MARIA BONACINA portfolio
MARIA BONACINA date of birth: 26 May 1989 place of birth: Milan nationality: italian address: via San Luca 10, Milano tel: +393335917612 (ita), +41787788239 (ch) mail: maria.bonacina@gmail.com
WORK EXPERIENCE march 2011- may 2011
INTERSHIP AquiliAlberg, Milano in particolare aiuto nella progettazione di vetrine per negozi e appartamenti, apprendimento del programma Rhinoceros e Vray
sept. 2013- dec. 2013
INTERSHIP Labora Arquitetura, São Paulo, Brasil aiuto alla progettazione di interni, in particolare di appartamenti o edifici scolastici e religiosi
set. 2011- may 2014
COLABORATION arch. Elisabetta De Gasperi, Milano costruizione del modello 3d di appartamenti e renderizzazione attraverso l’uso di Rhinoceros e Vray
jan. 2014 - apr. 2014
COLABORATION arch. Alessandro Fergola, Genova modellazione di un allestimento all’interno del Palazzo Rosso a Genova con Rhinoceros e Photoshop
oct. 2010- feb 2011
DESIGN COMPETITION student competition for an House of Music in Wien, Austria
april 2014
WORK AT ABC Politecnico di Milano surveying and drawing in autocad of the historical building, Palozzotto Borbonico in Naples
EDUCATION sept. 2011- april 2014
MASTER DEGREE IN ARCHITECTURE Politecnico di Milano, Scuola di architettura e Società, 110 L /110 Degree Final Project : “ Frammenti Urbani. L’architettura dello spazio pubblico in tre interventi a São Paulo, per una riappropriazione del Centro tra socialità, memoria e nuove identità.” Master Degree Final Project developed from set. 2013 to dec 2013 in São Paulo at FAU - USP with the professor Fabio Mariz. Reference Professor at the Politecnico: prof. arch. Emilio Faroldi
july 2012- july 2013
PARTECIPATION TO THE EXTRA - EU EXCHANGE PROGRAMME Universidade de Sao Paulo, Faculdade de Arquitetura e Urbanismo, Sao Paulo, Brasil
oct. 2008- sept. 2011
BACHELOR DEGREE IN ARCHITECTURE Politecnico di Milano, Scuola di architettura e Società, 95 /110 Degree Final Thesys: “ Eterotopia?” reference professor: prof. arch. Antonella Contin
july 2008
CLASSICAL STUDIES HIGHSCHOOL DIPLOMA Liceo Ginnasio Statale “ Giovanni Berchet”, Milano
LANGUAGES ITALIAN
mother language
ENGLISH
written: good talk: good
TOEFL 82/120
written: very good talk: very good written: good talk: elementary
PORTOGUESE FRENCH SPANISH
written: elementary talk: elementary
INFORMATIC SKILLS
INTERESTS
Ai
Ps
Id
CAD
Rhino
Vray
TRAVEL
MOVIES
BOOKS
PHOTOS
ARTS
SOFTWARE: Windows, Mac Others : Word, Excel, PowerPoint
extra curricular professional experience
Jan. 2007 Aug. 2009 Aug. 2008- 09- 12 Aug.- Sept. 2010 Feb. 2011 2009- 2012 May 2013- July 2013 Dec. 2013 Jan. 2011 sept. 2010 - July 2012 October 2014
formulation of questionnaires for Barchemicals voluntary work in a heartquake camp at Sassa, near L’Aquila exhibition arranger for Rimini Fair work as au pair in New York promoter for Gierre Company Voluntary experience helping study at Cooperativa dei fiori, Milano private italian teacher in São Paolo, Brasile waitress in catering. hostess for Università Cattolica di Milano leader scout publication of the thesys Urban Fragments
skills Excellent skills to work in a team, even international, fained during the university period in project teams in the designs studios, and espercially during the exchange program and for the Final Project Thesis ( with two colleagues).
I like to travel and to spend time abroad, in addiction to the Extra- EU Exchange Programme and the Final Thesis in São Paulo, in 2004 I attended for a two week period the languague school in Bournemouth, England and in 2011 I spent one month in New York. During the university I organised with other fellow students an architectural four day trip in Barcelona in 2010 and in Switzerland in 2011, supported by the Politecnico di Milano.
POLITECNICO DI MILANO SCHOOL OF ARCHITECTURE 2008
1st year Contemporary art Museum Design Studio I prof: arch. Giovanni Denti
3rd year
House of Music Design Studio III prof: arch. Vincenza Lima
September. 28. 2011
Bachelor Degree 95/110 Scienze dell’Architettura, Facoltà di Architettura e Società, Politecnico di Milano thesys: Heterotopia prof. arch. Antonella Contin
4th year
Masterplan and Social Housing Design Studio IV prof: arch. Caputo
Conservation of Palazzo Dugnani Conservation Design Studio II prof: arch. Manfredi, arch. Di Biase
5th year
Social Housing and Services Design Studio V prof: arch. Angelo Bucci
Faculdade de Arquitetura e Urbanismo, Universidade de São Paulo, Brasil
Housing and multicultural center Atelier Vertical prof: arch. Claudio Braga
Public Square Landscape Design Studio prof: arch. Silvio Machedo, arch. Fabio Mariz
Links History of Brazilian Art prof: Maria Ceçilia Flourenço
April. 28. 2014
Master Degree 110L/110 Progettazione Architettonica, Scuola di Architettura e Società, Politecnico di Milano Thesys: “URBAN FRAGMENTS”
URBAN FRAGMENTS
Our research discusses and involves the re qualification of the public spaces of the Historic Center of São Paulo, Brasil. The Center, place of foundation of the city and once one of the most rich and beautiful parts of São Paulo, is nowadays semi-abandoned and suffers social and architectonic decline. Nevertheless, the area presents several potentialities, attests a rich historical memory, it is well- served by public transport and it offers a large range of cultural and public services. Among the several attempts to give back his life to the Center, we decided to work on the public space, creating places where it is possible to rediscover the memory and the identity of the Center, and where it is suggested a new sociality. We first analyzed eleven squares of the area, in order to understand the major problems and resources, and hence we developed three urban strategies which discuss the quality of the public space and of the curtain of surrounding buildings that define them. We first applied the strategies to a system composed by the Vale de Anhangabaú, the heart of the public space, and three squares directly connected to him. We defined the guidelines of the masterplan, proposing the insertion of new volumes and functions,
discussing
routes, arborization, and the use of water. Then we projected three squares, Largo do Paissandú, Largo São Bento, e Largo São Francisco, trying to read the context and to strengthen his present functions by adding a built part which offers public services. Our projects involve the public spaces and they try to apply the method of composition of landscape learnt in the university of São Paulo.
MASTERPLAN
fau usp Ubiratan Silva
Marcos Acayaba
LE 3 PIAZZE
polimi
Angelo Bucci
Fabio Mariz
1881
ZONA NORD
35.385
laureati
10%
1.926.224 7.055 ab./km2
22%
analfabeti
767 RS
reddito pro capite
MASP
1882 1929
CENTRO FARIA LIMA
59.4033
*
ZONA OVEST 1.028.775
PAULISTA BARBERINI
7.634 ab./km2
25%
1930 1949
CENTRO
2.198.096
16%
1.436 RS
27% 12%
331.986 12.463 ab./km2
1.286 RS
FAU USP
1949 1962
ZONA EST 2.781.446
4.105.795 12.180 ab./km2
favelas
7%
1963 1985
24%
688 RS
ACAYABA’S HOUSE
SUD 14%
8.493.226 3 503 859 4.640 ab./km2
22% 1.149 RS
50m 100m 200m
500 m
*
ESTAÇÃO JULIO PRESTES
*
TERMINAL PRINCESA ISABEL
500 m
*
*
*
LUZ
ESTAÇÃO ES DA DA LUZ LUZ
*
SANTA CÉCILIA
*
698.160
500 m
500 m
TERMINAL AMARAL
* * *
* *
REPÚBLICA
500 m
*
* *
*
** * *
*
TERMINAL CORREIO
**
* * *
* * ** * * * *
* *
* ANHANGABAU TERMINAL BANDEIRA
*
persone entrano in centro ogni giorno
*
*
*
SÃO BENTO
*
500 m
500 m
TERMINAL PARQUE D.PEDRO
** ** *
*
PEDRO II
** * *
500 m
SÉ
* *
* LIBERDADE
*
4,18 km2 superficie del centro
**
0,29 km2 *
*
spazi pubblici e strade pedonali
APRILE 2014
ANALISI 11 PIAZZE
DICEMBRE 2O13
SETTEMBRE 2013
ANALISI CENTRO
URBAN VOIDS ANALYSIS
1881
1910
2014
The first phase of the research concerned the analysis of the principals public spaces of the Center. We tried to understand the tipologies of the spaces, different from our european standars. We mapped the squares, the parks, the pedestrian ways but also the empty spaces in the urban tracade or abandoned buildings that one day would be part of a requalification. Than we analised 11 squares, by making a geometric survey and trying to live their spaces, to understand their use and their frequentation. This work was very useful to understand the general qualities and the critics of the public space of the Center, giving us the instruments to elaborate some urban strategies to solve them.
AROUCHE 11
PAISSANDÚ 8 REPÚBLICA 2
7 SÃO BENTO
1 ANHANGABAÚ 1 JOSÉ GASPAR 4 LARGO DA MEMÓRIA
6 PATRIARCA
9 5
10 PATÉO DO COLÉGIO
SÃO FRANCISCO
3 SÉ
STRATEGIES APPLICATION A
RICUCIRE ISOLATO
B
RIEMPIRE VOLUMETRIA
C
OSMOSI FUNZIONALE
EXPO APERTO
[ ALBERGUE ]
EXPO CORREIO
[ PONTO CHIC ] [ TRACKERS ]
[ IGREJA DE NOSSA SENHORA DO ROSARIO ] [ CENTRO CULTURAL AFRO-BRASILEIRO ]
[ GALERIA OLIDO ] [ GALERIA DO ROCK ]
[ MONSTEIRO DE SÃO BENTO ]
[ CENTRO CULTURAL DOS CORREIOS ] [ OSTELLO ANAHANGABAÚ ] [ PRAÇA DAS ARTES ]
[ URBAN CENTER ]
[ CINEMA ALL’APERTO ]
[ INFO POINT ]
[ TEATRO MUNICIPAL ]
[ EDIFÍCIO MARTINELLI ] [ CAFÉ/ RISTORANTE ]
[ EDIFICIO BANESPA ]
[SCUOLA DI DANZA DEL TEATRO] [ CAFÉ/ RISTORANTE ]
[SHOPPING LIGHT] [UNIESP] [GALÉRIA PRESTES MAIA]
[ PATÉO DO COLÉGIO ] [ IGREJA DE SÃO ANTONIO ]
[ CENTRO CULTURAL BANCO DO BRASIL ] [ IGREJA E CONVENTO
DE SÃO FRANCISCO ]
[FACULDADE DE DIREITO ]
[ESCOLA
ALVARES PENTEADO ]
[ CATEDRAL DA SÉ ]
LARGO Sﾃグ BENTO
Concept of the projcet
blocco attrezzato ristorante spazi espositivi p e atelier
circolazione piazza Urban Center biglietteria
LARGO Sﾃグ FRANCISCO
RU AS ﾃグ BE NT O
GROUND FLOOR
C
75 51.30 51.30 751.30
750 750 0.50 0.50 50 750.50
52.50 0 752.50
753.50 5 753.50
7 4.7 754.7
a 754.60
750 0.00 0.00 00 750.00
754.00
b
d
754.2 750.0
2 c 753 3.7 3 .7 7 753.7
1
5 754.0
753 53. 3.7 .75 753.75
5 754.30 754.3 0 754.30
4
75 50.0 00 750.0
754 7 75 5 54.0 54 4.0 4 .0 0 754.0
e 753.9
3
753.00 00 0 753.00
754 54 4.80 4.80 8 754.80
752.20
756.20
C 755.20
756
BASEMENT FLOOR
C
750 7 50 50.50 5 50 0 750.50 752.50 752. .50 752.50
c
750.0 750 0.0 0.0
1
5
c 750.00
b 748.63
748.10
3
a
2
4 753.0 753..0 .0
C
EIGHTH FLOOR restaurant
3°, 5°, 7° FLOOR room and common spaces
2°, 4°, 6° FLOOR room and common spaces
FIRST FLOOR reception offices common space
LARGO PAISSANDÚ
A V EN IDA SÃ O JO ÃO
LA RG O DO IS PA SA
BEC O
DO
LOMÃO SA RUA CAPITÃO
LIM
PIO
ND Ú
BASEMENT FLOOR B
739.53
738.80 738.8 738 38.8 3 38 88 80 0
737.53
A
738.80 736.71
738.54
736.71
738.80
4 2
2
738.80 .80 80 0
1 740.05
3 B
759.7
743.30
738.80 736.71
LIGAÇÕES an exhibition project for the Pinacoteca do Estado of São Paulo
.ABSTRACT
The idea for the project of the exhibition for the Pinacoteca do Estado of São Paulo, has grown with the interests for some artists already exhibited in the Pinacoteca, representative of brazilian Impressionism. Studying their attitudes, techniques and thoughts it has been possible to project an exhibition that tries to compare the three artists, reading them critically and analysing some common themes in their pantry such as colour, tecnique and elements. For each theme some significative paintings have been chosen to be observed together and compared. The exibition finds his place in one of the biggest rooms of the Pinacoteca, composed, such as all the others of the museum, by a bigger and linear space, and by a smaller one that normally harbours temporary exhibitions. The first space has been divided by temporary walls, creating a linear but not straight path to discover the three themes of the exhibition. The name of the exhibition, ligações (liasons), indicates not only the aim of tracing links between the painters, but also between the european and brazilian art of the period of the Impressionism, trying to point out similarities and differences, and to give a critical lecture by european students projecting an exhibition for a brazilian museum.
A proposta da exposição nasceu de um interesse pelas obras vistas na Pinacoteca do Estado de São Paulo, com o desejo de entender a fundo o que carateriza e constitui a pintura brasileira no final do século XIX, relacionando-a aos movimentos desenvolvidos na Europa no mesmo período, qual o Impressionismo e o Pontilhismo. A nossa pesquisa começou no momento da primeira visita à Pinacoteca, quando olhando as pinturas brasileiras nos voltavam à memória as pinturas de Monet, Van Gogh, Cézanne, e do outro lado se tornava evidente como tinha algumas peculiaridades que não podiam ser encontradas em outro lugar, em quanto a técnica, cor e luz e elementos representados. É desses três aspectos que veio a idéia de uma exposição que pudesse mostrá-los explicitamente, para ver as influencias e os destaques da arte brasileira desse período. Junto com essa reflexão, sempre nos interessou entender os pontos de contatos entre esses dois continentes, vendo como os pintores brasileiros pintavam a Europa e vice-versa. Para enfrentar essas temáticas nos decidimos usar as obras do acervo da Pinacoteca e acabamos escolhendo três artistas que tem entre as maiores quantidade de obras expostas na Pinacoteca e que nos parecem os mais significativos do período: Eliseu Visconti, Pedro Alexandrino e Almeida Junior. A escolha de Almeida Junior foi o que guiou o trabalho desde o começo, porque permite de enfrentar a temática de um jeito completo, e foi o primeiro que nos marcou para sua grande capacidade de evocar valores, costumes, elementos que não podem ser encontrados na Europa. Em seguida escolhemos Eliseu Visconti, pela sua vizinhança à pintura europeia e pela sua origem italiana, nossa pátria, para poder entender como a técnica que ele aprende na Europa pode se desenvolver no panorama brasileiro e como ele pinta um ou outro ambiente. Enfim seleccionámos Pedro Alexandrino, para poder refletir também sobre o género da natureza morta e para mostrar um artista que viveu sempre dividido entre o Brasil e a França. Desenvolvemos então um percurso transversal entre os três artistas, enfrentando a pintura deles à luz das três temáticas explicitadas em cima: técnica, luz e cor e elementos. Além do percurso transversal, que se destaca então da clássica divisão das exposições segundo os géneros, escolhemos aprofundar um aspecto da exposição através do género da paisagem. Essa sessão particular foi concebida depois do grande impacto que teve a visão de um quadro de paisagem de Almeida Junior, que nos marcou muito para sua originalidade e unicidade. Entendemos então que era com esse género que nos podíamos entender como o pintor pinta a sua própria terra (neste caso, o Brasil) e como um pintor de fora pinta a mesma. Decidimos, então, selecionar algumas obras de fora do Acervo da Pinacoteca, para ladear a pintura da paisagem brasileira de Almeida Junior uma paisagem brasileira pintada por um pintor italiano e uma paisagem italiana pintada por um pintor brasileiro. Sucessivamente a essa fase de concepção da exposição, entramos no mérito das suas caraterísticas e peculiaridades, em primeiro lugar escolhendo as obras de cada artista à ser expostas. O partido da nossa exposição propõe-se ser exemplificativo mais que exaustivo, considerando também a quantidade de obras presentes no acervo, muito grande por quanto concerne Almeida Junior e bem mais modesto por Eliseu Visconti. Por essa razão escolhemos duas obras de cada autor por cada tema. A ultima fase do nosso trabalho foi a concepção do espaço físico da exposição, dos paneis, da montagem e da instalação das obras.
THEME 1 _ TÉCNICA
Cena de família de Adolfo Augusto Pinto, 1891, 106x13, Almeida Junior Amolação interrompida (estudo), 1893, 70x50, Almeida Junior Paisagem (estudo) 1896, 24,5x33, Pedro Alexandrino Natureza morta (peras e morangos), data x, 32x45, Pedro Alexandrino A Providência guia Cabral, 1900, 180x108, Eliseu Visconti Descanso em meu Jardim, 1938, 85x65, coleção Ronald Visconti THEME 2 _ COR E LUZ Paisagem fluvial, 1899, 23,5x34, Almeida Junior Estudo para “Fuga da Sagra Família para o Egito”, 1881, 45x32, Almeida Junior Paisagem (estudo), 1896, 30x39 , Pedro Alexandrino Frutas e flores, 1911, 69x124 (a Parigi) Raios de sol, 1935, 81x62, coleção Leonardo Visconti Cavaleiro Casa da vovô, 1915, 55,3x42,5, Coleção privada, São Paulo THEME 3 _ ELEMENTOS 1. Estudo para cabeça de caipira, 1893, 58x47, Almeida Junior Saudade, 1899, 197x101, Almeida Junior 3. Bananas e metal, 1900, 98x130,5 (a Parigi), Pedro Alexandrino Cozinha na roça, 1894, 130,5x110,5 (prima di conoscere Europa), Pedro Alexandrino Maternidade, 1906, 165x200 , Eliseu Visconti Uma rua da favela, 1890, 72x41, coleção Tatiana e Afrisio Vieira Lima Filho
TECNICA
COR
ELEMENTOS
F
Cozinha na roça
Uma rua da favela
E
paisagem
paisagem fluvial
ELEMENTOS
D
Frutas e flores Casa da vovo’
A
Paisagem Natureza morta
B
C
Cena da familia Amolação interrompida
Raios de sol
A Providência Descanso em meu Jardim Fuga da Sagra Família
G
Saudade
Maternidade
Bananas e metal
Caipira
A
D C
E
B
F
G
CONTEMPORARY PUBLIC GALLERY Design Studio IV - Housing & services, Centro, São Paulo ¯íC¡S@<L¡þ¡!<>OF?<?@¡?@¡ LKODN@NOL<¡@¡0L=<HDMGI ¡+LIA ¡ HB@FI¡ O>>D
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AN
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RI
BR
IA
EN
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TA
EF
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SA
broke the block
make a public passage
structural scheme
broke the housing
connect with open passages
PLANTA TERREO 1:200
B
C
D
B
C
D
B
C
D
B
C
D
rua s.ta Efigenia
A
PLANTA PRIMEIRO ANDAR 1:200
rua s.ta Efigenia
A
Avenida Rio Branco
Avenida Rio Branco
A
A
FRONT Rua Santa EямБgenia
SECTION CC
MULTICULTURAL CENTER Design Studio V - Housing & services, Centro, São Paulo ¯íC¡S@<L¡þ¡!<>OF?<?@¡?@¡ LKODN@NOL<¡@¡0L=<HDMGI
A RU
IA
ÓR VIT
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JÚLIO MESQUITA
NID A
AV E
SÃ OJ
8%
RU
R IEI .V AV
9%
0.00
0,00 2.50
A
DE
CA AL RV HO
make a public space
broke the block
restaurant
cafĂŠ
the programme
bookshop
class
housing
expo
auditorio bicicletĂĄrio
C
A
D
E
5,00
5,00
SALA DE AULA
E SALA DE AULA
5,00
SALA DE AULA
9%
5,00
D
2,50
C
A
A.S.
A.S. A.S.
A.S.
A.S.
A.S.
9,50 9,50 SALA DE AULA
8,00
SALA DE AULA SALA DE AULA
9,50
9%
9% 7,25
ELEVATION OF THE HOUSIN INSIDE THE AREA
ATELIER VERTICAL This project was a great occasion to work in a large number of persons. It was a vertical atelier, with students of the second, third e fourth year and a erasmus student. The work was developed in the city center and we had to choose an abandoned area or empty area. The our group chooses an area occupied for a big parking building, a very present function in the center, near the famous and dangerous neighborhood of Cracolandia. The program had to consisted in a residencial part, an other commercial and the last cultural. The design of the public space also helped us to create a connection between the Avenida S達o Jo達o and the Rua Vitoria, broking the block e making a public square in the middle of the project the becomes a space for living and meeting for the people of the district. At the ground floor are placed the public functions, like shops, restaurants and the exposition, that need a greater link with the city, while the access to the upper floors is restricted a cause of the housing. There are also some functions that are developed at the upper floors like the theater, the library and the class for the study. All these public functions are linked by catwalks, stairs or elevators.
16,00 14,00 11,75 9,50 7,25 5,00 2,50 0,00
-0,50
SECTION CC OF THE EXPOSITION
THE CITY OF TASTE AND FLAVOR Design Studio IV - Residential and commercial masterplan, Milan, Italy fourth year - Politecnico di Milano, Prof. Paolo Caputo
0m 0m
2m m
THE WAY OF TASTE The public space is designed as carpet between the buildings, caracterized by different uses in order to respond as fully as possible to the expectations of residents and visitors. The “Way of Taste” is a really route, not only informative, but also formative with workshop and open spaces. The walking is accompanied by public “islands” composed by vegetation adn flowers, playground for children and relax areas. The quality of these spaces is garanted also by the sudy of the flowers and of the plants. During all the year a continue variation of colours and density is garanted so that every season is caracterized by different shades and heights of the vegetation. The sustainability of the project is ensured by the presence of commercial spaces dedicated to botany that take care of the plants. Our project originated from a reinterpretation of the fence that today delimite the area in order to transform in a lived and livable margin containing a large green area on which different functions and activities appear.
CONCEPT OF RESIDENTIAL BUILDINGS
The park is a great green surface that accompanies the route of the visitor between the thematic clusters, starting in some historical preexistences until the Ortomercato, the most important center of the route. This at the beginning is horizontal, but in the market becames vertical, so that is possible a bautiful view of Milan. The project of the green area and of the border buildings is the resul of work on the density and the identityof the area, starting by a rigid geometry in the part near to the city grid then articulating more freely in the revival of the mesh design of the Lombardiaâ&#x20AC;&#x2122;s ďŹ elds.
HOUSE OF MUSIC Design Studio III - House of music, Wien, Austria third year - Politecnico di Milano, Prof. Vincenza Lima
The proposal contemplated the construction of a building accomodating an House of Music for Wien, becoming an important connection between the city’s history and its present. The project is intended at first to be an element that changes the perception that users have of the park and the surrounding space, creating a pleasant experience not only for the visitors, but also for the people that will take a walk in the park simply. The program included both areas for public services for the city and the park, both private spaces to teach the music, an interior auditorium and outdoor spaces for the performances. Our project born by the movement made by the ground that generates itself spaces willing to accomodate different functions: auditorium, classes and the mediateca. This building doesn’t want to be hidden in the park, but belongs to it. The park is enhaced by the architecture, thanks to the value that is given to it: new spaces and new experiences are linked to the music in the city. The borders of our architecture are not limited into the walls of the House of Music, but are spread all through the park, hearth of the city. It’s the most proper set to meet the contemporary classic musical culture.
0,00
-3,00
-3,00
+7,00 0,00
+5,50
+1,00
0,00
0,00
0,00 +1,00
+1,00
-1,50
+1,00 -4,00
00 0,00
-4,00
0,00
0,00
ELEVATION TO TE RIVER
A
-3,00
-3,00
-3,00 -3,00 -4,00
-4,00
-4,00
AULE
AUDITORIUM
-4,00
BAR
-4,00
RISTORANTE
MEDIATECA/SHOP -4,00
-4,00
A’
SECTION AA’
Contemporary Art Museum Design Studio I - Contemporary museum, Milan, Italy ¯LMN¡S@<L¡þ¡+IFDN@>HD>I¡?D¡(DF<HI ¡¡+LIA ¡"DIP<HHD¡ @HND
AUDITO
H L HALL
RIUM
RARY TEMPORA ON X IBITION EEXH
CAFE
’
PERMANENT MA ANEN N EXHIBITION HIBITION TI N TI
PERMANENT EXHIBITION
PERMANENT
The proposal of the design studio is to build a contemporary art museum in the center of Milan. The starting difficulty was how to relate with the tissue densely build and with an important historical value. Startinf from the analyse of the principal guidelines of the urban tissue, we have rotated the ground floor of the building to create an access that breaks away from the great flux of Via Torino, Partendo dall’analisi delle principali direttrici del tessuto urbano, abbiamo ruotato il piano terra dell’edificio per creare un ingresso che si discostasse dal flusso principale di via Torino, generating an open and public space in the most interior and quiet part. The public function are located at the ground floor, to be more accessibles, while the exposition areas are developed in the other three floors.
THE GROUND FLOOR