Tommaso Laezza_CV+Portfolio
Post-graduate internship 3H Architecture Budapest_Hungary www.3h.hu Intern Architect 2017 - 2018 I worked as an Intern Architect to the one of the most interesting studies in Hungary. 3h is a group of architects working in Budapest. The irm’s activities include the design of oice, residential, public and ecclesiastical buildings and the restoration of historic buildings. Numerous hungarian and international prizes, invitations to tenders, publications and exhibitions testify to the quality of its output. The irm, which currently employs 15 people, was set up in 1994 by Katalin Csillag and Zsolt Gunther. The oice takes pride in both its lair for imaginative concepts and its skill in inding cutting-edge technical solutions. During this period I got part to the design and development of diferent tipology of building. The traineeship was really important for improve a lot of skills and undestand how a big team can work toghether on diferent projects in the same time. In the end of portfolio it’s possible to read the raccomandation letter of the company.
C5_Corvin Oice Building 2015 - Under Construction Size_39 627 m2 Location_Budapest VIII., Corvin sétány_Hungary Client_ FUTUREAL New Ages Ingatlanfejlesztő Kft.
Creative Brno_Creative Center 3°Prize - Open Idea Competition Size_8000 m2 Location_Bratislavská 249/68, 602 00 Brno-střed-Zábrdovice_Czech Republic Client_http://www.creativebrno.cz/
GSPublisherVersion 152.0.0.100
Belapatfalva_Visitors center 2017 - Under Construction Size_500 m2 Location_Bélapátfalva, Kőalja dűlő, 3346_Hungary Client_Cistercian Abbey of Bélapátfalva
Kós Károly Vocational _High School Public Costruction Size_ 8 785 m2 Location_ Érd, Ercsi út 8_Hungary Client_ Municipality of Érd
GSPublisherVersion 18.88.89.100
Belapatfalva_Priest’s home 2018 - Under Construction Size_250 m2 Location_ Bélapátfalva, IV. Béla Király utca, 3346_Hungary Client_Cistercian Abbey of Bélapátfalva
Final Thesis for graduation NEAPOLIS_Living as a student Università degli Studi di Firenze_Unii_Italy 2017
The following work represents the development of the inal thesis project for the degree in architecture. a critical area was analyzed in the historic center of the city of Naples, where a residence for university students was later created with adjoining spaces for connection to the urban area. “Through careful research of the underlying geometries in the traces of neighboring buildings, the project is developed on several levels and tries not to rise to the massive masses of around, decreasing heights and volumes of the new building, trying to give completeness to urban design. Where before there was a vacuum now the city continues. The position of the new insertion acts as a pivot between an exterior and an interior that are never clearly separated, collecting private functions, intended for new users and public functions for the community. Elevation dimensions are allocated entirely to students; the living spaces have been designed with single and double capacity, so as to facilitate the social aspect of university life, without excluding the possibility of isolating oneself in one’s own cell. All the areas related to daily living are shared, such as living room, dining room, kitchen, gym, study rooms and terraces.”
Student works Università degli Studi di Firenze_Unii_Italy Master’s Degree in Architecture 2011 - 2017 Then some of the most signiicant projects developed during the university years will be shown. Each project tries to develop diferent themes and to always integrate with the surrounding existence. The drawings, models and extensive research have always been developed following the guidelines of the client and constantly comparing the work with the study team.
Hollow for full. Laboratory of Architecture Design V Prof. Fabrizio Arrigoni Università degli Studi di Firenze 2015 - 2016 Sansepolcro, formerly Burgus Sancti Sepulchri, is a suburb of the Tiber Valley on the border of Umbria and Marche. Its origins are mythically linked to a sign from God that brought two pilgrims returning from Jerusalem to stay on this earth and to establish the nucleus of the country. Of the village is written since ancient times, a huge amphitheater “which only nature can create it”, Pliny the Younger. Amphitheater designed by the gentle slopes and soft colors that confusing heaven and earth, the village guards. It ‘was a sense of clarity the irst feeling born walking around the city. A door that opens on the medieval walls, narrow streets mutually orthogonal, principal axes well recognizable that converge in the square of the municipality. Of the limits but these are the rules that have been imposed as the basis of the project. The Berta tower, destroyed decades ago, must be rebuilt respecting the original parameters, that is a base of the almost square 7,5x6,5 meters, to the previous height of 38 meters and an outer cladding of brick face view. This was the image of the square, it is the basic picture of the project and this is the image that we would like to keep. The project for the reconstruction of the ancient tower and the design of an underground museum exhibition of one work, The Baptism of Christ by Piero della Francesca, the son of this land. But this will be the image that we would like to maintain, at least at irst glance. The initial clarity disappears, giving way to the contradiction. Full for hollow. Hollow for full. The tower full packs a lapse of memory and meaning, the square as empty, dug into the ground, imperceptibly coming, reveals a second level, a second loor which introduces and guides the focus of the project, the underground museum, keeper of the ‘single work. The contradiction of the full as empty and as full vacuum is repeated. apparently empty spaces illed by light or shadows, never to be something physical, if not in the janitor’s room. A horizontal line of land dividing two realities, an outdoor plaza, irradiated by the light of the sun by day, known and easily recognizable, and one underground space, hidden and well guarded. Connection elements are the tower and lowered square.Square leading to the “treasure”, tower as void and memory as well as anticipation, advice and suggestion. The tower, full as empty, negative and contradictory, stands at the center of the square as a solid monolithic and contains an internal void, connecting route between the external reality and the underground museum. The emptiness of the tower becomes a symbol, a symbol of the choice to demolish it, symbol and memory. The brick house the empty skin, like a shrine. The tower becomes the symbol of the village, but with a stronger meaning. The tower becomes the input, a irst occupied only by the empty space that descends and illuminates the underground space and functional element of the scale. This allows both the descent to the museum is the ascent. The tower in fact develops diversiied into a irst band illuminated by punctures resulting from the subtraction of bricks to the outer facing, kept isolated and presented as an introduction to the museum, a second band, shrouded in shadow and open towards the valley through two openings, and a third inal end which looks alone to heaven. The only exception is a small opening, reachable only by completing the climb the ladder, look natural quell’aniteatro background of the works of Piero della Francesca. The three moments alternate between dark and light, between the inside and the outside, along a slope that after a closure downwardly opens towards the downstream, towards the hills and inally towards the sky. This is relected in drawing them scompozione prospects. The tower as full, as a solid grade, is the irst image that you have coming into the square from the main street. The square in turn has been redesigned seguedo the form of
level, a lowered square. This is conigured as a break but also as a new living space within the framework of the square. It is conigured as a range to attend the scene and as a place of passage. Place enclosing the function but does not fail to emphasize the contemplation of the beauty of the village. The loor of the square will become the track and base. The recessed square its in the tower and connects the various levels of the square by introducing entrance framed by a canopy in white cement and closed by a pre-oxidized copper portal. The entrance is not directly visible on arrival, invites research and lowered down in the square from which is suggested by the presence of the shelter and septum. The low square and the tower design the underground museum. Access from the tower leads to a ilter space, necessary step reserved the ticket and introduction to the painting room. The design intent of this place turns to the realization of an exhibition space where the work of Piero della Francesca becomes the undisputed star of the scene. This is preceded by the vacuum, vacuum tower and suggestion as anticipation. The access to the framework of the room, in line with the geometry of the painting takes place frontally, in axis with the axis of the framework. ‘The Baptism of Christ’ is kept in a room in the room, an outdoor lounge and dark totalente containing a circular dining room radiated by the light containing the painting. As in the framework, in which the igure is placed under the vertical axis of the spririto and the light comes from above, in the same way the picture in the hall stands out against the background and is illuminated by light from the zenith. Analogy that is repeated with the tower, in turn vertical igure that is detached from the background growing at the center of the square as a main element of the scene. One size contained space that invites you to a meeting with the painting intimate and direct. The light is itted in the ceiling, in its circular time, which in addition to creating an aura bright lights in the cylinder and enhances the above painting. This type of lighting is supported by spotlights ixed diagonally and symmetrically with respect to the framework. In the Filter area which precedes the area orthogonally to its axis is a functional space in which the services required will be organized, from the ticket oice at the bookshop, from the wardrobe to the services. Concluded the path, it starts the ascent and the shadow location and discovery returns to that which is the clarity, the everyday, the known. From empty to full, from full to empty.
Constructive detail _section 02_ slab 20 cm; screed with electro-welded network 6 cm; high density ibreboard 6 cm; screed 5 cm; the slope screed 2%; bituminous sheath; bedding screed 0.7 cm; loor 3.5 cm. 03_solaio in latrerocemento 20 cm; screed with electro-welded network 6 cm; high density ibreboard 6 cm; screed 5 cm; the slope screed 2%; bituminous sheath; bedding screed 0.7 cm; gravel. and bufered concrete brick beams.
The rhythm and variation. A citadel of music in Lucca. Laboratory of Architectural Design III Prof. Andrea Innocenzo Volpe, Prof. Alberto Pireddu Università degli Studi di Firenze_Unii_Italy 2013 - 2014 Collaborators Course Architects Yoichi Sakasegawa, Salvatore Zocco, Dott. Arch Giacomo Dallatorre, Nicola Tenerani. The Citadel for Music provided in the aqueduct of Nottolini proximity and more precisely in the portion of the plain between Lucca and Guamo (named locations ‘Al Battistini’) where the infrastructure Neoclassica path is interrupted by the highway A11. This obvious point of crisis in the project also forecast for the third lane is dell’autostradadesigned a new architecture, placed in the frieze artifact Neoclassical. The design hypothesis, therefore, provides for a replacement of a pre-existing artifacts and their relocation in congruence of a hypothetical new PIP (Piano Production Plants) developed by the Joint Lucca. The reason for this choice is the obvious rest; the area thus freed could aford to think of the Center for Music accessible not only by virtue of the existing road system, but most of the existing pedestrian path (Via the Temple) linking the project area with the railway station. By virtue of this choice it is reinforced the hypothesis of plan which provides for the reconiguration linear Park entire route cheseguendo the succession of arches leads to Guamo sources. The new architectural artifact suggests a reduction of 50% in both the indoor surface of the pre-existences volume. This is to enhance a more favorable perception from the Aqueduct and the mountain landscape. The Citadel of Music therefore has a covered area of 3250 sqm for a 26,250 cubic meter volume. In the irst place it is called the principle settlement, paying particular attention to its insertion into the lat landscape. This irst step has predicted obviously a careful design of the exterior spaces, owing to the proximity of the aqueduct project that the presence of the ancient traces centurial, still legible in the current poderale division. The Citadel of Music includes a variety of spaces and functions below among the principal: a concert hall / auditorium, a concert hall of small size, from rehearsal rooms, workshops, thematic library, recording studios, music therapy room , exhibition hall, cafe / restaurant, administration, caretaker’s apartment, guest house for visitors and all the necessary service areas.
Model Design Seminar Portuguese architecture Prof. Fabrizio Arrigoni Università degli Studi di Firenze_Unii_Italy 2015 - 2016
Gonçalo Byrne Architect scale 1:50 Material_Wood APL Control Tower of Lisbon_Portugal + Rectory of the University of Aveiro_Portugal
Convention hall on pier of Viareggio Laboratory of Architecture Design II Prof. Michelangelo Pivetta Università degli Studi di Firenze - a.a. 2012/2013 The genesis of the project comes from a study of the city of Viareggio, in particular from the irst settlements of Viareggio, situated at the Matilde tower and Lucca dock, which, for remained intact today, have attracted particular interest because they have given a matrix for the development of the city. The assigned project area is located in a particular area not directly connected to the city center, as it is situated on the edge of it, in a place where the building has lost a coherent logic, but of which it participates, as in contact with the sea and the port, or with what makes Viareggio its being seaside town. For this reason, the research project proposing a dialogue with the city plan a jersey, punctuated by orthogonal walls that rise from the body of the building, which takes up one proposed by all the tower Matilda / Dock Lucca and on which the historic city it expands. One of the main goals of the project is to create a new point of aggregation, which attracts diferent realities; for this building a precise imprint which binds the freedom of self-determination of the space has not been allocated to it; in fact it is designed as a square in any urban center, that is able to adapt to the possibility challenging himself, to transform from rowdy party place, a silent classroom conferences; as a top sports center in passive cultural dissemination point. The question that arises is why do all that under a “roof” and not in a space as we already did in Piazza Santa Croce rather than Santa Maria Novella? The man always needs to create a box, to assert its presence in the world with a strong gesture, that of the building, and unnatural, as also build a cave is artiicial, that is done by hand. However, it recognizes something of the character of the Versailles area in the project: a place, that of Versilia, sandwiched between sea and mountains, compressed as the seemingly narrow space, generated by the massiveness of the block above the one who is on the ground loor of the building. The building is covered by a “roof” top two loors, which are accessed by means of external stairs, placed on the long sides, inserted between two of the dividing walls in reinforced concrete which constitute the structure that supports the block that deines the square blanket . Each loor is designed as a balcony, so that what happens on the ground loor can be always visible on who is located on the upper loors. In this way, the concept of “auditorium” traditional, that is characterized by a central space surrounded by tiers from which viewers observe, here is mutated, seeking a more dynamic view, not limited to a single point of view. The property is located outside, it difers from what is building; seriality of external dividing walls seems to continue indeinitely, cover the entire Viareggio and create a new space. The idea, futuristic in setting, has a basic coherence, because it complies with the city, its laws, its history.
Model Design Seminar American architecture Prof. Michelangelo Pivetta UniversitĂ degli Studi di Firenze 2012 - 2013
Ludwig Mies van der Rohe scale 1:50 Material_Wood+plastic art Convention Hall project_Chicago
Model Design Seminar Undestand Architecture Prof. Alberto Pireddu UniversitĂ degli Studi di Firenze 2013 - 2014
Louis Khan scale 1:100 Material_Wood Palazzo dei Congressi _Venezia
An urban space open to all Redevelopment of Santo Spirito Square City of Pistoia Architecture competition Arch.Benedetta Mazzieri + Arch.Andrea Innocenti + Pier Marco Filippi PFI Design + Tommaso Laezza 2014
The city of Pistoia has announced a competition of ideas for the historical and cultural improvement and socio-economic value of the Holy Spirit Square, which aims to raise awareness of residents to a better use of the city as a result of the elimination of the stalls for parking of cars. The urban space called the square of the Holy Spirit, in the heart of the walled city, is about a historical site of interest of about 2200 square meters, very articulate, the result of the fusion of three diferent open spaces: the square of Mergugliese, as the Via Abundance outlet , the square of Baglione with the palm in its geometric center and the large square in front of St. Ignatius church (consecrated in 1685), which was created only after 1747 with the demolition of a building owned Pallavicini Rospigliosi. The statue of Cardinale Niccolò Forteguerri, by Cesare Sighinoli, originally placed in Piazza del Duomo, which dominates and tends to mend the urban space, was placed in the square of Baglione only in 1939, after which the square of the Holy Spirit had been for a short period of Giordano Bruno. The square at present mainly serves two diferent urban functions: the relatively more recent parking for residents of the old town and the more established over time, the market area. The market since the nineteenth century was initially type poultry, then and even today the square is home to the twice-weekly market of footwear. The intended user who insist on the square, as well as social and religious own church and related areas, are mostly residential and oice complexes, relative scarcity of trade. This urban space, slightly below the unitary proile planovolumetrico, it shows the same very rich for the Feast of the masonry scenes, to the importance of the monuments to the memory of Pistoia, for the presence of one of the rare episodes “green” in the most ancient city for its dialogue with the baroque richness and hidden the Holy Spirit church, the striking “appearance” of the roofs of the Madonna of Humility dome and the east-west orientation of the sequence of squares, which leaves the eyes oriented West a chance to feel beautiful sunsets, hardly it was the center of a medieval building fabric. The articulation of the square could then produce a further very positive efect in the ancient city, constituting a place of hinge between the pedestrian areas of Piazza del Duomo square and square of the Normal School of Wisdom, that of St. Andrew and the commercial walk the streets Buozzi and the Goldsmiths with the Galleria Vittorio Emanuele.
Ecoresort & Residential building_Quito_Equador Laboratory of Environmental Design Prof. Marco Sala - Prof. Fernando Recalde Università degli Studi di Firenze - a.a. 2015/2016 Team work: Laezza, Carani, Bagnoli, Albizzi
The intervention project includes a Ecoresort and luxury villas within an area located in Quito, the Ecuadorian city located on the river basin of Guayllabamba, in the eastern slopes of the Pichincha active stratovolcano on the western side of the Andes. The entire area involved was the subject of a larger design to master level involved the construction, over time, an urban redevelopment project. The ambitious project includes an intervention to be realized in successive batches, the irst of which, or the present, contemplates the arrangement of a large area to be used to “Ecoresort” of about 2000 square meters with forecasted l ‘organization of content spotivi help the functioning of the courts and spa areas (management, administration, changing rooms, restaurants, shops, exhibition areas, etc ..). L ‘building is scheduled in such a way that it is connected to the main roads. The key points of the design, regarding the various functional and technical aspects, were the following: use of innovative and cutting-edge materials and equipment; use of inishes and equipment that ensure a simple management and maintenance; evaluation of the lexibility of the spaces; Using cutting-edge technologies and innovative materials; guarantee of a high internal comfort with the adoption of solutions to improve the environmental parameters such as the air conditioning, the acoustic behavior and study of the materials; allow an economical management of the management and maintenance costs of the whole building and the individual parts and components; eco-compatibility with respect to the casing construction and use of materials, their production process and to a possible reuse. The pursuit of these objectives has been hampered, but at the same time favored, the morphology of the land, particularly in private lots for residential buildings, has a steep slope. This has led to make lay the individual parts of the building, according to a natural movement, following the morphology of the terrain, so as to incorporate the new building in nature, until now untouched, of the place. As for the orientation, the buildings were exposed to the south where there is a land with a very high slope. Each of the volume that goes to make up the building contains diferent functions, separate entities dependent from each other. Access is facilitated by a private road, breaking away from the main building, opposite the entrance and allows access to the parking lot. From arrival, sustainable philosophy behind the project, has been revealed by the “forest” of trees that hug the building, going to create shady areas. The yield of compact and uniform volumes has been driven by the use of a porcelain coating and the use of open and screening systems. Inside the “base”, the volume on the ground loor, they develop more closely related to daily activities and relaxation area; continuing, it can in fact access to the top where they communicate evenly sleeping area and living area and where it is possible to access two terraces. From here it is possible to climb on the irst loor, as an alternative to large entrance staircase. The diferent volumes difer for both further characterized by large sliding glass doors shielding materials and functions.
Oratorio di Rugiano_Ruina_Firenze Laboratory of restoration I and II Prof. Luca Giorgi Università degli Studi di Firenze - a.a. 2013/2014 “And ‘the beginning of a spring any late 1200, Rugiano plow the ields, a rural area north of Ruina, in the county of Turicchi, on the left side of the Sieve 500 meters high. Myths and tireless animals, dragging the heavy plow scraping deep grooves along the side of the hill, then as held by a mysterious force or an immovable obstacle, suddenly stop, unable to continue. The subsequent oaths and the insistent prodding the ox driver, have no efect other than to make the oxen kneel now exhausted and helpless. The moments that follow leave thrilled the poor peasant; an unusual object emerges in part from their land near the plow and probably determines the cause that prevents to continue the work. The excavation around the plow is feverish and soul altered by events, it soon turns into a humble and softspoken as the object reveals its identity. It ‘a wooden panel that represents the image of the Virgin clothed in blue, his head down on the Baby sitting on your lap; a ‘golden halo surrounds the head of both. “ At a time when popular piety is deeply rooted, the image was found, immediately considered miraculous, causes great admiration and amazement in the inhabitants of the area. The table is now kept in the church of San Pietro in Turicchi, although legend has an unexplained disappearance of the painting and its discovery in Castiglioni territory in Rugiano ields where it was irst discovered, exacerbating even more the relations between the two nations deteriorated time for the disputed plot of wooded area. It will spend more than a century before Leonardo Salutati, Bishop of Fiesole and count of Turicchi, approve the new statutes of 1455 that regulate property and civil rights of the county. At the beginning of the sixteenth century, however, the Oratory must already be present on the hill, built for devotion by the people of Turicchi Busini and gentlemen, as we read a handwritten document of the parish priest Anton Filippo Burberi, describing it as a “small church” without however accurately indicate the date of manufacture. In 1565 the successor and guardian of the Holy Church of Fiesole, assigns “to-immemorial” the Oratory at Turicchi parish and only in 1700, thanks to the intervention of D.Manfredi pievano Castiglioni, the disputed forest land is given to the people of Turicchi, while the entire area Rugiano was deinitively annexed to that of Castiglioni, ending the dispute between the two factions. Permanently assigned to their place of origin, the Virgin table, now can inally rest in the small chapel called The Madonna dei Boschi, built a little downstream of the precise place of the discovery. The next period saw exaggerated veneration and pilgrimage to the holy place also for not properly religious motivations. unfavorable climatic periods, for example characterized by a ‘unending drought, multiplied prayers, processions and oferings to the Virgin for a miracle as essential indulgence. new spaces are now needed and proper placement of the image, so that in 1712, begins the expansion of the chapel and the construction of the oratory of Rugiano as we see it today, though devoid of the front porch that will be added in 1750, with the contribution of the family Ginori;
We are still intact today their emblem on the left side of the porch. The church is oriented in a canonical manner, namely with the entrance facing west and has a Latin cross with terminal apse; the front porch is presented with three front arches, supported by pillars framed by crests and stone frames and two equally reinite lateral arches. The church is surrounded on three sides by an implant of rooms on two diferent levels to which was attached the canonical function; the building as a whole presents itself free on four sides. From the outside is perceived use of utilizzatia serene stone for the decoration of the front porch and the inish of the facade of the church; the rest is presented plastered and / or parzailmente inished after the last intervention of safety measures in the early 2000. The coverage is tiles and terracotta tiles, supported by a slab of beams, rafters and bricks. Externally it is conigured with multiple layers at diferent levels as the porch heights, church and rectory are diferent. Exterior - The arcade Access features Doric columns with stone arches and a series of coats of arms dating back to the erection of 1750 where we recognize that of the noble Ginori family on the left; on all three sides of the portico is visible the presence of metal chains positioned to absorb thrusts. Inside the porch, on the main entrance wall, there are niches composed of columns and arches where they were probably placed religious statues. The façade also presents decorations with stone frames of the same magnitude of the porch; the entrance door is formed by columns and lintel in stone. The loor level of the input is very high compared to the level of the road; the side elevations occur predominantly with a partial inishing plaster and make them visible only in some points the structure of the mixed stone masonry and brick of the canonical. Also the side openings of the canonical have frames, lintels and thresholds in stone. The bell tower reminiscent of the nearby church of San Detole County, kept in the past three bells cast in Florence by Carlo Moreni transferred to the church of San Francesco in Pelago and dell’Albereta church. The building is currently unused and therefore lost its original function of the place of worship for security reasons linked to its poor state of repair. It has been deinitively abandoned in 1962, after the partial reconstruction took place in 1954 by the Civil Engineers because of the bombings of 1944; currently it remains under the protection and management of the Fiesole curia. In the early 2000s with the future of the Jubilee it was prepared a secured roof and supporting structure. Internally it is devoid of equipment, ixtures and furniture of any kind. The exterior Finally, in addition to showing the signs of degradation, is almost never entirely perceptible in the entirety of prospects as there are thick thorny shrubs.
Architectural competition Winner 2nd place 2013 Space for a Child-Friendly Hospital Hospital San Camillo Forlanini_Roma_IT
Funded by Consulate of Republic of Peru to the Republic of San Marino In collaboration with: Azienda Ospedaliera San Camillo Forlanini of Rome and Faculty of Architecture in Florence
The project proposal for the construction of the hospital’s pediatric waiting rooms San Camillo Forlanini, forms the base of a careful and detailed study of the needs of young patients, who together with the families, ind themselves in an environment made little enjoyable . The project aims to make the waiting areas as welcoming as possible, creating a colorful and comfortable place to play and mental relaxation are the cornerstones of the project. A preliminary analysis will immediately notice that the current waiting rooms, is little suited to conduct and create a spa users, the white color of the walls in the corridors, the standard furnishings and a total absence of games convey a feeling of sterile anxiety. The environment has been designed in a functional manner both for guests and for hospital staf; special paths, marked with the simple ground drawings and wall, guide external users, while for hospitalized patients an alternative path is provided from the inside which will lead them into a suitable resting place. The waiting rooms provide the thematic areas divided into: music, reading, games and videos. The various activities are designed to arouse curiosity and creativity in the small user, the games themselves will be interactive and the transmitted video will help the child get over the shock hospital environment. Each play area is designed in a dynamic and lexible, the ability to sit in every room and various tables scattered, it allows a dynamism through the halls making it playful and relaxing space. The furniture for the preparation of the waiting rooms are made of recycled cardboard, a material that possesses many qualities such as being cheap, light, strong and environmentally friendly. The choice of the furniture made of cardboard, in addition to involving the aforementioned advantages, it is in fact an experiment with respect to the classical standardization that usually adopts in certain contexts. Each element, colored diferently, makes it pleasant and light space, adult sessions, cube containers and tables, will be anchored to the ground through special plates, while the sessions children will not have any constraint in order to create a dynamism of colors and fun among young users. Each piece of furniture ensures stability and security for the users taking into account the UNI 11034. Each piece of furniture is described in the enclosed data sheets. The project, in addition to furniture, includes the demolition of the partition present in the waiting room named “A�, loor resurfacing in colored resin, painting and decorations on the walls and loor.
Project of Multi-storey building_Complex Design Vilnius Gedmino Technical University_Vilnius_Lithuania_2014 - 2015