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Bosco sul Naviglio Milan - Italy
S.Francesco Church Milan - Italy
Cagliari fish market Cagliari - Italy
Yoga house competition Vale de moses - Portugal
Vivienda VZ restoration Asunción - Paraguay
Private funerary chapel Asunción - Paraguay
Parcel storage train station of Asunción Asunción - Paraguay
7 automatic Architectures - “Bridge“ Venice Biennale - Italy
Material Gesture - Change Alps - Switzerland
Amsterdam apartaments Amsterdam - Netherlands
Tongue apartaments Posillipo, Napoli, Italy
Roundedgecloud homedesk Prototype
Impressum
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Bosconavigli is a residential develop ment project designed. The building will be the heart of a major renovation plan, which will connect the Tortona area with Navigli (the city’s canals), redeveloping via San Cristoforo and becoming an important piece for Milan’s urban re forestation. Halfway between city and nature, the building will be integrated within the landscape, in order to blend in with the surroundings, and in the future a wide area of public parks will
rise nearby. Facades and rooftops will also feature dense vegetation. New technological and constructive solutions will ensure an excellent environmental sustainability; the vegetative system is designed in fact to filter particles, reduce pollution and energy consumption, thanks to the thermal inertia of vegeta tion.
transversal section
Bosco sul Naviglio Milan - Italy
Arassociati Studio - Stefano Boeri Architects. Architect
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different types and sizes, all with large outdoor spaces: the internal loggias overlook the condominium greenery, real open-air rooms oriented according to optimal exposure.
The loggias overlook the internal cour tyard, in a play of solids and voids, whi ch guarantees a natural lift in the different seasons. Designed to protect a naturally constant internal temperature from summer sun rays. The large faca des are characterized by an alternating system of balconies that host tall trees and plants.
Aromas, perfumes and the increase in biodiversity will envelop the building and naturally improve its microclimate.
Townhouse render external facade render
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amenities render
With its Gothic references, it is one of the first Franciscan churches in Italy, immediately after the canonization of the saint. after the first earthquake of 20 May 2012, the structure almost completely collapsed, including the bell tower, while the facade, currently secured, and the wall of the tombs of the Pico family remained standing, although seriously damaged. The project aims at the reconstruction of the col lapsed parts, in a deliberately modern
perspective, therefore not due to ana stylosis but by highlighting the scars of time. The choice of material still falls on the brick which is used in four horizon tal rows, alternating with single glass bricks that allow the entry of light rays into the baptismal area. In addition, the project envisages the reconstruction in a modern key of the collapsed vaults, using a wooden structure in bands, al most to emulate its ancient past in ma sonry.
transversal section
S. Francesco Church Mirandola - Modena
Contest winner - 1° price
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3 longitudinal section facade detail
The project aims to create a “building” that unites the public sector and the market space, becoming a reference point for Cagliari’s urban landscape. The amphitheater stairs leading from the street to the public market are a continuation of the surrounding landscape, establishing a walk on the waterfront of Cagliari and opening a new public road along the water’s edge. Here The concept of continuity takes on meaning thanks to the horizontal elements, for
ming a very clear stratigraphy between earth and sky. The strategies for the best functioning and ease of use separate pedestrian and vehicular flows, throu gh various configurations of the urban fabric, ensuring the connection for the distribution of off-market products and for the road transport network destined for the community. While its function is of an industrial nature, the ambition is to maintain attention on a fine-grained human scale within the urban fabric.
exterior render
CAGLIARI FISH MARKET - CONTINUITY Atelier Walter Angonese Accademia di Architettura di Mendrisio Diploma
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first floor
A modular structure is the basis of the functional strategies of the structure. The flexibility of the modular system allows spaces and places to overlap, to change shape, to create new and different areas for the different operations under the same roof.
The element of the roof linked to the concept of lightness consists of two pitches which rest on thin steel blades that unload onto the pil lar. The pitch of the roof breaks the orthogonality of the plan by following the main axis of the road.
The modules inside the market can be pro grammed individually or grouped in clusters to allow diversity not only in use but also in scale and form. The building can be pro grammed with various internal and external functions, depending on social needs. of mar ket users. Allows interior spaces to grow and shrink according to needs. The building becomes a reactive element that changes to meet the current and future needs of the various user groups.
Up, roof structure detail.
On the right, junction node, wwroof-pillar (axonometric view )
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8 constructive section
At the foot of the beautiful mountains of the Serra de Estrela in central Portu gal, lies a magical valley, Valle de Mo ses. In the midst of this Mediterranean landscape stands a shala of wood and glass that floats on gardens of edible flowers and herbs. The project aims to come into close contact with the varied and dense surrounding vegetation, establishing a continuous dialogue
with it. The project fits into the site in its entire length, the rigid axiality of the project and the steep slope of the roof enhance the idea of path and transformation, the concept of passing through contiguous environments with different heights (high-low) tell of a meditative process of purification.
courtyard
YOGA HOUSE COMPETITION Vale de moses - Portugal
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view from the outside
view from the inside
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render
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Entering the hall and passing through the chan ging rooms, he sheds un- comfortable clothes and enters the practice room where the inclination of the roof is an accomplice of our slow transformation, fol- lowing its inclination it ta kes us to the external meditative space, “hor tus conclusus”, the last step of our meditative journey, where practice merges with meditation and singing, here the beams descend to the ground, as if to indicate the end of our journey.
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plan render section
Paraguay is a very particular territory, everything is big and small, there are the poor and the rich, every is abun dant and sarce. Paraguay is inhabited and built at the same time. The spa ces are constructed by the same pe ople who inhabit them, therefore, they think about what they build and build with what there is. Paraguay also slung me on the front line as an architect and
construction manager. The project in volved a total distortion of the facade and the addition of two rooms, due to the brutal nature of the house very bold design choices were taken into consi deration, an oblique wall marks the sle eping area with the longitudinal limit of the house, creating a game of ramps and stairs inside it.
VIVIENDA VZ RESTORATION Asunción - Paraguay Oficina de arquitectura M+ Architect - construction manager completed
Photo © Leonardo Mendez
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Longitudinal section
Facade
Interior view of the ramp photo © Leonardo Mendez
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Interior view of living-room photo © Leonardo Mendez
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Paraguayan experience has opened the doors to freelance work, Here I had the opportunity to work on a real archi tectural project, from the design to the construction of a funeral chapel in the city of Asunción. By learning notions of how to set up a project, between esti mates and organization. A concrete roof hides between the exotic clearing
of the place, a private land rich in vege tation and shade. The building is reddi sh in color and tries to blend in with the surrounding context. a two-faced entrance defines the central space used as a private chapel while the lateral “attics” outline the space of the niches and some services.
PRIVATE FUNERARY CHAPEL Asunción - Paraguay Freelance work Architect Ongoing
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Transversal section
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Floorplan
In Paraguay I had the opportunity to work as Team lead coordinator for the Ibero-American biennial of architecture and urbanism, managing first hand a large area of the exhibition, The Ex Par cel train station of Asunción, planning a huge space visit. Here I was asked to set up the space for a graphic exhibition of some architects selected for the biennial awards. A photographic, video
and lighting installation, which aimed to welcome visitors to one of the historic places in the city of Asuncion. In addi tion I took care to present the Spanish architect Toni Gironés as a speaker on the stage of the theater of Asunción.
Exterior Photo
PARCEL STORAGE - train station of Asunción Asunción - Paraguay XI Bienal Ibero-americana of Architecture and Urbanism Team lead coordinator
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Transversal section
Axonometric view
20 Altura desde el piso 0.83 (Mesa) 00 1.5 5
The Idea that gave rise to this resear ch project rests on the concept of the automaton, a machine capable of mooving independently (autómatos: self. moving). It traces a line through very different kinds of objects from ancient Greece to ancient China, from the Islamic world to the Middle Ages and from the Renaissance to the 18th century, the golden age of automata. But this very broad suggestion was immediatley fused with contemporary research into robotics, partly in collaboration betwe en the Blumer Design Studio and the Dalle Molle Institute for Artificial Intel
ligence directed by Luca Gambardella and Jürgen Schmidhuber. The meeting point was to verify, firstly, in a way that was unclear - and therefore open - the complicated encounter between the possibilities of automatic movement and ‘thought’ capable to being developed in a machine, today explored by what is called machine learning. And above all, their applications or interpretations in the field of architecture.
Photo: ‘Bridge‘ the machine in random mode, it still moving untill the sensor percive a presence.
Photo credits Alberto Canepa.
7 automatic Architectures - “Bridge“ Venice - Italt Biennale di Architettura di Venezia Guest project
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This installation ’Bridge’, for example explores the spatial and aesthetic properties that a space must have to be reco gnised as a practicable path, capable of performing, in the act of its formation, a visual and sound dance prolonged in time. It announces and ce lebrates the act of passing, evoking with tecnological me ans the primordial tracing of paths amid undifferentiated nature and the conceptual transition from cave to home.
Description - The installation consist in ni neteen rectangular frames, each with a perimeter measuring 10.8m. Each side of the fra me acts as a track for a trolley. Between four trolleys is stretched an elastic cord, whose diagonal varies from 270 to 320 cm long. The trolleys are powered by motors that can pre cisely controll their position along the track. The movement of the motors is coordinated by a guiding software and the cord stretched inside the frame moves by following the rule of homeomorphism (it alters the form but not the perimeter).
Operation - The cords stretched inside the frame design a sequence of sections. This sequence describe a volume and this volu me can be set in movement for instance in torsion be coordinating the motors in simul taneus motion. The frames can also design broken sequences, moving the motors asyn chronously untill they arrive at an almost independent random movement that simulates chaos.
In absence of a human figure placed on the platform, the installation produces, with a a free system, the geometric sequences de scribed above. In this way it shows the ob
server its potencial for the composition and decomposition of space. The presence of a person at the start of the path is detected by sensors that measure his/her height, from a minimum of 130cm to a maximum of 205cm. Thanks to this data and the correct positin of the cords, the machine is ca pable of composing a spatial geometry that permits it to be traversed . When the person exits the installation, the cycle of free geometries is resumed.
Purpose - The installation, in keeping with the geometries described above, produces a practicable longitudinal space, the form of which is defined in relation to the height of the visitor.
The path is therefore bound up with the physical dimension and the visitors traver ses it on intuiting the possibility of physical ly passing trough the space, recognising the size of his/her own body in relation to the installation.
The machine appears capable of indipen dently generating the design of a path in space based on the detections made by the sensors and hence in relation to the measurements.
Photo: ‘Bridge‘ inside the machine in open mode. Photo credits Alberto Canepa.
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In this semster we follow a plan with no preconceptions. Instead the work is a consequence of the research and experiments that we will work on. An open mind is the starting point. what we are going to do is to look at the Swiss Alps with Chinese winsdom.
the Swiss Alps was the physical loca tion from wich to exercise this specific Chinese mindset. The artist Armin Lin
ke researched over a span of seven years the contemporary perceptions of the Alpine landscape resulting in a movie named ALPI. Linke, he records places that are usually nvisible, with a sure eye, while following no preconcei ved plan.’ In ALPI ‘ you are not likely to see the Alps from above, from the outside; no chance of breathingte moun tain air or being treated to postcards of Heidi’s countryside.
MATERIAL GESTURE - CHANGE Atelier Anne Holtrop Accademia di Architettura di Mendrisio AAM Student
Scale model photo © Marco Vallario
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It is common knowledge that a very thin strip of wood can be easily bent with the hands to quite sharp curvature.
In making other things, thin veneers are bent by hand and held in place by weaving them together or attaching them to other parts. Such bending is done without treating the wood. In bending thick pieces of solid wood, however, softening with steam or hot water or plasticizing with chemicals is essential. When a piece of wood is bent, it is stretched, or in tension, along the outer (convex) side of the bend and compressed along the inner (concave) side. Its convex side is thus longer than its concave side. This distortion is ac- com panied by stresses that tend to bring the bent piece back to its original straightness. The purpose of softening wood with moisture and heat or plasticizing chemicals is to re- strict the development of these stresses.
The purpose of all plasticizing treatments is to soften wood sufficiently to enable it to take the compressive deformation neces- sary to make the curve. Hot wood is more plastic
than cold wood, and wet wood is more plastic than dry wood. A combination of heat and moisture is therefore most effective in softening wood. Treatments with hot water or steam are used commonly to prepare wood for bending. Some chemicals soften wood. Howe- ver, research has not produced a sa tisfactory explanation of the phenomenon of plasticiza- tion, and softening methods are still based largely upon trial and errorexperience.
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Process outline; from tree to folding
Items
25 junction detail Bending process
26 Plans Elevation
Marco Vallario
view from the top
PANORAMA TONGUE APARTAMENTS Posillipo, Napoli - Italy
view from the top
ROUNDEDGECLOUD HOMEDESK Prototype ongoing
