SCRITTA
2
INDEX
PRESENTATION
pg. 5
00 INTERNATIONAL COMPETITION FOR A HEALTH C CAMPUS IN CHAVANNES - PRÈS - RENENS
pg. 6 - 13
01 PIRANESI PRIX DE ROME
pg. 14 - 23
02 EXHIBITION PROJECT IN NEUES MUSEUM, BERLIN
pg. 24 - 35
03 THE GIZA SOLAR BOAT MUSEUM
pg. 36 - 45
04 PARTHENON MUSEUM
pg. 46 - 55
05 VALENTINO GARAVANI MUSEUM
pg. 56 - 71
3
“I have always worked a bit with fashion people. I worked with Issey Miyake for a while, then Dolce & Gabbana; now we’re working with Valentino. It’s fine. The fashion world is a fairly weird world, but there are good people in it.” [David Chipperfield] “Architecture is how the person places herself in the space. Fashion is about how you place the object on the person.” [Zaha Hadid]
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PRESENTATIONS
My name is Marica Noemi Puppio and I’m an architect from Milan, Italy. I just graduated from Politecnico of Milan and I also finished an Itinerant Master in Architecture and Museum Design for Archeology with the Accademia Adrianea of Rome. This Master has given me the possibilty to project in many different places around the world like Athens, Il Cairo, New York, Berlin and Rome, so that I had to approach architectural design every time differently and with new eyes. Before this experience, during my erasmus year in Bordeaux, in France, I had the opportunity to participate in an international architectural competition for an Health Campus in Switzerland. I decided to tell some of these experiences in my Portfolio because they have been really important to me, not only as an architect, but especially as a person; in fact I had to collaborate with different people every time in different conditions and situations and even if sometimes it has been a bit difficult, I am very satisfied with the work and the path I have been able to do with all these people. I learnt something from everyone and I can’t wait to learn other things from people I will meet in my professional career and also in my personal life. As then it’s visible in my final thesis, one of my biggest passion is fashion; I think in fact that architecture and fashion are always linked together because, as said by Adolf Loos in his book Ornament and Crime, fashion often reflects the architecture of a certain period. For exemple, according the Austrian architect, we see that a baroque dress is full of ornaments exactly like the facades of buildings of the same historical period. For this reason and many others, I decided to project a fashion museum in the city where the Valentino Garavani Maison is born, Rome. I tried to imagine a place where an architecture full of history like Villa Rivaldi in Rome tells other stories about fashion and Italian manufacture; an evocative place for two Italian excellences, Fashion and Architecture. I hope that my passion for architecture, design and fashion will be, at least partially, visible in these few pages of my selected works. Thank you for your attention,
5
INTERNATIONAL COMPETITION
00
INTERNATIONAL COMPETITION FOR A HEALTH CAMPUS IN CHAVANNES - PRĂˆS - RENENS, SWITZERLAND - MARCH 2016
In this competion we had to project an Hospital Campus in Switzerland which had to stick to Swiss healthcare system; this means that we had to design spaces in terms of quality of life and exemplary health. In addiction, we had to project the accessibilty of the campus, so we thought about differents paths for all means of transport and for people who go to the hospital center just by feet. In the Health Campus we also previewed a part for the offices, medical reserch, meetings and refreshment points; all these differents parts are linked together by a unique path that goes through all the volumes of the hospital center. The project is also thought to be part of the switzerland landscape, so that green zones are perfectly integrated both inside and outside the Campus. In this project I had the chance to project in a different context from those with wich I had already worked, like Italy and France landscape and urbanscape. 6
PLANIMETRY
7
DESIGNING CONCEPT
FIL ROUGE
Plan of Illinois Institute of technology, Ludwig Mies Van Der Rohe
In western countries cities are concentric, the city center concentrates all the powers,in this case the Campus is seen as a cloister that is sorrounded by galleries and its center is more intimate, almost a forbidden space
INAUGURAL CONCEPT
HORTUS CONCLUSUS: A peripheral gallery preserves the intimacy of the campus, for meditation and reflection
FRONT PORCH: All the parts that constitute the cloister rise above a front porch where differents paths mix together to community life
8
CONCEPTUAL DIAGRAMS Schoolyard
CONTINUOUS LANDSCAPE
Pedestal overlooking the inner garden
ACV
SPORTS FACILITIES
Parking delivery area bike parking technical local cellars
FIL ROUGE
C3 + C4 C1 C2 C5
Buildings open to the landscape
A1
A5 RURAL MORAINE
INTERIOR GARDEN
A3 H4
H5
HESAV
FIL ROUGE
A1+ A2 + A4 H3
H6
H2
H4 H1 H5 L1 delivery area bike parking storage - technical rooms
BUILDINGS OPEN TO THE LANDSCAPE
INTERIOR GARDEN
L4 + L5 + L6 RDC L2 + L3 HESAN AND C4
LANDSCAPE SEQUENCE TOWARDS THE LAKE
9
SOUTH ELEVATION AND VIEW FROM THE CAMPUS
10
SECTION AND VIEW FROM THE CAMPUS
11
INTERIOR VIEW
12
EXTERIOR VIEW
13
PIRANESI PRIX DE ROME
01
PIRANESI PRIX DE ROME “DESIGNING VILLA ADRIANA. WATER ARCHITECTURES AND ARCHAEOLOGICAL LANDSCAPE� XV EDITION - WINNER OF HONORABLE MENTION
The Premio Piranesi Prix de Rome is intimately and structurally tied to the Villa Adriana International Museography Seminar Design Competition and it constitutes the didactic and professional training as well as participatory dimension. The object of the Premio is design training that involves architecture for archaeology and in particular the musealization of archaeology and the scenographic design for the valorization of archaeological heritage. The concept of valorization applied to the safeguard and management of archeological patrimony is theunderlying theme that animates the design competition, that takes as its object the archeological area of Villa Adriana at Tivoli. In the last decade many archeological areas in Italy and Europe have been the center of diverse strategies of intervention tied to the question of valorization. In particular, the design interventions on the archeological site are intended to musealize and redesign the site itself: these are therefore design works on ancient artifacts intended to improve their aesthetic appreciation, their legibility and accessibility. Also part of the design work directed on the ancient artifact are restoration, completion, and museographic exhibition design; but also the structural integrity of occupied spaces and routes, as well as rethinking paving and monumental illumination: substantially a general redesign of the historical artifact and its adjacencies, intended to improve the quality of the site visit and its understanding. This design experiment is focused on the relationship between two of the principal elements that constitute the image of Villa Adriana: Architecture and Water, seen in the direct complimentary relation that not only defines some of the more important architectural experiences of the Villa, but that is at the heart of the choice of the site on which it is constructed, and the positional syntax of its pavilions. In terms of functional program, these designs can accept exhibitions of ancient and contemporary art, as well as performances and theatrical displays, thermal baths for wellbeing and recreation. The choiche of our group has been to emphasize the function of the site with the thermal bath and an exhibition of ancient statues. 14
PLANIMETRY
15
PLAN AND AXONOMETRY
16
SECTIONS
17
ELEVATIONS
18
EXTERIOR VIEW
SECTION AND INTERIOR VIEW
20
INTERIOR VIEW
21
BRANDING
22
BRANDING
23
EXHIBITION NEUES MUSEUM
02
ITINERANT MASTER DESIGNING ARCHEOLOGY EXHIBITION PROJECT IN MUSEUMSINSEL, BERLIN NEUES MUSEUM - EGYPTIAN COLLECTION
In this workshop, part of the Itinerant Master Program, we had to project and design an exhibition for some spaces of the Neues Museum in Berlin, in particular the exterior and interior entrance and the space of the Greek Court inside the museum. As kown, the Neues Museum is very famous in the world thanks to its Egyptian collection, which is one of the most complete with those of the Il Cairo Museum and the British Museum. We started observing the way others collections are exposed in the Museum, and we decided to study a leitmotiv to link the different spaces where our collection had to be exposed. We adopted a modular system, placing some obelisk-like elements both in the exterior and in the interior of the museum, in order to guide the vistors through the collection. Our collection was based mainly on egyptian jewelry with a particular emphasis on some masterpiaces, like the neck-collar of Queen Nefertiti. The leitmotiv I mentioned before was both the modular pieces we designed both our choice of colours, in fact we always used the black and the gold palette for the exhibition to give an immediate recognizability to the show for the visitors. We attentively studied every piece of the jewelry collection we wanted to exhibit and its own showcase, detailing also its structure. We presented our final project to the professors of Accademia Adrianea, Alexander Schwarz (working for David Chipperfield Architects since 1996) and David Chipperfield.
24
EXTERNAL INSTALLATION
25
EXTERNAL INSTALLATION
26
DETAILS
DETAIL OF ONE OBELISK
SECTION
27
TICKETS AND INTERIOR VIEW
28
ELEVATIONS AND PLANS
29
SECTION
30
GREEK COURT INTERIOR VIEW
31
VIEW INSIDE THE PYRAMID AND SECTION OF A SHOWCASE
32
AXONOMETRY AND INTERIOR VIEW
33
BRANDING
34
BRANDING
35
THE GIZA SOLAR BOAT MUSEUM
03
ITINERANT MASTER DESIGNING ARCHEOLOGY WORKSHOP OF THE PYRAMIDS - EGYPT REDESIGNING THE GIZA SOLAR BOAT MUSEUM
During this worksop we had the possibility to relate with one of the most important archeological site of the world, the Giza Plateau, on the outskirts of Cairo, in Egypt. Modern Giza is accessed by two main roads. The road from the north leads to Khufu’s pyramid; the other to near the Sphinx’s front court, from the east. They cross the Nile River from the east bank and follow the causeway westward. Dominating the plateau and running in a southwest diagonal through the site are the three pyramids of the pharaohs Khufu, Khafra, and Menkaure. The accessibility of the site, anyway, presents many problems because there is no distinction between cars, tourist bus, camels, taxi and people who walk by feet; everyone just walks on the site in a complete confusion and without any safety. In addiction, there are no point of stop-off and refreshment point, so that it could become difficult for many people to walk under the egyptian sun. Therefore, our workshop was focused in solving these accessibility problems and in designing a new facade for the Solar Boat Museum, which is now in a state of total degradation. In addiction, we had to realize another pavillion for the Museum, which now is too small for hosting all the archaeological finds discovered in the site. For the facade, we thought about a system that could filter the sun but in the same time that could allow a vision of the pyramid; for this solution we decided to mantain the original structure of the museum. Besides, the pavillion we realized is linked to the original museum walkway (that permits the entire visual of the Solar Boat from every side) to permit the visitors to have a complete experience of the collections inside the Solar Boat museum. In the exterior part of the museum we have also the perception of a unique facade thanks to the technological system we have designed. 36
PLANIMETRY
37
REFRESHMENT POINTS PATH TROUGH THE GIZA PLATEAU
STOP POINTS AXONOMETRIES
38
EXTERIOR VIEWS
39
MUSEUM EXTERIOR VIEW
40
MUSEUM EXTERIOR VIEW
41
SECTION
42
SECTION
43
PLANS
INTERIOR WALKWAY
44
INTERIOR VIEWS
45
PARTHENON MUSEUM
04
ITINERANT MASTER DESIGNING ARCHEOLOGY FINAL THESIS - A MUSEUM FOR THE PARTHENON, ACROPOLIS OF ATHENS REQUALIFICATION AND EXHIBITION PROJECT
For the final thesis of the Itinerant Master, we designed a new underground museum for the site of the Acropolis of Athens that could show the origin and the development of the site and the cults related to its religious practices. The Acropolis in Athens was a military fortress during the Neolithic period, due to its position which offers a great view of the land and the sea. During the Mycenaean times, it became a religious center, dedicated to the worship of the goddess Athena. It is said that the place was declared a province only to the gods by an oracle, and therefore stopped being inhabited by the people. The three temples of major importance, the Parthenon, the Erechteion and the Temple of Nike, were erected during the classical period (450-330 B.C.) on the remains of earlier temples. All three of them are dedicated to different aspects of the Goddess Athena. We decided to realize an underground museum because everything for the original inhabitants of the Acropolis was origined from the earth, like cicades; for this reason, they always took with them a symbol of a cicade, as told by the ancient greek historian Thucydides. The Museum structure is conceived to permit the visitors to have a visual not only on the collections, but also on the building site (which will exist for many others years) thanks to the cuts, the skylights and the windows facing towards the Parthenon. In fact, the Museum is located just next to the Parthenon, but thanks to the fact that it’s underground it doesn’t hide the historical monument. In addiction, we designed some new sitting solutions which, thanks to the choice of their materials perfectly matching landscape and ancient city, recall the historical site.
46
PLANIMETRY BEFORE AND AFTER INTERVENTION
47
AERIAL VIEW
48
VIEW
49
VIEW
50
PLANS
51
MUSEUM FUNCTIONAL AXONOMETRY
SITTINGS POSITION
MUSEUM THEMES
ATHENIAN HEGEMONY END OF MUSEUM PATH QUOTES FOUNDATION OF ATHENS ATHENA POSEIDON
WATER SACRALITY
CHTHONIC GODS
AUTOCHTHONOUS SITTINGS
52
MUSEUM SECTIONS
53
INTERIOR VIEW
54
INTERIOR VIEW
55
VALENTINO GARAVANI MUSEUM
05
ARCHITECTURE THESIS IN BUILDING RENOVATION AND EXHIBITION DESIGN “RENOVATION OF VILLA RIVALDI IN ROME : A NEW MUSEUM FOR VALENTINO GARAVANI”
The Palazzo Silvestri-Rivaldi stands on what remains of the Velia, the hill that separated the Fori area from the Colosseum valley (welding to the west with the Palatine and to the east with the Esquiline), and which was largely excavated in the thirties of the twentieth century for the construction of Via dei Fori Imperiali. This street takes its name from the presence of the Imperial Forums, precisely those of Caesar, Augustus, Nerva and Trajan. Today, the Roman Palace, although it is located in a very central and well-known position, remains almost unknown and it is in a state of neglect, after the troubled changes of properties and demolition it has undergone. In 2006 the Superintendency of Cultural Heritage of the Municipality of Rome was charged with drawing up a feasibility plan for the recovery of Palazzo Silvestri-Rivaldi, in view of an agreement with the current owner, the Istituto S. Maria in Aquiro (ISMA), for its use as a museum. Anyway, today, a definitive project has not yet been defined, but restoration work has begun on the building; so my goal was to hypothesize about a possible museum for Villa Rivaldi based on the information I could gather on the site. Studying the history of the Palace and its site and analyzing in particular the new relationships between fashion houses and valuable abandoned buildings in need of restoration in Italy, such as the Fendi Foundation which recently built a museum in an abandoned palace in Rome, Palazzo Rhino, my attention focused on Valentino Garavani’s fashion house, a leading figure in Rome for many years. As he declared in 2017 in fact, the Maison is looking for a place to allocate its museum, dedicated to the history of the Brand and its creators and collaborators. So I thought that Palazzo Rivaldi could be an ideal candidate for the Valentino museum, not only for its central position, but also for the recognizability of the Villa and the value of its sixteenth-century paintings, which make it an ideal setting for any important exhibition; in addition the Villa is exactly located in front of one of the architectures the designer had already undertaken to safeguard, the Temple of Venus and Rome. So I decided to project not only a plan for the renovation of this important historical building but also the exhibition for the museum of Valentino Garavani, studying his past collections and the history of the brand. 56
PLANIMETRY
57
VILLA RIVALDI
ARCHITECTURAL DEGRADATION
58
VALENTINO AND ROME
59
ELEVATION AND PLAN
60
PLAN SECOND FLOOR
Politecnico di Milano Laurea Magistrale in Conservazione del patrimonio architettonico e ambientale Tesi di Laurea “Riqualificazione di Villa Rivaldi a Roma : Un museo per Valentino�
61
piano secondo scala 1 : 100
Relatore : Prof. Federico Caliari Coordinatore : Paolo Conforti Studentessa : Marica Noemi Puppio mat. 874287
12
SECTION AND PERSPECTIVE SECTION
62
63
PERSPECTIVE SECTION
64
PERSPECTIVE SECTION
65
INTERIOR VIEW
66
INTERIOR VIEW
67
INTERIOR VIEW
68
INTERIOR VIEW
69
INTERIOR VIEW
70
EXTERIOR VIEW
71