MD Architecture Portfolio

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MARINA DIMITROVA ARCHITECTURE PORTFOLIO


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MARINA DIMITROVA architect

Address Telephone E-mail Nationality Date of birth Gender

Personal information

22 FIlippo Corridoni str, 20122 Milan, Italy +39 380 58 38 543 // +359 889 13 78 55 marina.g.dim@gmail.com Bulgarian 26/02/1986 Female

Academic experience October 2012 - October 2014 (expected) February 2011 - July 2011

Politecnico di Milano, Milan, Italy Master in Architecture Università degli studi di Firenze, Florence, Italy Erasmus student

October 2006 - January 2012

University of Architecture, Civil Engineering and Geodesy, Sofia, Bulgaria Master in Architecture Thesis in Public Buildings Department

October 2005 - July 2006

University of Architecture, Civil Engineering and Geodesy, Sofia, Bulgaria First year in Civil Engineering

September 2000 - June 2005

English Language Highschool “Тhomas Jefferson”, Sofia, Bulgaria

Professional experience February 2012 - October 2012

April 2008 - December 2010

January 2008 - March 2008

January 2007 - December 2007

Architect Assistant /under the guidance of arch. George Savov/ “Vamos” Ltd - Architecture & Design blvd. “Cherni vrah” 57, Sofia 1407, Bulgaria www.vamosbg.com Junior Architect Assistant /under the guidance of arch. Plamen Genchev/ “Vamos” Ltd - Architecture & Design blvd. “Cherni vrah” 57, Sofia 1407, Bulgaria www.vamosbg.com Junior Architect Assistant “Vennie Studio” Architects 4 Prof. Anton Mitov str, Sofia 1517, Bulgaria www.venniestudio.com Junior Architect Assistant Radina Gesheva Architects Lozenets, Sofia 1407, Bulgaria www.radinagesheva.com

Profile Area of interest

Personal skills Technical skills Languages

Design, Technical Design, 3D Modelling, Computational Design, Architectural Geometry, Transformation in Architecture,Preservation, Graphic Design, Photography Good interpersonal skills, attention to details, ability to work under pressure, comfortable in international environment Research and design attitude, strong graphic and technological design abilities Bulgarian /Native/, English /Advanced/, Italian /Intermediate/

Computer skills CAD& Modelling Rendering Other

Rhinoceros, Sketchup, Autocad, Grasshopper /basic/, Revit /basic/, 3D Studio Max /basic/ V-ray Photoshop, Illustrator, InDesign


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INDEX ACADEMIC PROJECTS

FLOATING MARKET, HARLINGEN, NL PARAMETIRC DESIGN WORKSHOP, MILAN, ITALY FUNERAL HOME, SOFIA, BULGARIA SOCIAL HOUSING, SEGRATE, MILAN MUSEUM OF THE FUTURE, ISTANBUL, TURKEY TOWN-PLANNING WORKSHOP, BRINDISI, ITALY FOREIGN LANGUAGE HIGHSCHOOL, SOFIA, BULGARIA MUSEUM OF ANCIENT ART, CASTELLO, MILAN

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Floating Market, Harlingen, the Netherlands

The project presents a market as a floating structure composed of differently sized islands, located in the harbor of Harlingen, Friesland. The proposal aims to represent the dynamic environment of the city harbor due to the daily tidal cycle of the Wadden Sea. The market is exploded in separate buildings located upon some of the islands. In the summer the islands form different configurations according to the special seasonal events. In the winter, the islands are located next to the mainland. The internal organization of the market changes also every day and every evening

Friesland, the NL

Harlingen, Friesland

Winter configuration

Defining the shape of the islands; reference to the city urban patterns

Harlingen Harbor

Summer configuration

Concept diagrams for a dynamic street market


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Project Model

Parts of the market float into the city

Different islands’ configurations during the summer in the harbor

The islands that form the market

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The islands that contain buildings


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Defining the shape of the buildings

The ground floor of the market is designed as a freely organized open market. The upper leves are designed as separate closed boxes as different small restaurants and shops. SUMMER OPEN CONFIGUARION

Every building is positioned on a separate island.


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Structure diagram

The different leves are accessibilie through a continuous ramp. The different leves imporve the visibility within the market and restaurant zones. WINTER CLOSED CONFIGUARION

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GROUND FLOOR PLAN DURING THE DAY

GROUND FLOOR PLAN IN THE EVENING

SECOND LEVEL PLAN


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ELEVATION DURING THE DAY

ELEVATION IN THE EVENING

APPLIED MATERIALS

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SECTION THROUGH A NATURAL ISLAND

SECTION

A summer open configuration of the market

A free floating cluster of three islands


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CONNECTIONS

SECTION

A summer open configuration of the market

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Parametric Design Workshop, Milan, Italy FORM FINDING WORKFLOW relaxed mesh analysis

initial mesh

quad mesh

mesh iterations

material analysis triangular mesh subdivision

subdivision offset

FINAL interpolate curve


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The project is the result of an intensive workshop that focused on the concept of Form-Finding explored through the use of parametric design strategies and developed within a digital fabrication process. Form-finding is a design approach based on the spontaneous self-organisation of material systems under the influence of external forces.

The workshop has investigated the potential of contemporary digital formfinding techniques in order to simulate physical behaviours, discover emergent material organization, and finally fabricate innovative construction components. A range of techniques has been applied to produce a full scale Pavilion developed during the workshop in a collaborative manner within a file-to-factory process.

Double Layer Cardboard Weave type B / 2,8 mm 600 g/m 2

upper layer flute lower layer

Corrugated cardboard is an orthotropic sandwich with the surface piles ( facing) providing bending stiffness, separated by a lightweight bending core (fluting) that provide shear stiffness. Two main directions characterise this material. The first noted MD (machine direction) corresponds to the direction of manufacturing of the material. The second noted CD (cross direction) corresponds to the transverse direction. (1) 1 Modelling of tech Corrugated Cardboard Behaviour, S. Allaoui, Z. Aboura, M.L.Benzaggagh

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ANALYSIS

stress analysis

TOPOLOGICAL VARIATIONS starting mesh

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planarity analysis

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here is the component

fold and glue

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ASSEMBLING SCHEME assign each component to the right group, using color coding

first connect the components in arches, then connect the arches in a vault

mark the position of the foundations and add double side tape define the global positions

rotate the vaults 180o, then glue the piers to the ground using the double sided attach the next vault & connect the ribs

FINAL


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component joints and rib system

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Funeral Home, Sofia, Bulgaria

The idea for creating untraditional route that follows the rivers’ stream, the formation of separate zones and expressive spaces tells a story that confronts the senses of the mourners, provokes questions and gives a hope. The specific relation between underground and aboveground spaces is a key moment for the project. The function is developed in 3 clear zones, formed by the built way leading to the both parts of the cemetery – zone for personal farewell in Mortuary, zone for mass farewell in Ritual Hall and zone for Memorial ceremony in the Commemoration halls. All zones are developed as specific transitional spaces. DESIGN APPROACH (1) Specific for the cemetery is the presence of the river that separates the park in two parts. (2) A main entrance to the park, that further passes into 2 alleys, is designed. The built way appears to be a mirror image of the present river. (3) The built way forms 3 zones at the site where the 3 phases of the ritual are set. (4) Concentration of linear directions unites the 3 zones into one organism. The directions determine the way of the ritual. In space, the lines pass into a system of walls. The walls create spaces with specific atmosphere and form a clear monument silhouette. ARCHITECTURAL IMAGE The accumulation of prolonged walls creates a clear and strong image. Due to the lack of borders between inside and outside spaces, the Funeral Home can be perceived as a park element of the whole surrounding environment. The raising terrain and the whole structure work as an open monument that serves for funeral ceremonies as well as for individual experience by any visitors of the cemetery park. THE PATH OF THE RITUAL The mourners pass through individual alleys and arrive at the square space under the Mortuary Building. Hence, the family separates from the crowd and direct to the personal farewell with the departed. The bodies are exposed in individual rooms at the second level. The passing from one stage of the ritual to the other becomes through bridge structures.The way to the Ritual Hall symbolizes the common submergence in grief as a mass farewell. The ceremony takes place down – between the two high walls that mark both the place of the Ritual hall and its absence seen from outside. There is an option to separate from the mass and pass over the ceremony through the two designed path-bridges. In the Commemoration zone the directions open loosely and create peaceful and positive atmosphere.


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COMMEMORATION HALLS


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RITUAL HALL

MORTUARY

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22 |ARCHITECTURE PORTFOLIO| The mourners pass through individual alleys and arrive at the square space under the Mortuary Building.

MORTUARY

The family separates from the crowd and direct to the personal farewell with the departed on the upper level of the Mortuary.


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Passing from one stage of the ritual to another becomes through a bridge structure.

The bodies are exposed in individual rooms at the upper level.

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RITUAL HALL SECTION

There is an option to separate from the mass and pass over the ceremony through the two designed path-bridges

The way to the Ritual Hall symbolizes the common submergence in grief as a mass farewell.

UNDERGROUND LEVEL


The ceremony takes place down – between the two high walls that mark both the place of the Ritual hall and its absence seen from outside.

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Social Housing, Segrate, Milan, Italy

The project presents a proposal for social housing in Segrate, a neighbourhood in the outskirts of Milan, Italy. The project faces different design stages - from development of a large- scale situation of a new neighbourhood that contains hotel, housing, social housing, a commercial center and a nursery school to the deigning of the key executive details of a chosen building. The main idea is the compact organization of the buildings’ volumes in order to be introduced more green areas and cycing paths into the project zone. The car access to the complex is fully developed underground. Then, a complete architectural, structural and environmental design has been developed for a building as a social housing. This contains the design of different typologies of apartments on every level,study of different facade system due to environmental balance of the building, a detail calculation of the steel structure and the design of particular architectural details and steel connections.

NURSERY SCHOOL SOCIAL HOUSING

HOUSING

HOTEL

COMMERCIAL CENTER SOCIAL HOUSING


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ELEVATIONS

TYPICAL FLOOR PLAN

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STRUCTURAL PLAN

STEEL CONNECTION 1


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All the apartments have a continuous corridor balcony that plays the role as a buffer zone between outside and inside space. This is achieved due to the vivid facade system which represents the unique style of life in every flat. Due to the sliding panels, this space can obtain different conditions for various activities. As a material is chosen bamboo - it is an affordable material that possesses certain qualities which can improve the environmental quality of any flat in the different seasons. Some of the flats have a triangular extension of the balconies which are behind the sliding bamboo panels. They are positioned in such a way to avoid shading of the flats underneath. The triangular balconies break the compact volume of the building and create a unique playful silhouette.

STEEL CONNECTION 2

BALCONY DETAIL, PLAN

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STEEL CONNECTION 3 thermal break

BALCONY DETAIL, SECTION

INSIDE

OUTSIDE wooden planks pavement waterproofing membrane wooden planks pavement steel structural profile, galvanized secondary beam IPE 330 suspended outdoor ceiling

ceramic tiles tiles adhesive stucco 4 cm comflor slab 46 secondary beam IPE 330 suspended ceiling


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ELEVATION DETAIL diagram of openning of the slidind bamboo panels

GROUND FLOOR DETAIL, SECTION

steel profile wrapped with waterproofing mineral wool between studs concrete block 20 cm plasterboard - 2 layers

brushed reinforced concrete pavement pvc foglio rigid insulation XPS 5cm waterproof membrane concrete slab foundation concrete blinding hard natural grade

frost proof ceramic floor tiles on polymer cement glue waterproofing membrane reinforced concrete screed pvc foglio rigid insulation reinforced concrete slab universal pavers coat with fiberglass net earth-moist concrete reinforced concrete pavement with 2% slope latex with additive against mold and backfill - unsorted gravel mildew

decorative baseboard anchored reinforcing wire mesh frost proof wahboard XPS fillet

bitumen rubber kit bitumen rubber kit with fillet in corner

concrete scrub

bentonite waterstop

latex with additive against mold and mildew coat with fiberglass net reinforced concrete wall waterproofing membrane rigid waterproof insulation XPS 4 cm backfill - hard natural grade

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Museum of the Future, Istanbul, Turkey

PRESENCE OF HISTORY

CITY IDENTITY

SOCIAL AND URBAN FABRIC


The museum aims to capture the specific presence of the city and to bring it to the future - a try to simulate the elusive future. The main challenge of the project is to present the future, to play with the unknown, to trigger the unique imagination and expectation of any of us and to makes us an immediate visitor of the museum.

The museum is split into 3 sites that reflect |MARINA DIMITROVA| the unique complex spirit of the city. The chosen places nowadays are almost abandoned but by preserving the already existing structures and by adding a new vibrant physical layer will have the potential to be re-activated and to create new attraction centres in the city.

The project is a travel into a time-space diagram that gives us the presence of the museum into the future but not its defined architectural space. It becomes a game of the free interpretation, everyone can complete the museum by himself, using their own imaignation.

The museum acts as a game of art, the museum is an event, it is the art itslef. The future architectural materialization is the main responsive tool to the context and life of Istanbul. The museum changes due to the rhytm of life in Istanbul . This rhiythm shapes the visitor s’ paths into the museum.

ISTANBUL CITY WALL A site that reflects the strong presence of history into the city. It can be recognized as a border between past and future. The Wall offers new view points to the city that can be interpreted in various ways. At current situation the wall is rather abandoned, not protected properly and its presence as a historical monument is not appreciated. Its solid structure, developed on different levels, contains different type of spaces merged into various context of the city, that can host the museum of the future.

GOLDEN HORN ISLANDS

The two islands are situated in the Golden Horn which shapes the identity of Istanbul. The location of the islands is an exindustrial zone very close to Eyup Hill. The space between the two flat islands could provide a new view point to the city and a unique location for developing the museum of the future in a flexible way with a direct connection with the water. Experiencing the art into the water becomes a triggering notion of the future.

TARLABASI NEIGHBOURHOOD This is a ruined neighbourhood in the city’s center with its own irregular rhythm. The main street of Tarlabasi runs parallel to Istanbul cosmopolitan area Istiklal street. Tarlabasi is a culturally vibrant neighbourhood with very expressive topography. But the unity of its social and urban fabric is being torn apart since the recent government’s plan for city beautification. The project aims to preserve some of the ruined houses where the physical base of the museum could be developed. In this way the process of experiencing the art into the future will be in direct contact with the unique social and urban fabric of Istanbul.

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ISTANBUL CITY WALL

The wall provides spaces with different light conditions that can play with the notion of the unknown. At the end of the climbing way unique views of the city are exposed to the visitor. The strong materiality presence of the wall meets the future architectural materialization and this particular collision between past and future creates specific atmospheres.


The Musuem of the Future leads to the uknown, it is the path of expectation and surprise. The future art is intangible, inivsible. It is part of the missing components of the future, left to our imagintion. The arichitectural space of the museum is not defined, it is a dynamic structure that can be influenced by internal or external input. Everything is influenced by the accident of the outside.

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36 |ARCHITECTURE PORTFOLIO| GOLDEN HORN ISLANDS The project represents an unknown path into the water which arrives at separate freely floating small gallery spaces at the water level.


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This part of the musuem plays with the travel of the visitors in space and time as the continuous movement of the water. The project proposal aims to reflect water as a matter and materiality applied to the museum.


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ruined building buildings with rooftops Identifying networks of free space, which are consisted by inbetween spaces, ruined buildings, rooftops and empty sites.


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TARLABASI NEIGHBOURHOOD The site will own much of its vibrancy and heterogeneity to the non-programmed spaces. They create a blank canvas for the visitors, the citizens and their activities. This will give the neighborhood an enviable diversity and a characteristic locality through the many unplanned, temporary meeting and art-exploring places for a rich mix of social and ethnic groups.

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Town-planning Workshop, Brindisi, Italy PHASE 1. The public soil is analysed and partially remediated by planting special types of trees and plants. Along the rivers new vegetation is planted. The green park is then set up and services – like bikeways and pedestrian paths – are provided inside it. Above the Federico II plant plastic balloons are set on the fields, creating events and producing energy at the same time. Also the first corn fields are planted, in order to produce energy for the new biomass plant. Trees are planted along the conveyor belt creating a natural wall. PHASE 2. More soil is remediated inside the green park system, including also private territories. More trees are planted along the rivers, increasing their density. New pedestrian paths are built on the coastline with a series of events – such as marathons or rowing races. Along the conveyor belt more trees help to create the natural wall. Corn and sunflowers fields are set, which will produce energy for the new biomass plant, situated in the EniVersalis area. The energy produced will fuel another new plant in which bioplastic is produced, thus farmers can earn money by selling what they grow to the factories. PHASE 3. New FIelds of corn and sunflowers are created to generate even more energy for the bioplastic production. The area is almost completely remediated, and the processes to completely reclaim the ground are set in action. The park is fully accessible and equipped, and a new type of production is settled in the industrial area. People can now benefit from a series of services, from the park to the educational activities in the open air museum. PEDAGNE industrial plant

INUSTRIAL PARK

STRATEGY The case study area – the S.I.N. of Brindisi - is positioned between the two great industrial plants of Pedagne and Lido Cerano. This broad industrial area seems to be the back courtyard of the village, a place destined to stock the unused, a deserted border. The urban design challenge rised from the relation with this context, dealing with its positive and negative features. Overall, the project aims to work on three levels: industrial, agricultural and cultural by conceiving the area as a totality, and then concentrating on diverse levels of intervention by triggering off existing potentialities into new functioning realities. The first strategy is an industrial park, which starting from the town’s border passes through the brownfield areas of the petrochemical plant settled near the harbour and coast. The second one concerns the settlement of natural park that highlights and projects the existing environmental peculiarities of the area; these are linked by paths, found mainly along the coastline. The third theme is then about the realization of a remediation park. Within the area different natural means – such as phytoremediation – are used to reclaim soil, water and air. By testing the use of different techniques, a set of effective methods to use in polluted areas could be established.

REMEDIATION PARK NATURAL PARK

INDUSTRIAL AREA CONVEYOR BELT REMEDIATION PETROCHEMICAL DUMP LAKES BALLOONS NATURAL WALL COAST LINE

LIDO CERANO industrial park


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PHASE 1 2013 - 2017

Legend - phase 1

PHASE 2 2018 - 2022

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PHASE 2 2023 - 2027

Legend - phase 2

Legend - phase 3

Green park system 30% of green park

Green park system 70% of green park

Green park system 100% of green park

Boundary system 30% of coastline promenade; 30% of green wall

Boundary system 70% of coastline promenade; 70% of green wall

Boundary system 100% of coastline promenade; 100% of green wall

Industrial system 60% of balloons hub; bioplastic production

Industrial system 100% of balloons hub; bioplastic production; energy sale

Industrial system 100% of balloons hub; bioplastic production; energy sale


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DESCRIPTION OF THE CASE STUDY ZONE

Petrochemical area

Petrochemical area

Petrochemical area

Petrochemical area Petrochemical area


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A detailed masterplan was developed for studying the existing industrial and agricultural pattern of the project zone. Several key example areas are extracted and presented here.

Private agricultural lands

Federico II plant Conveyor belt, Federico II plant


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Corn and sunflower fields next to the new bio-plastic plant.

New bio-plastic plant

The green buffer zones around the lakes

The green buffer zones into the corn fields


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New bio-plastic plant

New coastline paths

The new green wallnext to the conveyor belt


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Foreign Language Highschool, Sofia, Bulgaria

The initial idea of the project is the design of a HIGH school building, located in the city center of Sofia. This is achieved by the functional grouping of the school activities in cube modules, organized around vast open spaces in every level, with clear vertical communication and visual connection. Every module has two levels with its own communication between them. The adjacent staris to every cube plays as a double skin to all classrooms and imporves the overall energy efficiency of the building.As a final result a school building with cube silhouette, formed by smaller cube-in-cube bodies freely arranged in space, is developed. The structure could be further expanded in height that corresponds to the infinite limits of knowledge and practice.


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school

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SECTION

2nd FLOOR PLAN

9th FLOOR PLAN

11th FLOOR PLAN


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Ground floor- Museum of Antique Art (Ducal Courtyard)

First floor- Pinacoteca (Ducal Courtyard) and Museum of Musical Instrument ( Rocchetta)

CASTELLO SOFRZESCO - overall plan

Museum of Ancient Art, Castello Sforzesco, Milan, Italy PRESERVATION STUDIO IN 3 PHASES: 1. HISTORICAL RESEARCH ON THE CASTLE 2. SURVEY OF THE EXHIBITION ROOMS 3. PROJECT PROPOSAL SURVEY OF THE DETAILS BY BBPR - examples

mobile stands static stands floor stands

THE FLOOR GRID AND THE FLEXIBLE DISPLAY SYSTEM

BBPR introduced a dynamic system within the static existing condition, based on a visibly defined modular grid.

The artificial lighting, composed of two types, direct and indirect, is in addition to natural conducive to promoting the right visibility even in the evening, making the most of every single object on display


LIGHTING SYSTEM - SURVEY AND PROPOSAL

Natural light during day // spring-summer DETAILED SURVEY - examples BBPR integrate a flexible display system, which corresponds to the ability to adapt the exhibition according to the daylihght conditions of the season or the time of the day, or to the objects presented in the exhibition and the way they connect with each other in communicational composition. Based on the floor raster of different tiles BBPR have designed a virtual grid.The grid allows movement of the different elements in vertical and horizontal direction .

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Artificial light with dimmer control - evening/fall-winter


52 |ARCHITECTURE PORTFOLIO| The historical transformations of Castello Sforzesco through the years are a clear reflection of the relationship between it and the city of Milan. It is this transformation of the character of the place, that shows how the castle becomes from symbol of oppression of the city to symbol of the city. In the post-war Italy, in contraposition with the International style museum pradigma, contemporary authors started to rethink the museum using the modern language into old buildings. A team of professionals was formed to work on the renovation of the museum. The curarator of the museum, Constantino Baroni, was entitled to develop the exposition and the famous architectural studio from Milan BBPR were assigned to give a material form to the curator’s vision. BBPR developed the architectural restore of the building and all the equipment and stands, following the order laid out by Baroni.

INTRODUCTION

PROJECT APPROACH

SCALE

In order to understand the true values of the heritage conveyed by the Museum of Ancient Art in Castello Sforzesco, three main factors must be taken into consideration: the Muesugraphic exhibition,the Project developed by BBPR and The Castle with the history it carries.

With their work BBPR manage to translate the ideological, contextual and physical heritage of Castello Sforzesco to the people of Milan. Through means of modern architecture they manage to reinterpret the ideology behind every object placing it in a timeless capsule where the hidden stories behind the objects and space merge into one. The aim is to maintain the quality of their work and to contribute in translating the idea of the heritage of the museum of Castello Sforzesco to the present and future demands of the 21st century.

Every room in the museum carries a particular message and a story. Every detail is placed in its position in a logical composition with its surrounding and the purpose of the room. In order to achieve a good intervention the museum must be observed as a system of one whole, which contains many individual elements each of which faces problems in the integration of the contemporary society.

ANALYSIS AND EVALUATION

INTERVENTION

In order to give a proper foundation, an evaluation and priority of problems that each room faces has been done. Through it the points of observation can be set in order to provide the direct translation of the heritage given by BBPR and the museum of the castle.

The main point of concentration and consideration is the project developed by BBPR. As such, the proposal follows principles and ideas discovered from their work in an attempt to preserve, reinterprete and adapt the museum of the 50s to the 21st century.

MUSEUGRAPHIC EXHBITION The organisation of the exhibition developed by Constantino Baroni, follows a chronological order. Since the museum is almost entirely representing Lombardian artworks, it follows a visual connection between the display of every object. With the help of the project developed by BBPR in the 50s such a connection is possible, flexible and adaptable according to the light natural conditions.

Current situation


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Project proposal

PROPOSAL

PROPOSAL

The proposed ramp system is based on the usage of the existing floor tiles, following the modular principles developed by BBPR. The reception is turned in order to enhance the sense of perspective. Hence the flow from the entry point transforms the reception from a waiting and shopping area into part of the passage character of this segment of the exhibition. Thus is achieved a decrease of number of people waiting and discussing inside this zone and the acoustic is improved.

In order to update and enrich the didactic potential of the Museum without risking to desaturate the original museographic experience developed by the Authors, a new didactic layer have to be added to the Museum; an informative infrastructure that could enhance the information spead around the Castle, using the contemporary technology of Augmented Reality. The information layer provide an easy and enjoyable way to acquire informations on both the Castle, the Objects and the Exposition, using an up-to-date language.

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SALA DELLE ASSE

The present character of the group of rooms implies on the problematic case of Sala delle Asse. The intention is to restore the original proposal by BBPR taking into account factors which are important in terms of the heritage within the room. The focus is set on the sense of a garden within the castle, and give the complete attention towards the work of Leonardo da Vinci.

Sala delle Asse

PROPOSAL

The room is conceived as an inner garden, a covered courtyard, where to admire the sublime Leonardo’s fresco. Therefore, the intervention is to reserve the entire room only for the fresco: the original disposition by BBPR is partially restored, putting back the original wooden planks on the walls and the twelve iron lamps, but putting aside the wooden maze, once used for temporary exibition or as a little extension of the pinacoteca. Four benches are put facing each wall, defining an outer and an inner circulation path and providing comfortable observation points. The aim is to capture the presence of sitting down in a park and looking at the sky.

Sala delle Asse by BBPR


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Sala delle Armi today

SALA DEGLI SCARLIONI

Current situation

The end of a journey is originally designed to prepare the visitor to the supreme confrontation with the central masterpiece of the collection, the PietĂ Rondanini, the last work of Michelangelo. The intervention into Sala degli Scarlioni is focused on solving the accessibility problem while saving the intimacy of this last room, the spirit of the separating and protective cocoon and the separation between the PietĂ and the rest of the museum.

Sala degli Scarlioni

SALA DELLE ARMI PROPOSAL

Sala delle Armi, nowdays overcrowded (the rich weapon collection could have been accomodated in the Rocchetta, as well as the music instrument museum), must return to the original Reinassance flavor conceived by BBPR: the knights in armour should be freed from their new glass sarcophagus, facing each other like actors on four metaphisic stages drawn by the three majestic stone doors, whom they overlook and insipre the visitor in mistery and curiosity.

Sala delle Armi Sala delle Armi PROPOSAL


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SALA DEGLI SCARLIONI PROPOSAL

Sala degli Scarlioni is visually split in four descending areas, each one preparing incrementally the visitor to face the final stage of a life. The cocoon is replaced with a three-side septum that runs along the descending ramps. A circular ramp system is introduced, which takes the visitor down into a spiritual journey. The observed feeling when once entering the room is a scene formed among funeral monuments, around which one passes and begins the decent. Through the ramps the visitor can witness the process of judgement meeting the statues of Fortuna and Justicia until the reach of Pieta Rondanini, facing the setting sun - a symbolic scene representing the soul leaving the body. After this final encounter, the visitor exits the museum passing through a narrow, dark passage, to born again in the sun of the little, splendid courtyard with the musical fountain.

Sala degli Scarlioni PROPOSAL

Sala degli Scarlioni today


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SECTIONS

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marina.g.dim@gmail.com marina.dimitrova@mail.polimi.it +39 380 58 38 543 / +359 889 13 78 55


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