architectural portfolio - Martina Genovesi by Martina Genovesi

architectural portfolio Martina Genovesi

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contacts / CV

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B.A.N.A.N.A. / with Marta Bertani, Master Thesis supervisor Arch. Giancarlo Floridi NIEUW ZUID BLOK 10 / with Compagnie-O, International Competition (Shortlisted - ongoing) RESONANCE / with Elia Viesi, “Resonance” design studio with Arch. Giancarlo Floridi LA RADE DE GENEVE / with YellowOffice, baukuh, List, International Competition

other projects _05

HIGH ON MEMORY / Ceramic Futures Workshop 3rd, CERSAIE (Best Project Winner)

I like

I speak

arch photography storytelling illustration travelling cycling music tennis

italian (native) english (fluent)

MARTINA GENOVESI

born in Milan, Italy - March 12 1991 Zeemstraat 2A, 9000 Gent, Belgium mart.genovesi@gmail.com +39 3456330544 mart.genovesi

I use autocad photoshop illustrator indesign rhinoceros sketchup mc office

education 2018 Apr

_Archive of Resistance workshop, during Milano Arch Week at Triennale Design Museum with Domus, Fosbury Architecture, Ira-C social and PLASTICITY

2014 - 2017 July

_Master Degree in Architecture - School of Architecture Urbanism and Construction - Politecnico di Milano Thesis: Build Absolutely Nothing Anywhere Near Anything (supervisor Arch. Giancarlo Floridi Onsite Studio, co-supervisor Arch. Stefano Passamonti, Fondaco Studio) Overall score: 110/110

2015 Apr - Sept

_Ceramic Futures workshop, third edition CERSAIE with Politecnico di Milano, EnsAD, IED Torino curated by Stefano Mirti, Marco Lampugnani

2014 Jun - Sept

_Good Life Lab workshop SANOFI with Politecnico di Milano curated by Antonio Longo, Antonella Bruzzese, Marco Lampugnani

2010 - 2014

_Bachelor in Science of Architecture Architecture and Society faculty - Politecnico di Milano Thesis: Esercizi di Spazi - Una quasi graphic novel su come imparare sul campo (with Prof. Antonio Longo and Marco Lampugnani) Overall score: 104/110

experience 2017 Dec - 2018 May

_intern at Compagnie-O (Korenmarkt 8, Gent, Belgium) Architectural Firm (project design at various scales, competition development, CAD drawing, 3d modelling, rendering post production, maquette making)

2018 - 2017 - 2016 - 2015 Apr

_Materials Village exhibition at Superstudio Più (Via Tortona 27, Milan, Italy) Milan Design Week, project by Material Connexion Italia (project design, graphic design, construction site supervisor, events plan/setup, front office, public relations, selling)

2017 Sept - Dec

_junior architect at YellowOffice (Corso Indipendenza 14, Milan, Italy) Architectural Firm (landscape, urbanism, research, design) (project design at various scales, competition development, publication development, graphic design, photo editing, CAD drawing, 3d modelling)

2017 Jan - Apr

_intern at YellowOffice (Corso Indipendenza 14, Milan, Italy) Architectural Firm (landscape, urbanism, research, design) (project design at various scales, competition development, publication development, graphic design, photo editing, CAD drawing, 3d modelling)

2016 Mar - 2017 Dec

_web editor and graphic designer at SpoonGroup (Via San Vincenzo 18/D, Milan, Italy) - Communication Agency (editorial contents, trends research, graphic design, media communication, photo editing, events plan/set-up)

2016 Sept

_Materials Village exhibition at 100% Design, Olympia (Hammersmith Rd, London, UK) London Design Festival, project by Material Connexion Italia (project design, graphic design, construction site supervisor, events plan/set-up, front office, public relations, selling)

2016 Sept

_50th anniversary of Ingo Maurer exhibition at Forza Showroom (143 Great Portland Street, London, UK) London Design Festival, project by Ingo Maurer / TRI-R / Toshiba Materials / Forza (construction site supervisor, events plan/set-up, front office, public relations)

2015 Feb - ongoing

_graphic designer and social media manager at Material Connexion Italia (Viale Sarca 336, Milan, Italy) International Research Network on Material Innovation (graphic design, media communication, photo editing, events plan/set-up)

2015 Sept

_Materials Village exhibition at Design Junction, Victoria House (12 Southampton Rd, London, UK) London Design Festival, project by Material Connexion Italia (project design, graphic design, construction site supervisor, events plan/set-up, front office, public relations, selling)

2014 Apr

_Materials Village exhibition at Triennale Design Museum (Viale Alemagna 6, Milan, Italy) Milan Design Week, project by Material Connexion Italia (project design, graphic design, construction site supervisor, events plan/set-up, front office, public relations, selling)

2014 Nov - Mar

_collaborator at Barreca & Lavarra (Viale Vignoli 9, Milan, Italy) Architecture Firm research and masterplan development for a Prison in Varese, Italy (project site survey, project design, CAD drawing, 3d modelling)

2013 March - June

_intern at Barreca & Lavarra (Viale Vignoli 9, Milan, Italy) Architecture Firm (graphic design, project design, CAD drawing, 3d modelling)

competitions / publications 2018

_Nieuw Zuid Blok 10, Antwerpen, Belgium International competition by Antwerpen Municipality with Compagnie-O and Democo Group

2017

_La Rade de Genève, Geneva, Switzerland International competition by Ville de Genève with YellowOffice, baukuh and LIST

2016

_University Island - YAC, Poveglia, Italy International competition by Young Architects Competition _The Architectural Review, published on “the AR Folio”

2015

_project contributor to Nature thorugh the mirror, Technonatural Experiments, Elisa C. Cattaneo, Maggioli Ed _CERAMIC FUTURES - Third Edition, published as Best Project Winner with High on Memory - CERSAIE 2015

YellowOffice di Benedetto Francesca Corso Indipendenza 14 20129 Milano c.f. BNDFNC81C69C710Q p.i. 08317370966 www.yellowoffice.it

LETTER OF REFERENCE FOR MARTINA GENOVESI To whom it may concern Dear Sir/Madam, I am very pleased to recommend Martina Genovesi for an architect position at your firm. Last year Martina was part of YellowOffice team for 6 months. During this period she was deeply committed to work, always enthusiastic and with the ability to develop sophisticated graphic languages. Martina was open and curious and she showed a great talent in combining design and research at different scales. Her approach, which looks at the urban scale as well as at the detail scale, was very present in her work, she was effective both in terms of design and in terms of representation. She is very talented and trustworthy and she is determined and committed to achieving her goals. For all these reasons, I am very confident in Martina’s potential and I’m glad to recommend her for an architect position in your firm. Yours Sincerely, Francesca Benedetto

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BUILD ABSOLUTELY NOTHING ANYWHERE NEAR ANYTHING

Poveglia Island, Venice Lagoon, Italy

with Marta Bertani, Master Thesis supervisor Arch. Giancarlo Floridi

The Venice Lagoon embodies an unusual urban fabric, a symbol of all those settlements set in very specific territories, deeply shaped by anthropic hands, but at the same time eventually conceived nowadays as forbidden. The balance articulating life on the lagoon canâ&#x20AC;&#x2122;t help boosting its brittleness. Hanging on to the tide fickleness, to the vertical humidity of ancient fondamenta, to the slippery stone parvises and to orange hues of bricks cutting out frames of landscape otherwise blurred in between water and sky. The reading of such a beautiful pentagram triggers the questioning on the real meaning of placing any kind of artifact inside such softly balanced environment. Therefore, opposite to the contemporary programmatic approach, the role of an intervention by means of a specific and fragmented act aims at participating to a unitary context extending the layering process which deeply defines the so-called Genius loci. Since ancient times the colonization of Venice lagoon has always moved along with the subtraction of land from water, cooperating with the shaping of a specific already existing morphology of cut out objects underlined by precise and strong perimeter. Thatâ&#x20AC;&#x2122;s the paradox lying behind memory which needs mutation, the plug-in of new parts matching the local genetic code so to assure a balanced and harmonic growth. This turned out being the starting point for the interest in approaching a system able to blend such contradictions into only one peaceful picture made up of nature and anthropization cohabiting with the exploitation of settlements and contemporary urban dynamics of consumption.

“Engineering is eclectic, Architecture isn’t: Engineering accepts, tests and combines things, as they are, naturally and legitimately. Every aspect concerning technique and production is offering its best to engineering which aims at completing a service by means of the most refined solutions available. engineering creates technical artifacts, reproducibles and always improving, one after the other continuously. Architecture on the contrary (as one of the Art) isn’t progressive at all, architecture tends to generate unique objects which are exclusive expressions of themselves, unreplaceable. Architecture cannot be overcome since its single experience closes on its own and it stays still, perpetuously.”1 The composition is therefore guided by a seek for specificity of architecture together with a dialogue with the territory from a proportional, material, symbolical and typological point of view. Moreover, the research focuses on the contemporary but tricky role of all those ‘uncomfortable’ items so necessary but seen as unbecoming to the majority. The architectural punctual intervention stresses, by its rooting in one of the consolidated lagoon settlements, the idea of generating a prototype of intrusion in the heart of such a fragile environment. The artifact collects functional and technical characters (NIMBY: ‘Not in my backyard) placing the building far away from a human and cozy scale together with the historical coexistence and the landscape background, relying on the quality of architectural spaces as the best way to mediate the relationship among those actors Thus, the projects questions the topic of isolation, both imposed and chosen, the issue of the eventual strengths of typological autonomy and the role that the artifact itself is acquiring in the territory. The research aims at having a uniform and detailed control of the object, testing its rooting, the materiality and proportion in the foggy landscape. The narration finally leads to an identification of a specific vocabulary which has an off-screen key resonance all along the design process. 1. Gio Ponti, Amate l’Architettura – Verso forme vere ed obbedite riedizione Rizzoli, Milano 2008 (prima edizione pubblicata per la società editrice Vitali e Ghianda 1957, Genova)

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NIEUW ZUID BLOK 10 Nieuw Zuid, Antwerpen, Belgium with Compagnie-O and Democo Group, International Competition

The ambitions of the BNZ10 international competition were undeniably high: to create in a short period of time a building capable of hosting two schools and a public sport complex on a limited footprint. The other main challenge was to understand which could be the role of the project being the only public building in the recently created Nieuw Zuid residential neighbourhood, both in term of social interactions both in creating a dialogue with the surrounding buildings and the Secchi and Viganò masterplan of the whole area. The dimension of the plot and the demand of space required by the different functions forced us to think vertically, starting a compositive stacking process, a choice not usually in harmony with the creation of a school complex, especially with toddlers and preschoolers involved in the use. The entire plot is saturated by the plint volume where all the functions common between the two different schools are located together with the ones open to the public. This kind of lively plint embodies the true public role of the building: like an articulated marketplace allows the acces from the different streets, offering a shelter for the bikes and providing a direct connexion between the external garden and the inner patio. The upper volume, hosting the two schools, present a regular and more urban facade (both in composition and materials) and it’s aligned on the main street, occupying only half of the plot. Therefore the roof surface of the plint becomes a new uplifted ground level hosting the playground, common between the different schools and protected from the street level. The sport volume due to the dimensions of the fields extend over the margins of the school volume but due to it’s materiality (polycarbonate and perforated metal facade) loses it’s impressive mass in the day, smudging its borders in the grayish sky. A cascade connection provided by external stairs allows the kids to experience the different building as a whole, connecting all the different level of open areas (sport fields, playgrounds and patio and garden).

14.00

9.80

4.55

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RESONANCE

Via Guido Reni, Milan, Italy

with Elia Viesi, “Resonance” design studio with Arch. Giancarlo Floridi

In the contemporary city society is adapting to the new diversity of ethnicity that the population is today, but the religious world seems yet divided strictly into different social group and spaces of faith. Why can we think about only one place of community and meeting where anyone can worship according to its beliefe? A mosque, a synagogue and a church all in the same building connected by a main core with a open space on top dedicated to any cult. The project is based on two main element emerged from the analysis of the surrounding context: the basement and the height. The main entrance let the visitors access to the heart of the building, the meeting point of all the religious space, where a ramp, enlighted by the circular void on the roof, let access to the different levels. The project is directly attached to the next building by a basement that reconstituite again the border of the plot, hiding the volume of the kindergarden. This building can be seen as a reinterpretation of the canonic settlement of the school connected to the church, typical of the monastic western architecture. Here the kindergarden appears as a sort of cloyster of the religious building in its plan setting, introverted to the squared open space in the center, but the connection between the two building it’s only visual. The perimetral wall works as a “protection” to the internal space with a continous circulation around the cloyster. The three main religious space, easibily recognizible in the plan of the building are not clearly denounced in the external volume, to translate the unity of the space as one. Only small iconic elements are placed in each space to characterized it, emboding both a religious symble both a vehicle to make the light enter always in a different way, changing the perspection of the internal space. Following the ramp it’s possible to reach the top, the “Lantern”, a space of contemplation of the outside and of the inside.

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LA RADE DE GENEVE La Rade, Geneva, Switzerland with YellowOffice, baukuh, List, International Competition

The debate around the reconversion of La Rade of Geneva and its relation with the rest of the city and the surroundings has always been an important point in the history of this peculiar territory. The visions concerning the transformation of this area have always focused on the construction of a bridge connecting the two banks, and consistently with the city’s growth the bridges envisioned progressively moved away from the center of La Rade. The idea of a urban bridge was gradually abandoned, and waiting for a renovation plan the city devoured the two banks in a scattered way. La Rade today shows itself as chaotic, with a complexity and a plurality of functions generating a urban settlement without quality and a true identity. The project aims to reorganize this complexity in a series of distinct and clear segments, capable of giving back to people uses the strenght to reassert their importance in the system of La Rade. From Quai Wilson to Quai du Mont-Blanc the project unties itself by adding new structures to the existing fabric, creating a “file rouge”, a sequence of moments. Decking spaces will be rearrenged, raising capacity up to 2050 boats. Two new piers, differently characterized both in their use and in their relation with the city will be added to the existing ones, extending urban sequences from the core of the city to the lake. The two banks (East and West) have always been considered as two asymmetrical and opposite elements, facing each other but afferming their differences at the same time. Therefore the reconfiguration of La Rade integrates itself in this dynamic, shaping the uses in an almost symmetric dimension (two harbors, two piers, two parks, two beaches...) but as materic opposites (mineral on the East bank, wooden on the West one).

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HIGH ON MEMORY

Ceramic Futures Workshop 3rd, CERSAIE, Best Project Winner

“The smell and taste of things remain poised a long time, ready to remind us... the immense edifice of memory” Marcel Proust Since the invention of photography we begin to use this technology to frame our memories. But why do we have the tendency to use only a visual support to remember? The impulses we receive from the environment are much more complex than only optic fruition. Would walking in a green field be the same experience if we missed the smell of fresh cut grass, the feeling of touching it with our fingertips? Smell in fact is the sense that triggers our brain in the recollection process the most, causing almost instantaneous transmission of information, unleashing memories and feelings at incredible speed. In a world in which life expectancy continues to grow and people have the tendency to focus more on framing events for a future fruition than living them in the present, the project aims to give an answer for this kind of memory addiction. The user is involved starting from preparation of the “dose” thanks to properties of raw air-hardening clay and scentography, leading to the creation of a series of touch samples and smell cartridges - ceramic supports to capture and keep sensorial informations of the experience. A special model of nosepipe releases the smell stored in ceramics through heat and allows the fruition and recollection of the memory, in a full sensory experience of inhalation and touch. In the comfort of the house, sneaking behind a corner or sharing with others, it’s a deep dive in the past, till extent of losing consciousness of the present.

MARTINA GENOVESI Zeemstraat 2A, 9000 Gent, Belgium mart.genovesi@gmail.com +39 3456330544 mart.genovesi