the view of the Giudecca Canal, thus, in line with the triangular pattern inspired by antique rugs, has come to define this particular faรงade system protruding from the prospectus and allows both the forward view that a mild shielding from the sun.
Unit
Floor ( Scale 1:250 )
Composition N. 8, V. Kandinsky
The Project aims to create a public space ( Park ) strictly connected to urban functions, such as Athelie for students of the close University of Fine Arts,offices and shops. For the collectivity, the project requalified and create new function, such as the Pavillon for temporary expositions (circle one) and a open theater for summer periods.
The park, that belongs to the comunity, is composed with an unique strong shape that combines greenery with a more specific cultivation of flowers that embrace the pedestrians during the walks . Additionally leaf-elements were added to mix and combinate the vegetation in all the possible dimension and prospecti-
The main idea for the lines that dominate this projects was inspired by the theory of caos, that imply a multitude of shapes and lines that aims to create an urban atmosphere connected and at the same time in contrast with the context.
University of Warsaw, 2015 Professor : R. Wrzosek Individual project Place : Warsaw, Poland Tipology: Commercial
The area : is located in the center of Warsaw, at the beginning of Nowie Wiat. This zone is well known for the night life and there are some of the most popular bars in town. Every evening the area is really crowded . Mushrooms : Usually this solution is adopted in very sunny country to create shaded area; this project applied the same principle in Warsaw, in which the wheade is mainly windy with a pale light. In this case the mushroom structure can provide light and protect the area from rain or snow . Scale 1:1000
Step 1 : Creation of a second street, parallel to the main cause of the center (Now
to avoid a longer way. In this way, the blok assume a defined shape, with a beginning, an end and
Step 2 : As a consequence now is possible to define the entrace of the Park, the si residential building and was difficult to identify
Step 3 : Was important to create main spots inside the area, surrounded by activi
circular and square plazas were the center of which all the buildings were
Cross Section Mushrooms : Usually this solution is adopted in very sunny country to create shaded area; this project applied the same principle in Warsaw, in which the wheade is mainly windy with a pale light. In this case the mushroom structure can provide light and protect the area from rain or snow .
wy Swiat) that allows the car
d a direction.
ince now was surrounded by
ities. Little rectangular, e designed .
Digital Model
Scale 1:2000
Terraces : as a consequence the space created below the structures is a semi-open space, suitable and with some advantage for many activities, such as pubs, shops and social activities. To underline the potential of this semi - open / semi- closed space the buildings below have a gradonata shape, using livable roofs to host parts of the restaurant, kindergarten, bars and pubs.
Offices Gym Bastketball Studios Info point Restaurant Chatting Mini Market Entertainmant Bars Medical care
University of Warsaw, 2015 Professor : J. Girkay Individual project Place : Sochaczew, Poland Tipology: Pavillon
External front
The project aims to value the ruins of the castle in Shoacwe (Poland) through the creation of an exhibition - congress pavilion. The iron frame was opposed to the brick of the ruin, so as to detach the two different periods. Columns and decorative elements are used to mark features of the past, such as the recreation of the two windows in the opening of the prospectus. Area
The metal structure uses the more traditional elements in metallic carpentry as tubular columns, H and rectangular beams. The two central beams hold up the overhanging roof of the second room, and are balanced by bringing the weight of the casing cover, linked to the second order of beams. Internal front
The room with the temporary panels applied for the winter months
Section 1:100
Longitudinal section
Warsaw University of Technology Faculty of Architecture The Unity of Art and Architectural Heritage Piero Vidoni and Tim Kaiser Design of a Pavillion Facility in Sochaczew Castle Dr. arch. Cezary Gluszek and Dr. arch. Marcin Gorski 19-01-2015
Section 1:100
Piant Floorplan 1:100
Pannel disposition The Construction allows to create a closed room for a temporary time. This allows also a use for organizing events during winter time or meetings which require a closed space. The moveable walls are hanged in a simple way to the main construction of the roof. The wall panels can be stored in the north west corner of the room.
uction allows to create a cloor a temporary time.
Warsaw University of Technology Faculty of Architecture The Unity of Art and Architectural H Piero Vidoni and Tim Kaiser Design of a Pavillion Facility in Sochaczew Castle Dr. arch. Cezary Gluszek and Dr. arch. Marcin Gorski
Detail of the floating panel
A frame on the ceiling allows the sliding of 6 panels that, once placed in position, they create a private room. The wooden decorative motif is inspired by the non-schematic disposition of bricks in this room.
19-01-2015
I.U.A.V. University of Venece, 2015 Professor : Sara Marini Place : I.U.A.V.
Manifesto of the exhibition
Individual Project Typology: Exposition
Exhibition catalog
SCENA 2
SCENA 1
DEUTEROMIUM cosa è successo dopo
R.Koolhaas, City of the Captive Globe, MoMa 1972 (31.8 x 44.1 cm)
SOVRECCITAZIONE© CAPITALE DELL’EGO
SOSPENZIONE DELL’ANTITESI
CONCEPIMENTO ARTIFICIALE NASCITA ACCELLERATA
MASTURBAZIONE
REALTÀ FENOMENICA EIACULAZIONE©
S.Dalì, Sogno causato dal volo di un’ape intorno a una melagrana un attimo prima del risveglio , Madrid 1944 (51 x 41 cm)
PARANOIA
SALUTE MENTALE
PSICOANALISI
REALTÀ OSSESSIVA
INTRUSIONE NELL’INCONSCIO
COMPLESSO EDIPICO
PASSIVO AGGRESSIVO PSICOSI COLLETTIVA
SCENA 3
Rem Koolhaas, Madelon Vreisendorp, Elia Zenghelis, and Zoe Zenghelis Exodus, or the voluntary prisoners of architecture. 1972
PRIGIONIERI
FUGA DALLA CITTÀ
CAPITALE DELL’EGO
DISTACCO DAL REALE
NASCITA ACCELLERATA
MURO GENERATORE
CENTRO DI DETENZIONE PURGA MODERNA
Piero Vidoni “Capitale dell’Ego, nella quale scienza, arte, poesia e forme di follia competono in condizioni ideali per inventare, distruggere e restaurare il mondo della Realtà.”
“Questo metodo funziona soltanto alla condizione di possedere un dolce motore d’origine divina, un nucleo vivo, una Gala. E ce n’è soltanto una”
Paranoico - Critico
City Of The Captive Globe In The City of the Captive Globe la griglia urbana di Manhattan e l’articolazione dei grattacieli in basamento, gradoni e torre, che risulata dalla Zoning Law del 1916, sono trasformate in un ideale laboratorio urbano destinato a scoprire le potenzialità ancora inesplorate delle avanguardie architettoniche novecentesche, o a decretare la loro “capitolazione”. Così ogni “basamento di pesante pietra levigata” corrisponde ad un isolato di Manhattan e sopra vi è appoggiato un oggetto che raffigura opere d’avanguardia scelte o perché icone della formazione di Koolhaas o per loro relazione con Manhattan. L’idea di fondare sulla griglia di Manhattan un congegno capace di generare una nuova visione dell’architettura e della città accomuna la City of the Captive Globe alle proposte di Ambasz e Superstudio. Da parte sua Superstudio, per la mosta di New York del 1972, aveva messo a punto un idea di superficie neutra continua in pannelli rettangolari, denominata Supersuperficie, anchessa ispirata alla griglia di Manhattan e dalle caratteristiche simili al piano continuo ideato dagli Archizoom con il progetto ideale No-Stop City.
CONCEPIMENTO ARTIFICIALE
REALTÀ OSSESSIVA
Nome e Cognome Titolo mostra
Sull’autore| Corso di Teoria della Progettazione Architettonica a.a. 2014/2015
Exhibition
Il sistema “paranoico-critico” è un procedimento di organizzazione delle immagini che scaturiscono dall’inconscio. Partendo dall’idea che esisa una coincidenza tra il momento della creazione artistica e la fase di delirio del paranoico, il pittore andaluso Salvador Dalì stabilì con il suo metodo un analogo procedimento di espressione del mondo interiore, che non si presenta in modo disordinato, ma aquista un propria coerenza creando una realtà alternativa perfettamente compiuta. Koolhaas quindi riprende la struttura sistematica del delirio paranoico per compiere criticamente il suo processo di svelamento. In tal modo i lavori dell’architetto conferiscono alla realtà soggettiva una dignità nuova, superiore alla realtà esterna e oggettiva per cui la “paranoia si serve del mondo esterno per valorizzare l’idea ossessiva con l’inquietante particolarità di rendere valida tale idea per le altre”. A differenza del sogno, considerato condizione passiva, il metodo paranoico-critico comporta un ruolo attivo da parte del soggetto impegnato a sistematizzare i propri desideri, favorendo in tal modo “una scandalosa intrusione nel mondo dei desideri di tutti gli uomini”.
Exodus Exodus è una struttura di città ideale pensata per essere inserita nel centro di Londra allo scopo di favorire un ciclo di vita metropolitana insenso, scandito da momenti di ritiro quasi mistico e da altri di partecipazione a forme di vita sociale, ispirato a programmi visionari di Archigram come Istant City, ma racchiuso dentro una delle strutture originarie dell’architettura - il muro -, che gli conferisce l’aspetto di un Monumento Continuo. Per accentuare il suo valore simbolico, il muro di Exodus viene raffigurato con i blocchi di calcestruzzo del muro di Berlino, il cui «significato simbolico e psicologico era prevalente rispetto alla sua consistenza fisica». Perciò in Exodus, Koolhaas e Zenghelis usano «per scopi positivi» la «la forza intensa e devastatrice» del muro di Berlino trasformandolo in due muri paralleli e cavi che proteggono una fascia, o «Strip». In questa fascia si svolgono attività vitali qualioficate da un «alto potenziale di attività dal punto di vista metropolitano» e perciò capaci di generare un esodo dalla città stocia, che così sarebbe stata progressivamente ridotta ad un «ammasso di rovine».
DISTACCO DAL REALE
PASSIVO AGGRESSIVO
REALTÀ FENOMENICA
“ Il muro era un capolavoro. All’inizio c’era solo del patetico filo spinato posto frettolosamente sulla linea immaginaria di confine; il suo significato simbolico e psicologico era prevalente rispetto alla sua consistenza fisica.”
CENTRO DI DETENZIONE
Archizoom, Supersuperficie, 1972
Rem Koolhaas & Madelon Vriesendorp, Floating Swimming Pool (arrivo ad Amsterdam ), 1976
Rem Koolhaas, and Elia Zenghelis, with Madelon Vriesendorp, and Zoe Zenghelis, Exodus, 1976
1. Rem Koolhaas,OMA Urban Inrwevention cit., p.48
1. Rem Koolhaas,OMA Urban Inrwevention cit., p.48
1. Rem Koolhaas,OMA Urban Inrwevention cit., p.48
2. Rem Koolhaas,OMA Urban Inrwevention cit., p.60
2. Rem Koolhaas,OMA Urban Inrwevention cit., p.60
2. Rem Koolhaas,OMA Urban Inrwevention cit., p.60
Koo(l)lhaas-so in Venice is an exhibition about the author Rem Koolhaas and part of one of his earliest works: Exodus. The story of the volunteers prisoners of architecture, fleeing from London to a lifestyle more metropolitan, marks the beginning of a critical reflection on current work. After 45 years from the presentation of Exodus seems appropriate to go back on the ruins of the abandoned city, an aspect widely neglected by the author. What happened to the artifacts? Who took office in place of the original citizens? As you live the ruin? .. The exhibition consists of a photo-story centered on a city, Venice, which has really suffered the Exodus to the surrounding cities, which guaranteed a lifestyle more modern. In the style typical of the first dystopian author’s works, the exhibition also tells a story not true but probable, that the abandonment of Venice from the inhabitants in reality was completely voluntary; This distortion of the historical facts will mark a responsibility of Venetian citizens in favor of a critical view of events without any sterile relativism. Venice is now in a state of fossil immutability, which has taken the decision to bring all of its artifacts to a time zero, a past date. The city has no longer had the will to evolve along with those who are the children of the city, the citizens. This immutability, typically of monuments, allowed Venice to become a logo, and as such could be exported around the world, a bit like the brand of the fashion houses that now are the masters. For its intrinsic characteristics Venice became
the capital of Junkspace; The fact that it is a city which by its nature does not have an urban grid regularized, something precise typological and a territory that wanting It can expand indefinitely (elements that made it a unique Continuous Monument) have instead favored the escape of citizens, giving a huge empty shell at all brands, international and not, who have slowly eaten into its interior spaces , leaving only the outer shell-fossil much appreciated by the world. This phenomenon degenerates more and more, so that the typical morphemes of Venice often bend in favor of the major brands. The exhibition also wants to emphasize that on the ruins of an abandoned city is no longer possible to build a modernity; from the hospital of Le Corbusier to the student of Frank Lloyd Wright, it was impossible to build a contemporaneity since the abandonment decision had already been taken. The exhibition also wants to create a bridge between the two works by the author, Exodus and Junkspace, distant about thirty years apart. The vision of Rem Koolhaas in the early 70s was certainly bet on the new way of living and understanding the city, rejecting the locus and the collective memory of those places without looking back; At the gates of the new millennium, the author is back on his feet, by analyzing what happened then, namely that modernity -sviluppata without any obvious value It has taken possession of its space anyway, making their way through the rubble of the past.
Exibition’s films
Abbiamo deciso di lasciare Venezia; èE stata una decisione sofferta, eravamo qui da generazioni . Non si puoò piuù tornare indietro, Venezia non ci appartiene piu . Abbandoniamo Venezia e andiamo in una CITTAÀ: andremo a lavoro in METROPOLITANA, ci sposteremo in MACCHINA, faremo compere al SUPERMARKET, sceglieremo ilfiFilm nel MULTISALA, abiteremo in una CASA A SCHIERA, con GIARDINO, la domenica andremo al CENTRO COMMERCIALE. Venezia, ci hai privato della modernitaà. Venezia ti abbandoniamo.
I.U.A.V. University of Venice, 2013 Professor : Mathias Klotz Place : Porto Marghera, Venice
QR core Masterplan
Group Project Typology: Riqualification
Video’s frame
Project of a “faschion squere”
Masterplan
Maquette
I.U.A.V. University of Venice, 2014 Professor : Sebastian Irrarazabal Group Project Place : Porto Marghera, Venice Tipology: Factory
Manifesto
Masterplan 1: 15000
The Workshop tried to requalify Porto Marghera, one of the main industrial , chemical and oil zone in Italy. The Area is situated in Venice’s lagoon. Sebastian Irarrazaval believe that for big changes is essential to approach the problem with big ideas. As a consequence the workshop proposes 10 solutions, but with the same length : 10 km.
METRIA COSTRUTTIVA
The lines are imposed on the territory aggressively. Each segment of the trench is composed of different types of Hungar, with different shapes and functions. The combination of different types provides the program for urban and industrial requalification of Porto Marghera’s area.
ASSONOMETRIA GENERALE
ASSONOMETRIA COSTRUTTIVA
We took our inspiration to the trincea; this kind of construction is modular and can be extended at infinitum. Additionally we decided to inglobe all the main existing hubs in Porto Marghera, whose has the commonThe creation of a building of 10 km could turn out to be unnatural, so we designed different curves and hight, in the way that the building could be mixed with the ground, becoming a series of artificial hills, canals and mountains. From Venice the 10 Km building is completed mixed with the mountains on the back landscape PIANTA GENERALE
scala 1:200
UNITÀ ABITATIVA | small modulo per il trasporto modulo abitabile struttura per il trasporto struttura abitabile
UNITÀ ABITATIVA | medium modulo per il trasporto modulo abitabile struttura per il trasporto struttura abitabile
UNITÀ ABITATIVA | large modulo per il trasporto modulo abitabile struttura per il trasporto struttura abitabile
Creating a building of 10 km coud resolts innarutal, so we designed different curves and hight, in the way that the buinding coud be mixed with the ground, becoming a series of artificial hills, cannals and montains. From Venice the 10 Km building is completed mixed with the montains in the back
RIFERIMENTO CONCETTUALE
Sezione normale di trincea per tiratori Nemico
INDUSTRIA
RESIDENZE
Tracciato di trincea
trincea per tiratori che mostra l’applicazione al terreno di un tracciato mormale
CIRCUITO 10K DI RIFERIMENTO|VALENCIA INDUSTRIA
Zig - Zag RESIDENZE
SOVRAPPOSIZIONE CIRCUITO 10K|MARGHERA AGRICULTURA
INDUSTRIA
RESIDENZE
STRADE PRINCIPALI AGRICULTURA
STRADE STRADE PRINCIPALI SECONDARIE
AGRICULTURA STRADE PEDONALI STRADE SECONDARIE
STRADE PRINCIPALI STRADE PEDONALI
STRADE SECONDARIE
0 STRADE PEDONALI
Different typology of section
RIFERIMENTO STRUTTURALE
Rilievo e assonometria di un hangar di Marghera
PIANTA GENERALE
scala 1:200
UNITÀ ABITATIVA | small modulo per il trasporto modulo abitabile struttura per il trasporto struttura abitabile
UNITÀ ABITATIVA | medium modulo per il trasporto modulo abitabile struttura per il trasporto struttura abitabile
UNITÀ ABITATIVA | large modulo per il trasporto modulo abitabile struttura per il trasporto struttura abitabile
PIANTA GENERALE
scala 1:200
UNITÀ ABITATIVA | small modulo per il trasporto modulo abitabile struttura per il trasporto struttura abitabile
UNITÀ ABITATIVA | medium modulo per il trasporto modulo abitabile struttura per il trasporto struttura abitabile
UNITÀ ABITATIVA | large modulo per il trasporto modulo abitabile struttura per il trasporto struttura abitabile
Container Plan - Units
tracciato mormale
Transport assembly of the container.
I.U.A.V. University of Venice, 2015 Professor : Manuel Aires Mateus Place : Campo San Polo,Venice
Group Project Typology: Abitation
The workshop aimed to design five spaces: a place to sleep, a place to eat, a place to study, a place to wash up, and a place to communicate; We chose Campo San Polo and we decided to do a task of unveiling, bringing to the surface the wooden foundations of Venice, and build the 5 spaces below the field, using only light surface to illuminate the environment. The spaces are identified depending on the coverage, as typical of the architecture of Aires Mateus, using barrel vaults, domes, and prisms. The openings that allow access to the light surface are perceived as gaps in the crust of the field. Area
The outdoor space (coverage- garden as you wish to see) is almost an installation and aims to bring back the life in the second largest camp of Venice, who today lives a solitary life. Study model
Longitudinal section
Roof plant
Plant
Maquette
Creating the maquette