portfolio 2010 I 2013
LORENZA SARTORI 20/08/1991 Padova, Italy
CONTACTS email:
lorenzassartori@gmail.com
mobile phone:
+393478234304
An object should be judged by whether it has a form consistent with its use. Bruno Munari
address:
Via A.Fusinato, 50, Padova, Italy
LANGUAGES Italian Native English Proficient-IELTS 7.0 French Basic WORK September 2013-December 2013 Molo Architekti, Prague, Czech Republic 2D and 3D design, layout, render, editing of images creation of models ,interaction in the conceptual process
2013-2014 MolaSartori - Architettura e Ingegneria, Padova, Italy 2D and 3D design, layout, render, editing of images creation of models ,interaction in the conceptual process
2010-2013 Babysitting, Padova, Italy
Responsable of the childrens (8, 6 and 2 years old) health during the day and night time, in the house and outside. Meals preparations.
2007-2010 Au Pair Girl c/o Ollivier’s Family, Bakersville, California, USA Responsable of the childrens health during the day and night time, in the house and outside. Meals preparations. House cleaning.
EDUCATION October 2010 - March 2014 IUAV University in Venice Bachelor’s Degree in Architecture Sciences 106/110
September 2005 - July 2010 Liceo Classico Tito Livio in Padova Classical A Levels - Baccalaureat
SOFTWARES Autocad 2D Adobe Photoshop Adobe Indesign Adobe Illustrator Google SketchUp Archicad Artlantis MyMovie Microsoft Office
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lorenza sartori
• Istituto Universitario di Architettura Venezia •
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Architectural Desing I
Architectural Composition I_E.Mantese
Architectural Design II
Architectural Composition II_A.Santi
Interior Design E.Mantese
Architectural and Urban Design III F.De Maio
“Il destino dell’architetto è il più strano di tutti. Molto spesso mette tutta la sua anima, tutto il suo cuore e passione nel creare edifici nei quali non entra mai di persona.“ Johann Wolfgang von Goethe
0.1 setting my mind
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“ Anche le città credono d’essere opera della mente o del caso, ma né l’una né l’altro bastano a tener su le loro mura. D’una città non godi le sette o settantasette meraviglie, ma la risposta che dà a una tua domanda. “
0.2 Italo Calvino,
exploring
Workshop I M.Galantino
Workshop II S.Godsell
Finland Travel Diary B.Albrecht
Internship c/o MoloArchitekti - Praga
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setting my mind
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L.Quaroni Progetto per l’ampliamento della Camera dei Deputati a Montecitorio 1967
8 Henri Cartier-Bresson L’Aquila degli Abruzzi 1951
Design Studio I Prof.ssa Eleonora Mantese II semester 2011 I 2012
1.1 setting my mind
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he Design Lab Studio taken during the first year of studies is aimed to be the place of the pratical experimentation in whic are synthetized the theorical aspects derived from the parallel class in Typological and Distributive Characters of the Buildings, a first approach to the Architectonical Research and Composition. The deep reflection that is intended to be developed during this first Studio is going to be an essential space to create a whole metodological system aimed to be followed in such contests. Essentially, the aim of the project is to create an elementary manufact, such an individual house, set in an area that has been deeply involved in a devastating hearthquake that has hit the city of L’Aquila in Abruzzo in 2009. The Laboratory is intended like an experimental Studio which moves the students to think about a new place of living, which can be able to welcome a new life after this catastrophe. The project here presented is a single house, thought for a family, which can consists in open commons spaces, such as an interior garden, like Le Corbusier used to say: ”Le dehors est toujours un dedans”. The private spaces, such as the bedrooms and the library are all intimate and quiet, but they all have windows on the garden. Some of them are wide, but others, like in the library, which is separate, are portions of sky, modeled on the Carlo Scarpa Project created in the Gipsoteca of Possagno: this kind of light is able to give life to the objects which are placed in this space.
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DESIGN LAB I
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rebuilding l’Aquila Project area
axonometry 1:1000
model rooftop plan 1:50
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l e
d e h o r s e s t
t o u j o u r s
u n
d e d a n s
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1.2 setting my mind
Pier Paolo Pasolini Davanti al gasometro, 1967
area:ex italgas,S.Marta, Ve
Design Studio II Prof.Attilio Santi II semeser 2012 I 2013
Localization of the area Santa Marta, Venice
T h e
sketches: area
G a s o m e t e r
Lapanaderia casas masomeno
sketches: volumes
Kazuhiro Kojima spaceblock
social housing
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particolare esterno, EMV Social Housing in Madrid David Chipperfield
DESIGN LAB II
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he urban riqualification is one of the most interesting focuses of attention which are involved nowadays in the architectural debate When the historical city stops to grow, it tries to give itself new prerogatives and interior qualities, ant it tries to answer the inhabitative questions with strong proposals . The recovery of urban areas which have been abandoned and are now taken by the wilderness, and which have lost their formal utility represent interesting opportunities of development of themes regarding new solutions for the nowadays lives of people. A way of thinking can be represented by the “in-fill” in empty urban areas, with new functions and new buildings that can be able to fill sunused spaces with new life. This theme is particularly suitable for a city like Venice,city that cannot be able to expand itself without contstructing new islands. The given area of interest is the former gasometer area, now completely abandoned, seen as a green field but completely empty. It is also really close to the Architecture University, and Santa MArta, the neighbourhood, has a strong social vibe. The aim of the project is to try to integrate in this contexts new social buildings, wich can reflect in the shape the narrow charactere of Venice, with pleating shapes and wide common “piazze”, and that can also represent an opportunity to integrate students and new family in thr historical city. Two typologies are here studied. It has been designed also a Cultural Center, with the strong convinction that it could create a strongest social cohesion.
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pianta copertura roofing plan scala 1:200 1:200
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sections 1:200
elevations 1:200
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design and reproduction armchair Fiorenza 1:10
design and reproduction hammock 1:10
design and reproduction rocking chair 1:10
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private or a public space, permanent or temporary, is a complex ensamble of spatial elements, decor, light, colors, sounds, which determine the quality level of the relationship between individuals and spaces. The continuous and fast evolution of the new ways of the contemporary living presume the set up
of space c The new only a str to fight they hav a whole symbols municativ To design reasons, casing as on the In the gamm ponents t a space form of r The Inter indeed, to a strong a
continuously renovated. w spaces involve not rong way of being able the Market, but also ve to being involved in and complex system of that have to be comve and expressive. n and interior, for these means to assume the a startng point to work nside Space, but also on ma of immaterial comthat are able to give to an identity and new relation with the utents. rior design Class aim is, o give the possibility of approach to the Interior
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I N T E R I O R d e s i g n
“It is like to enter in a piece of art or in a poetry” Raffaello Giolli, 1936 Design as a Discipline, trought the redesign and the rebuild of one of the most representative italian architect and designers during the ‘30s: Franco Albini. The next step will be the capabilities of recreate an interior space or an installation, suitable for example for the Biennale di Venezia, which have inside the strongest prerogatives of the Albini design. We decided to design an installation space, in which could be clearthe meaning: an immutable interior space from which is it possible to see from the inside how the Architecture -substance of the world outisde- is mutable and changable.
As Franco Albini did, designing a perfect, utopian and idealistic interior space to “protect” himself from the II World War, with the strong characteristics of lightness and unstability reflecting the vibe outside, we decided to convert these prerogatives in element of instability of life, while the Architecture, even if it reflects the passage of time, is stable and firm.
Interior Design Prof.ssa Eleonora Mantese II semester 2012 I 2013
1.3 setting my mind
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project plan 1:100
project section 1:100
LE TEMPS PERDU installation
project model: Installation for the Biennale of Venice 1:100
exhibition of Italian Art Stoccolma, 1953 Franco Albini
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ARCHITECTURE AND URBAN PLANNING
Architecture and Urban Design Prof. ssa Fernanda de Maio II semester 2013 I 2014
1.5 setting my mind
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massiccio del grappa e fium ve pia
monte tomba
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thetheatersofwar w a r In the last glimpse of the Twentieth Century, and in the firs period of this, the gaze on the past has reached an unreleased state or condition, and from a pure view it has become a perspective. In other words, the past has become a symbol and throught it we can govern the future. We find ourselves in the action of discover a huge number of monuments which have been abandoned , and and incredibel sensation of the needing of preserve them created the needing of museums and galleries. Nowadays it is an obsession related with the whole meaning of the Architecture, in which it seems a way to rediscover a collective heritage, that does not want to be lost. The memory is, infact, the intellectual tool throught with whole communities of people try to survive in a world even more disperive and dissipative. Rem Koolhaas, 2004
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hinking about a new project for the Piave River and for its context, the Course proposes to work in an area that has been deeply involved in the clashes regardin the Great World War. In this case, we can find an area signed from a devas-
22 tating military experience, but vith one of the most evaluable landscapes which is possible to find in the Venetian region: the little mountain colled Montello, in the land portion between Crocetta del Montello and Nervesa della Battaglia. On this side, the Montello touches the sides of the Holy River, the Piave river, and its view is directed completely on the Mountains which have offered such sacrifices to the Homeland. In this delicate context, in which the trails of the foxholes are no longer visible, but still remain
elements which are attributable to the Great War (bunkers, osservatories, memorials), it is proposed to act in order to tie the broken threads between the present times and the memory. If the 1900s has been the Century of the Oil, but the XXI is going to be the Century of the Water, and the Piave river, which has been devastated from the War, and now will be devastated from the needing of water, can’t be seen as a monetary resources, and its beautiful landscape has to be preserved. A landscape that, until now, it has had a productive aim,
linked with the agricoltural and the industrial aspects, and it didn’t had the opportunity to become a park open to the turistic chanches related with the water activities. It has lost its landscape Beauty and a huge and important patrimony that is still a potential. With the indelible memory of the War, but with a new respect for this land, we tried to consider the area as the right spot for a multi-purpouse center able to reflect the History, but also to attract people with new possibility of development.
the piave landscapes 1 point of view 1 Piave River
Nevralgic spot of the Great World War, has been an unique connection between the Grappa Mountain and the Morti Island, fundamental spot regarding the military operations.
2 point of view 2 Grappa Mountain
Theatre of the most of the military direct clashes, has become the fulcrum of the counter offensive, able to avoid the enemies paths directed on the final purpouse of taken the venetian valley. Important monuments of these dramatic days can still can be visited nowadays.
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point of view 3 Tomba Mountain
The Tomba Mountain, with the Monfenera and the Cornella Mountains, has been a vertix of the most oppress triangle from the Central Empire.
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Steven Holl Sketches for the Named Daeyang Gallery and House in Seoul and for the Planar House in Paradise Valley, Arizona
studio sketches regarding the system of windows in the project
volumeplan_presa 17
plan level 2
plan level 1
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1
1 studio sketches 2 render 3 model
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0.1
rooftops plan
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auditori administration and offices bar restaurant
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plan level 1
aa’ section
bb’ section
plan level -1
rooftop plan
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0.2
1 studio sketches 2 render 3 model
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library study spaces archive administration 3
2
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2
3
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0.3 gym and swimmingpool labs greenhouse 1 1 studio sketches 2 render 3 model
west elevation
north elevation
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perspective sections
Building 1 auditori, administration bar, patio
Building 2 lecture hall archive patio
Building 3 archive gym, laboratories, greenhouse
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model, the whole project 1:500
render, the auditorium center building 1
model, building 1 project details cafè lightening 1:500
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2.0 esplorare
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T
he Gardens of the Biennale serving a logic “master” of the Italian pavilion from the beginning, Return the Pavilion to its etymological nature, turning it into a part of the Gardens, configure it as the last portion of the first urban park and within the park, are some of the themes of reflection, orientation of the project. From them the character of the green space, its relationship with the limits and borders, its connection with water will vary. The center of interest of the project is going to be considered the new size of the “pavilion” . Currently there are about 6000 square meters of exhibition space. The project is aimed to expand the sur-
34 face, realizing 8000 square meters of exhibition possibilities, with the focus of increasing the open space inside the exhibition space, then working for excavation and superposition. Another aspect of the project is going to be the design of a floating small pavillion, transported by water in the lagoon, able fot this reason to dock at different points of the Venetian basin. The size and shape of this “witness” of the Biennale must be able to set up events and exhibitions relating to all activities of the institution: movie events, art and music. The specifics characteristic of this appendage will still be the exhibition space and the ability to have conferences inside.The form and meaning of this “rib” must be found , for “ absence” in the system made to the gardens. That’s why the only imaginativ eway of thinking in this workshop taken by Professor Mauro Galantino is seen as the complete distruction of this Symbol, and its rebuilding process starting from the bases, creating new room for new meanings.
section aa’
detail of the entrance
Giardini of the Biennale Plan and localisation of the Italian pavillon
interior patio
hypothesis of volumes
35 International Workshop 2011 Prof. Mauro Galantino II semester 2011 I 2012
2.1 exploring
plan level I
C
plan level 0
roofing plan
C’
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36 International Workshop 2013 Prof. Sean Godsell II semestre 2012 I 2013
2.3 exploring
he Venice Art Biennale is held every two years in the public gardens (Giardini) at the east end of the city. Numerous countries have permanent pavilions for this ‘temporary’ event which are distributed throughout the Giardini. In alternating years the Architecture Biennale is held at the same venue. Most of the pavilions are old and inadequate and their existence in the Giardini creates a security issue meaning that for most of each year large sections of the gardens are actually fenced off to general public. Both gardens and pavilions seem to suffer, one from the existence of the other, so that neither attains their optimum potential. In my workshop the proposal is to demolish all of the pavilions in the Giardini, reinstating it as a park for all, accessible all year round. We will use Porto Marghera as the new site for the Biennale pavilions and students will have to ensure that each country that has a pavillion in the Giardini will be represented by a new pavillion in Porto Marghera. To compliment this urban design exercise each student will develop the design of the new pavillion for their particular country of origin. In the process of this three week esquisse we will take the time to explore the art and architecture of Venice – students in my workshop must bring their sketchbooks!
ANOTHERVENICE WS13
Museum of Western Art Tokyo Le Corbusier 1959
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localization of the skylines: giardini della biennale porto marghera
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iennale d’Arte di Venezia is taken every two years in the gardens which are in the extreme part of the city. A wide range of tnations have permanent pavillios, destribuited inside the Giardini, related to the partecipation to this temporary event. In the same spot, every two year there is the in-
ternational event of the Biennale di Architettura. Most of the pavillions are old and unsuitable for the occasion, and their presence in the Giardini determine safety problems. For these reasons, the Giardini are closed most part of the Year. The strong aim of this Workshop held by the renowed Australian Architect Sean Godsell is to reflect on a imaginary demolition of the Pavillions in the Giardini, giving them back the possibility of their primary function, and to interpretate Porto Marghera as a completely new site in order to welcome this new function. Every student in the Workshop is going to relate himself with a wide range of scales, from the urban planning to the detail of the single pavillion which is going to be the main goal.
P
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rague has been the stage of my first international internship. It has begun on the September 16th, 3013 and it is ended on the December 15th. These three months have been really and deeply formative for my person. I have been employed at Molo Architekti Office, situated in the city of Prague. The studio is highly renowated in the Czech Republic, and their concerning about creating a high level architecture manufact can be clearly felt just
T H I S W AS
seeing their projects and their works. The studio is highly focused on a direct contact with th clients and to be extremely accurate in every detail regarding the project. I have learned how to manage the pratical tasks regarding the project, such as composition of 2d designs and prospectives and 3d models and renders. I had the chance to develope my skills in create models with different materials and the studio offered me the opportunity of a work jurney in order to visit some of their construction sites. Living in a capital city like Prague truly influenced me and my esthetic sense, in the most positive way. It has been an amazing opportunity of personal and professional growth that I believe will have an essential heritage in my future experiences.
Internship September 2013I December 2013
2.4 exploring
P R A G U E
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House in Českém Ráji Square at Železném Brodě 2012
House in Chvalči
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LOOKIN ALVAR
f i n l a
NG FOR AALTO
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a n d i a travel diary
2.3 exploring
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town hall Saynatsalo
1951
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sperimental summerhouse Muuratsalo
1953
Jyvaskyla University Jyvaskyla
1953 I1956
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