PORTFOLIO Rondini Marina
Rondini Marina
Workshop
Rimini 07/09/1990 Italy +39 340 0046017 +351913119782
April 2013_Learning by doing: the rammed earth wall_with Francis Kere
rondini.marina@gmail.com skype: marirondini
February 2015_ Filming architecture_with Ila-Beka and Louis Lemoine_director Marco Muller
Essays January 2015_ Dante Ferretti and the construction of the cinematographic space_with Marco Muller
Education
Work experience
2013/2015_Master in Science of Architecture, Accademia di Architettura, Mendrisio, Switzerland 10/10
January 2016 / August 2016_Bureau A, Lisbon
2009/2013_Bachelor in Science of Architecture, Accademia di Architettura, Mendrisio, Switzerland
September 2011 / June 2012_ intern at USD Design, Soho, New York.
2004/2009_PNI Drawing+Informatic National Plan, Scientific High School, Rimini 95/100 Languages
Software Skills
Model skills
Academic Projects
italian_mother laguage
Autocad 2D/3D
Wood
2015_diploma Topics of Architecture_ director Valerio Olgiati with Yvonne Farrel and Shelley MacNamara, Grafton Architects
english_excellent
Rhinoceros + Vray
cardboard / paper
portuguese_on going
Adobe Suites
wax / concrete / gypsum
french_basic
Excel
polystyrene/ fabrics
Word
metal / laser cutter
2014_atelier Durich + Nolli_ La Casa della voga veneta, renovation of Ottagono Alberoni, Venice 2014_atelier Aires Mateus_Cultural center for the Marrakech Biennale, Marrakech 2013_atelier Eric Lapierre_Migrants Hotel, Paris 2013_atelier Diebedo Francis Kere_Housing Ouagadougou, Burkina Faso 2012_atelier Antonio Citterio_renovation of Porta Genova Station, Milan 2011_atelier Marc Collomb_Istituto Svizzero di Roma, Atelier-house for Christian Zendher 2010_atelier Marc Collomb _ATM warehouse housing project 2009/2010_atelier Mario Botta
Exhibition 2015_Film festival Locarno_Filming Architeture_selected project 2015_MAD ‘15_Exhibition of the Accademia di Architettura_selected project 2014_MAD ‘14_Exhibition of the Accademia di Architettura_selected project 2012_ISI Roma_Six artists houses_Selected Project
The Ticino Stadium with
Yvonne Farrel and Shelley McNamara Grafton Architects
The stadium is the place where a collective ritual takes place. The liturgy starts before the game itself, with the mass procession of supporters. The stadium animates itself only for short periods. For the rest of the time, the stadium remains mute, empty. This contributes to characterize the stadium with the idea of monumentality. It is a big scale architecture related to the landscape scale. Its image is very strong for the territory it is built on. The project begins with the will of showing the massive proportion of transfers which enclose the focal moment of the game. Circulation is the principal theme. The project represents the Canton Ticino stadium. Canton Ticino is seen as a linguistic, geographic, political and natural entity in Switzerland. The site is Ponte Diga: a strip of land and transport infrastructures crossing the Lugano lake. It’s a symbolic point which unifies the south with the north, Milan with Zurich. This stadium is a megastructure in the middle of the water. It is a permeable piece of infrastructure which relates to the beautiful landscape all around. The building is an hybrid between a stadium and a car park, integreting this main issue with the facade. Two ramps meet in the middle of the lake, growing togheter in spirals, shaping the arena. The pitch is elevated from the ground. The transports strip crosses the building, under the pitch. The design of the 24 concete pillars is tought to support externally the system of ramps and internally the stands of the arena. The structure is like a skeleton which protects the arena, the focal point of the mise en scene. The path which embraces the arena is a place of tensions, which collects pedestrians, cars and emotions before and after the game. It hosts all the facilities. The stadium as a scenography of movements.
Ulisse Stacchini_San Siro stadium _Milan,1986 before the renovation - Superstudio_Monumento Continuo_1968 - Berthold Lubetkin_Penguin pool London zoo_London 1933 - Mattè Trucco_Lingotto_Turin 1930 - The lake of Lugano with its landscape-scale buildings - Melide and Bissone, Ponte diga, Canton Ticino, Switzerland: the site of the project - The highway, the national road and the railway crossing Ponte Diga.
Imagining a stadium in Switzerland: collage with Paulo Mendes Da Rocha, Estadio Serra Dourada
lake longitudinal section
lake cross section
ground level plan
transport connection
structure
pitch + players facilities
section + landscape
parkings + spectators
terraces + vip facilities
section
full
empty
now
Marrakech Biennale Art Center with
Manuel and Francisco Aires Mateus
A new multi-functional art-space in the Marrakech Medina. A waiting space, a monument for this city, suspended between
Giorgio De Chirico, La ricompensa dell’ indovino, 1913
arabic and western culture old and new chaos and calmness laic and religiuos contemporary and traditional. The regularity of the grid is opposite to the informal peculiar urban pattern. But the lack of borders makes the city enters in this out of scale sculpture. Citizens, artists, dancers, sellers, children, they all meet in this new public space. The repetition of a typical architectural form as the arch and its proportion aims to remember the energy from the holy muslim architecture. The red-concrete structure can be interpreted with lighter architectural elements according to the different needs of the Biennale.
The mosquee of Cordoba
Marrakech Medina_ Concrete model
roof plan and contest
groudfloor plan
underground floor
section
The Venetian rowing house with
Durich + Nolli Architetti
VENETORUM URBS DIVINA DISPONENTE PROVIDENTIA AQUIS FUNDATA AQUARUM AMBITU CIRCUMSEPTA AQUIS PRO MURO MUNITUR QUISQUIS IGITUR QUOQUO MODO DETRIMENTUM PUBLICIS ACQUIS INFERRE AUSUS FUERIT HOSTIS PATRIAE JUDICETUR NEC MINORI PLECTATUR POENA QUAM QUI SACROS MUROS PATRIE VIOLASSET HUJUS EDICTI JUS RATUM PERPETUVMQUE ESTO
The city of the Venetians - with the aid of divine providence- founded on water surrounded by water - defended by water in place of walls - should anyone therefore - to the detriment of the public waters in any way - dare to act he will be - declared an enemy of the republic - nor be punished with a lesser penalty - than he who the sacred walls of his country - would violate - the authority of this edict unalterable and perpetual - is here declared.
Venetia life is grounded on water. Venice is its lagoon. Many are the abandoned islands. The historic value and the architectural potential are extraordinary. Ottagono Alberoni is one of them. It is an old military fortress on the Malamocco harbour entrance, not far from the shore of the island of Lido. Many regattas circumnavigate it. Goondola, pupparin, mascareta, sandalo, scipion, sanpierota: many are the historic boats of the venetians. The tradition of the “ voga alla veneta” is still very lively. The program is to re-use this medioeval fortification as a new cultural and sporting center. The main idea is to mantain the external optagonal wall and let the water flow inside it. At the level of the sea, the darsena hosts only traditional boats, due to the narrow entrance and the low level of the water. The first floor is an open space with light divider dedicated to the different activities of the center. The chosen material is wood, the most used in Venice. The structure is designed to bring all the weight on eight concrete pillars. This is possible due to the closed ring form of the optagon.
Puparin - Gondola - Sandalo: three of the many venetian historic boats
Ottagono Alberoni
The Venice lagoon and its flows
Ottagono Alberoni_Lido_Pellestrina
roof plan
first level plan + section
second level plan + section
section + external elevation
The Migrants hotel with
Eric Lapierre
The first link between architecture and surrealism rests on the importance of associations which, in architecture, works through a serie of analogies. Following the steps of Nadja in AndrÊ Breton novel, we stop in Bouleverd Magenta. Around Gare du Nord, this is now one of the most multi-cultural and poorest neighborhood in Paris. The migrants hotel will host people crossing Europe to avoid war, poverty and hunger. This hotel is a shelter which embraces the weakest part of our society. As Gaston Bachelard describes in his Poetic of Space, the nest offers the joy of protection. It’s a true, primitive feeling. Migrants need to be protected but they also want to face their new reality. How architecture can offers different level of intimacy? What are the filters in architecture? How can architecture help or avoid encounters? Le Corbusier, sketch for a floating hostel
What is the connection between architecture and memory?
Bouleverd Magenta, 1920. Picture from “ Nadja”, André Breton
groudfloor plan
first floor plan
longitudinal section_rooms
longitudinal section_external path
cross section_terraces
Housing Ouagadougou with
Diébèdo Francis Kéré
People from the villages of the countryside come to Ouagadougou to earn some money. They occupy the empty land of the suburbs of the capital, building an extemporary shelter. There is no governament program to regulate this flow. The aim of the project is to help the living conditions of these people, creating a link between the rural life of the compound and the urban situation of Ouagadougou. The quality of life must be improved without imposiding a lifestyle totally extraneous to these families. The strategy for the masterplan wants to offer a general layout for the specific site. Each block will be then freely occupied by the new arrived. Even inside specific rules, they are free to use the land as they are used to in their villages. Quite often, entire families move to the city. The single house can be connected to others, forming a compound. The construction of the house is based on rammed earth with the pisè tecnique, a local, wellknow way and on the use of in-place materials. Specific precautions are made to deal with the sub-saharian climate. The anciet egyptian hieroghlyphic for “home”
Internal and external spaces are composed by one unique wall which turns on itself, going from public to private, from light to darkness.
example of formal/informal settlements in the suburbs of Ouagadougou
primary arterias
to connect the area with the rest of the city and not create a closed ghetto.
main streets
following the existing pedestrian paths to the water sources
vegetable gardens
at the center of each block for the use of the families of the same block
water
main market squares with water sources
The wall built in the garden of the Accademia during the workshop “ Learning by doing�
corrugated
metal beams
metal tubolars
concrete ring beams
eucalyptum wood slabs
rammed earth wall
concrete base + wall foundation
concrete rain water tank
Constellation.s : Monte VeritĂ for Bureau
A
Monte Verità is Bureau A contribution to Constellation.s, the collective exhibition lead by Arc en Reve in Bordeaux. If, to use the terms of the exhibition itself « it is important to place culture and knowledge at the heart of our democracy and citizenship to light up the future of our society», Constellation.s became, during the time of the exhibition, a place of critical eye. This attitude should not be about showing documents of somewhere accomplished projects to light up the practice of architects. It should be instead based on understanding the exhibition space as a materialized reflexion, to illustrate different points of view about the world situation using the tools of architecture. Monte Verità was a swiss commune settled on the Lago Maggiore at the beginning of the last century. The main values which were promoted by the community were the return to nature, the distribution of goods inside the community, the care of the body and the development of art as the highest fulfillment of man. Many intellectuals and artists had a role in this experience: from Lenin to Otto gross, Herman Hesse e Paul Klee. The research producted by Bureau A is prsented with three different forms: an exploration of the architectural objects and artefacts used and realized in the community of Monte Verità, materialized with the 3d printing technique; a publication which put in relationship these objects with the actual landscape of Monte Verità; a metal fountain with a limited serie of furnitures, which were designed inspired by the archive documents of Monte Verità. The installation, disclosing itself in a ludic way, has the ambition of raising a profound issue on the practice and partecipation of architects in a society profoundly capitalist, which blur more and more the objectives of the creative practice. text: Daniel Zamarbide project: Bureau A pictures: Dylan Perrenoud
Life at Monte VeritĂ 1900/1920_Historical pictures from the Szeemann Archive, Archivio di Stato del Canton Ticino, Bellinzona
The installation at Constellation.s
Furnitures inspired by the historic documents
The Club : survey for
Bureau A
DANCING IN THE RUINS
How accurate would it be to research architecture in relation to a musical genre? Has musical practice the potential to be architecturally innovative? Would it make any sense to speculate on the relation between architectural design and techno music for example? (...) Techno in particular did come across as interesting because it strongly resonates with urban politics. Sure enough, every subculture tells us a piece of history of the context in which it was produced. But techno is “architecturally informative” in the sense that it’s a musical trend that emerged in and developed in an urban context of major socio-economic changes. In this sense, techno music has much to say about the production of architectural spaces than it does about the relation between architecture and cities. Techno is the music of late capitalism. If any consensus is to be found around its definition, it is that it emerged in the mid-80’s out of the ruins of the city of Detroit. Detroit’s ruins were (are) the result of the abrupt ending of industrial production and the transition from industrial capitalism towards its post-industrial version. (...) when the industry was taken away from Detroit to be relocated, it left out of economic resources a large community of middle-class Black Americans. In the mean time, this community had nevertheless gained the social, cultural and technological capital to invent new forms of cultural productions – all means of cultural representation – to contribute in telling the story of racial minorities from the perspective of class struggle in the US. Detroit techno thus, tells a story of economic dispossession, urban decay, racialised class war and technology. It is very much imprinted with Afrofuturism, a form of magic realism that intends to fictionally and artistically rewrite the history of the Black American community. In doing so, it also revisits the relationship between humankind and machines, suggesting that humans and robots are both the victims of late capitalism and should emancipate together (rather than presenting machines as a cause of oppression). Techno pioneer Derrick May, for example, is an advocate of what he calls “techno spirituality”, a form of elevated consciousness that we develop in collaboration with machines, about which he says: “techno dance music defeats what Adorno saw as the alienating effect of mechanisation on the modern consciousness”. Similarly, Juan Atkins likes to cite Toffler’s phrase “techno rebels” as a source of inspiration for the type of musical creativity that techno has emerged from. (...) So what is the architecture of techno music? Until techno music emerged in the dance music landscape, clubs were designated spaces designed to be clubs, because clubs are the product of a long history of regulating leisure. (...) Techno is the first form of music that appropriated disused spaces of the city to make them clubs. It’s quite brutally obvious in Detroit and did transpose very well to post-wall Berlin (Trésor is the best example of it), amongst other places across pot-industrial Europe. In terms of research, this allows us to circumscribe the kind of spaces we investigate around venues that became famous for club culture when they had not been designed for it in the first place. Interestingly, most of these spaces have been shot however famous they had become. Or even knocked down. Once closed, most didn’t live a trace in the urban landscape. Nevertheless, these clubs have a strong presence on the map of underground culture of the last 30 years. Only few people remember any of their spatial features. This clearly makes the work of theorising their architecture much harder, unless we think about the architecture as a context of producing new forms of arts. The architecture of techno clubs must be read as a celebration of the social and cultural experimentations that emerged out of economic decay Marie-Avril Berthet.
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1. Gashouder, Amsterdam, 1992 - / 2. Berghain, Berlin, 2004 - / 3. Warehouse Elementenstraat, Amsterdam, 1992 - / 4. Concrete, Paris, 2011 . / 5. The bunker, Berlin, 1991 - 1993 / 6. E-werk, Berlin, 1993 - 1997 / 7. Fabric, London, 1999 - 2016 / 8. Limelight, New York, 1990 - 1996 / 9. Fuse, Bruxelles, 1994 - / 10. Smartbar, Chicago, 1982 - / 11. Rex Club, Paris, 1994 - / 12. Omen, Frankfurt, 19881998 / 13. Culture box, Copenhagen, 2005 - / 14. Dachkantine, Zurich, 2001 - 2005 / 15. Arena Club, Berlin, 2010 - / 16. Tresor ( Leipziger strasse), Berlin, 1991 - 2005 / 17. The Packard Plant, Detroit, 1988 - 1996 / 18. Trouw, Amsterdam, 2011 - 2015 / 19. Kaiku, Helsinki, 2013 - 20. Lux, Lisbon, 1998 - / 21. Raw Tempel, Berlin, 1998 - 2014 / 22. The Music Institute, Detroit, 1988 - 1989 / 23. Ultraschall, Munchen, 1994 - 1996 / 24. Harry Klein, Munchen, 1999 - / 25. Robert Jhonson, Frankfurt, 1999 - / 26. Galerie Berlin Tokio, Berlin, 1997 - 1999 / 27. Macarena Club, Barcelona, 2001 - / 28. Eimer, Berlin, 1990 - 2001 / 29. 90grad, Berlin, 1989 - 1991 / 30. Maria am Ostbanhof, Berlin, 1998 - 2001 / 31. Finks, Berlin, 1998 - 2000 / 32. Kunst und technik, Berlin, 1997 - 2000 / 33. Golden Pudel, Hamburgh, 1994 - 2016