Portfolio 2022

ARCHITECTURE PORTFOLIO MATTEO ARMENANTE

Table of Contents SELECTED PROJECTS

// BELGRADE CENTRAL Belgrade, Serbia Citadel on top of Central Station

// THE IDENTITY BOOST

A Vinex Location, Netherlands Summer Festival

// #THEARCH Kassel, Germany 21/22 Concrete Design Competition - ReIMAGINE

// TIMESQUARE

The Hague, Netherlands Green Metropolitan Forum

//

THE ACROPOLIS PALIMPSEST

Acropolis of Athens, Greece Archeological Site and Museum

//

IN PARENTHESIS

Neun Museum, Berlin, Germany Exhibition Design and curating

// SACRED STONES Milan, Italy Church and Parvish

// SCHOOL OF ARTS Milan, Italy Art Academy

// SOCIAL HOUSING Milan, Italy NZEB Residential Block

// INSTALLATIONS

Small-scale projects reflecting on London Monuments + TU Delft History Thesis

// MODEL MAKING SKILLS POLIMI, TU DELFT, RCA

// SUMMER SCHOOLS Hand-on international Workshops

// EXHIBITION DESIGN

Triennale di Milano, Politecnico di Milano, Museo del 900

Chapter I BELGRADE CENTRAL

Waiting as a place of opportunity

Location: Belgrade Central Station (Prokop)

Type: Citadel on top of Central Station

Group: Armenante Matteo

Positions in Practice: Towards Democratic Built Environments in Belgrade - TU Delft

The specific history of economic and political instability of Serbia produced a phenomenon here interpreted as Architectures in Waiting: unfinished artifacts that have been neglected by the official city-makers and, out of time and out of place, they endure in the wait for their completion. Interpreting such an open state as fertile ground for forms of collective expression and meanwhile uses, the project develops a process - rather than a product - for the strategic reactivation of Waiting Architectures, based on one of the most problematic cases in the network, Belgrade Central Station. Over the last fifty years, the 1.8 hectares construction site of Prokop has systematically failed any attempt to finish the Central Station project: despite the initial grand design having been significantly simplified over time, the building still results nowadays into a half ruin half functioning suburban rail station. Therefore, the project suggests the adaptation of Prokop’s upper deck through the implantation of a hard layer, a rigid framework shaped by structural service nodes and the resulting designed connective tissue, in order to initially foster public life and trigger the progressive appropriation of Prokop: - at a local scale, working on the deck’s anchor points and reconnecting with the surroundings to attract nearby communities. - at a national level, by improving the experience of the rail station for Serbian commuters and defining a new transportation hub. - at an urban level, paving the way for the possible arrival of a soft layer (private units) and the finishing of the whole Central Station Project.

PROKOP CITADEL

// Expected Final Scenario: Hard Layer + Soft Layer = strategic activation of Prokop upper deck

Anchor Point: Highway <

1. Breaking the perimetral walls and re-inviting local comunities back in

2. The Naked Service Infrastructure boosts the Transportation Hub and supports the arrival of Meanwhile Uses

3. Private investors gradually fill all the empty lots and fully integrate Prokop the city’s fabric

PPROPRIATION Design

Afterschool playdate 16:45

14:45 Coach to Budapest

13:15 Lunch Break 19:00 Back from work 21:30 Live Concert

11:30 Grocery shopping

Local Community

Work at Prokop 8:30

18:00 Street Food Festival

i P

P 09:30 Vintage Market

Pic Nic 13:15

Dinner with a view 21:15

07:45 Morning run 11:30 Weekly Market 18:00 Climate Protest

International Commuters + National Visitors + PROKOP Community

HARD LAYER + SOFT LAYER

// A Naked Service Infrastructure represents the most basic and fundamental, independent intervention to strategically activate Prokop’s deck, attract public life and support Meanwhile Uses. As the project allows the failure of the later activation phases (soft layer and finishing), the arrival of private units is just drafted.

LONGITUDINAL SECTION

// HARD LAYER: Naked Service Infrastructure

LONGITUDINAL SECTION

// HARD LAYER: Naked Service Infrastructure

// SOFT LAYER: Prokop Citadel

ANCHOR POINTS

// Square + Street + Attractors + Cores

ANCHOR POINTS

// Square + Street + Attractors + Cores + Units

Chapter II THE IDENTITY BOOST

Location: A Vinex Location (Leidschenveen-Ypenburg)

Type: Summer Festival

Group: Armenante Matteo

Transdisciplinary Encounters: Architecture and Literature - TU Delft

In the novel ‘’Life: A User’s Manual’’, George Perec fragments a Parisian apartment building into its many rooms and starts observing them in great detail, even spending entire chapters in the description of empty rooms. The 600-page book becomes a celebration of the everyday, that is, however, narrated together with a few tenants’ extraordinary stories that trigger the reader’s curiosity and keep their attention alive.

Similarly, the project addresses the mundane and analyzes a Vinex-location, a late 20th century form of urbanization that shaped dormitory-towns all around main cities in the Netherlands.

A Vinex-location is then gridded and divided in its generic pieces (residential fabric) and peculiar pieces (public space), neglected and underused as the residents ‘’parasite’’ the public life of the nearby main city.

For the duration of a summer, blue-sky scaffolding-like installations are placed on the peculiar pieces in order to activate the public space and present new possibilities of appropriation; playing with tension and illusion, the identity boost actually starts once the summer festival is over, as it invites the residents to question the role of the peculiar pieces within the town, as well as, trigger a new sense of belonging.

Area: Vliegeniensrbuurt

Intervention: Suspended Urban Vegetable Garden

Timing: set by the growing of the vegetables / three months

Area: Singels + Morgenweide

Intervention: Belvedere

Timing: set by the rhythm of the panoramic elevator / five people per five minutes

Area: Bosweide

Intervention: Water Park

Timing: set by the slides / a few minutes

PECULIAR PIECES:

Vliegenienrsbuurt / Urban Park

Singels + Morgenweide/ Central Square

Bosweide / Lake

Waterbuurt + De Bras / Hockey Club

De Venen + De Reef / Linear Park

ENJOY

Area: Waterbuurt + De Bras

Intervention: Bleachers

Timing: set by the matches / one hour

Area: De Reef + De Venen

Intervention: Light installation

Timing: sequence of nights and days

STAY

Sunset and unusual crowd in the city centre. Everyone is looking up, rumouring about the huge trucks blocking the city centre’s car parking.

‘‘CAR PARKING CLOSED’’ but a queue of three cars doesn’t want to leave. Some excited kids run away from their parents and try to sneak under the barriers.

‘’What the hell!! There is a crane building just another crane!’’ - I can spot Mr. A moaning with his neighbor. A small group of very annoyed passers-by tries to call one of the workers to get some kind of explanation.

All the shops are closed but the construction of a shiny blue sky scaffolding structure continues.

‘‘Why are they renovating the facade? It’s brand new!’’ ‘‘It’s an art installation, Joost. There were flyers everywhere. Haven’t you heard?’’

A couple of workers carefully remove from a truck a set of 3m long light blue pipes. And place them at the base of what seems to be a rising tower.

Two lifts are attached to the scaffolding / tower. One of them has workers inside. It suddenly starts moving.

Everyone stops. The lift very slowly climbs up to the rooftop. Four floors in 3 minutes. 1 min and 15 secs per each floor.

The crowd claps and smiles. ‘‘They are gonna open the rooftop in a few days!’’ - Someone announces from the car parking. More clapping and cheers.

‘‘Mom can we go??’’ - The mom smiles. ‘‘As long as they give us our parking slots back!’’ - Mr. A yells in return.

Generated friction: users fights (cars vs pedestrians)

COME BACK

STAY

Generated friction: class fights (summer crowd in a wealthy neighborhood)

Generated friction: time fights (daylight users vs night users)

Generated friction: ownership fights (different teams claiming the hockey fields)

Chapter III

#THE ARCH

Location: Kassel, Germany

Type: 21/22 Concrete Design Competition – ReIMAGINE

Group: Matteo Armenante, Jelmer Eising, Kathryne Larsen MAKING - TU Delft

To redeem concrete as a construction material the project aims to address some of its biggest environmental threats. The Netherlands is faced with biodiversity loss, which is compounded by the pollution and carbon footprint of the building industry. Sand is often used as a necessary material in concrete-making, and is quickly becoming a precious commodity in costruction. Beaches need to be restored by artificial filling after the storm season. This usually involves pumping sand from deeper sea-bottom areas through a pipeline onto the land, or transporting sand in with ships. This periodic filling with sand is an accepted, but laborious and expensive coastal protection measure (World Ocean Review).

#THEARCH combines marine waste aggregates in the place of sand, with algae-based colorants, to create a flexbile, modular product. The product’s end of life serves as a reef structure, to support marine communities and encourage biodiversity. Before being donated to the ocean, #THEARCH adapts to multiple functions and applications; it can be used individually, stacked or assembled. It can shape breeze blocks, counters, pic-nic tables, benches, tables, stairs, shading, planters and countless other solutions.

IT’S A WINNER!!!

#THEARCH won the 2nd price at the 21/22 Concrete Design Competition – ReIMAGINE

Chapter VI TIMESQUARE

Location: The Hague, Netherlands

Type: Green Metropolitan Forum

Group: Armenante Matteo, Alina Paias, Sara van den Brand Megalopolis Randstad: The Metropolitan Green Forum - TU Delft

The Metropolitan Green Forum is both a space and a process. The project proposes the installation of a large canopy, together with an open square, under which pieces of notable demolished architecture will be reassembled to fit the program. As the central station is a hub for people, the Forum becomes a hub for buildings and ideas.

The relocation of uses to the square will be phased, allowing for constant reflection on the demolishment while stimulating reappreciation for the buildings that remain.

If demolition becomes inevitable, parts of the retrieved buildings are repurposed for the Forum program, while the rest is offered for sale.

Under the canopy, the building process of the new objects is visible, making the new additions inteligible to the users and engaging the population with the changes being made to the city. By the time the objects are ready, there is a collective understanding of how their materials were sourced, where they belonged and how the demolished building relates to the memory of the city.

The Forum’s position is neither exclusively about sustainability through material reuse nor an attempt to reinterpret the conceptual aspects of architectural masterworks, but to deal with collective and individual memories, with the narratives that form the city and how they express themselves in physical form.

PHASE 5 / Innovation Hub

Retrieved building: Royal Library Distance from Timesquare: 150 m

PHASE 4 / Lecture Rooms

Retrieved building: SOZA (Co-working) Distance from Timesquare: 1.6 Km

PHASE 3 / Exhibition Hall

Retrieved building: Terminal 101 (Offices) Distance from Timesquare: 1.2 Km

PHASE 2 / Auditorium

Retrieved building: Royal Conservatory Distance from Timesquare: 600 m

PHASE 1 / Food court

Retrieved building: Shops and Restaurants Distance from Timesquare: 1.7 Km

PHASE 0 / Covered Square + Toilets + InfoPoint

PHASE 1.1 / Architecture Market

No building has been demolished yet and the Forum is a covered square Gedempte Grach t Houses demolition date: 2020/21 The retrived buildings’ remains are displayed and sold in the Forum

PHASE 1 / Facade + Food Court + Forum furniture

Outer Glulam Structure

Facade Glulam Joint

Foundation Element

ZOOM IN // RETRIEVING OF THE ROYAL CONSERVATORY

ETFE Cushion

Ventilation Louvres

Canopy Structure + Cladding

Original brick panels with supporting frame Insulated Timber Supporting Box Original Acoustic Panels

FORUM PERFORMANCE // STRUCTURE

Main structure in glulam with steel reinforcement in the facade elements

// CLIMATE

Facade as a preliminary climate barrier creating an in-between climate

Natural ventilation between ground floor and louvers on façade and roof skylights

Primary pole-supported foundation bed, designed to support future secondary foundations for the retrived objects

ETFE cushions act as insulation, can inflate and deflate according to climatic conditions

// HEATING AND COOLING

Smart integration with already existing heating-cooling geothermal storage systems in the Den Haag Centraal area

Retrived objects managed as climate microzones

Chapter V THE ACROPOLIS PALIMPSEST

Location: Acropolis of Athens, Greece

Type: Archeological Site and Museum

Group: Armenante Matteo, Meulli Martina, Marta Mion 0ne-month Thesis Project - Accademia Adrianea

The early history of humanity left its footprint on the sacred rocks of the Acropolis of Athens, where the most diverse cultures had shaped the site over the centuries defining it as the greatest witness of the ancient world. From the early Mycenaean settlement to the noble and majestic temples by Pericles, until the Ottoman take over, the Acropolis has been transmitting the legacy of the past; however, its legibility seems nowadays blurred favouring only a few main characters.

The project aims to add a deeper reading of the Acropolis’ layers, rebalancing the relation between the impressive temples from the Classical Age and the other archaeological remains.

Only specific elements are reproposed in their volumes (terracing, altars, …) or surfaces (paths) to facilitate and restore a full understanding of the site’s complexity. A special attention is paid to the Old Acropolis Museum, today abandoned, where the presence and sometimes collision between different historical periods are translated into architectural forms: the museum is uncovered to divest it of any functions and turn it into a shell, while the footprint of the Temple of Pandion is restored and lead visitors to the new entrance.

Only two new elements are placed: a coffered-ceiling canopy and a processional walkway, both elements taken from the classical tradition and already present in the Propylaea.

Visitors, suspended inside the building, start a journey through the numerous layers of the Acropolis palimpsest, rediscovering the very first ruins of the Mycenaean walls brought to light.

INTERVENTIONS TYPOLOGIES

/ VOLUMETRIC:

Temporary Pavilion, Terracing, Monuments, ...

/ SURFACE Panathenaic route, altars, flooring, ...

SITE ANALYSYS // THE PALIMPSEST:

Mycenaean Age Archaic Age Classical Age Hellenistic Age Roman Age Medieval Age

No hierarchy is given to the many signs from the past on the Sacred Cliff, except for the undisputed supremacy of the Hellenistic Age Architecture. The project restores the remaining footprints, while it suggests new surfaces for the nowadays lost paths. Also, new volumes are designed to facilitate the readability of the Palimpsest: the terracing, once shaping the podiums of each temple and defining the circulation, are reproposed, similarly the shapes of the donarium from Attal that used to face the city of Athens or the holy altar of Zeus are restored.

1. The Parthenon’s Naos 2. New Stereobate Room

The new flooring for the Naos of the Parthenon shows the several interventions that have shaped the temple over the years: Classical layout, Christian Church, Mosque, ...

1.1 Temporary Pavillion on the Medieval Mosque’s footprint

Copper dome and steel structure

Inner Plasterboard

Six plinths display ing the six main changes/ages in the Parthenon

Steel structure and outer Plasterboard

The Stereobate Room represents the only spatial addition to the site; it leads 12m underground to admire the majestic stone-block base of the Parthenon.

3. Archeologists’ archieve 4. Old Acropolis Museum 5. Remains of Mycenean walls 6. Suspended walkway 7. Archeologists’ archieve

Considering the indefinite period of the restoration work, the New Museum hosts spaces for the Archeologists’ work to be seen from the outside by visitors.

// THE OLD ACROPOLIS MUSEUM RENOVATION

Metal / Suspended walkway

Concrete / 5.meter high retaining wall

Steel / New tripartite canopy and columns

Bricks / Old Acropolis Museum Walls

Chapter VI IN PARANTHESES

Location: Neun Museum, Berlin, Germany

Type: Exhibition Design and curating

Group: Six students

One-week project - Accademia Adrianea

The temporary exhibition focuses on the momentous period in which the ancient Egyptian civilization turned monotheistic and only worshiped the God of the Sun, Aton, under the Pharaoh Akhenaton and his wife Nefertiti A bronze circle, representing the sun, reflects warm rays that welcome the visitors in the main hall of the Neue Museum. Behind the installation, a model of the city of Amarna shows the incredible differences the new kingdom brought in the design of cities. Similarly, a series of customized showcases placed along the balustrade hosts the remaining evidence of artworks that revolutionized Egyptian figurative arts.

At the top of the iconic staircase, a metal structure recreates one of the characteristic gates to the town of Amarna

Gate to Amarna

Bronze Sun 3D Model of Amarna

Customized showcases

The collection brings together the most peculiar art works from the revolutionary twist that touched every artistic field during the kingdom of Akhenaton. The artworks narrating the Royal Family are distributed along the balustrade at the lower level, guiding the visitor to fully experience the majestic room restored by David Chipperfield Architects.

Wood base and support

Steel cover and bars

Burnished steel frame Burnished steel frame

Egyptian artfact Egyptian artfact

Steel panels to be placed on the balustrade

Wood base and support

Steel cover and bars

Steel panels and drawer with clay to allow climate control

Chapter VII SACRED STONES

Location: Piazza Leonardo Da Vinci, Milan, Italy

Type: Church and Parvish

Group: Armenante Matteo, Corradi Marcello

Final Design Studio - Politecnico di Milano

“Sacred Stones” reflects on the timeless function of worship and how it can be contextualized in the nowadays society, especially in a crucial location such as Piazza Leonardo da Vinci, lively square overlooking a park activated both by local residents and students from the nearby university, the Politecnico di Milano

The sacred space is raised from the ground and placed on a podium in order to mark its authority and discern religious functions from the social ones. Stone-covered walls define the parvis on top of the podium, where at the centre of it the Church is placed. Natural light is brought inside through S-shaped beams allowing a dramatic and diffuse lighting. The interior is entirely covered in marble, with the exception of the wall behind the altar, set for the liturgical ceremony, representing an abstract mosaic.

On the ground floor spaces are designed following the Church structural imprint and they develop around a poly-functional hall; special attention is given to the front facing the university’s entrance hosting an educational room. The Church and its Podium are both covered in Ceppo Lombardo (left raw for the bottom volume and polished for the top one), and together with the Tower Bell they become a strong and recognizable landmark, as clear and as massive as the Faith they symbolize.

Concrete wall

Metal rod and bricks 6x25x12cm

Cladding sheet: Yellow murble

DETAIL // BELL TOWER // CEILING

Concrete beam

Steel frame

Steel extrusion: Cross shaped

Impluvium

Cladding sheet: Ceppo lombardo Protective layer Waterproofing and insulation

Cladding sheet: White murble Roof dreinage

Chapter VIII SCHOOL OF ARTS

Location: Piazza San - Sepolcro, Milan, Italy

Type: School of Arts

Group: Armenante Matteo Design Studio III - Politecnico di Milano

The project takes up the challenge of placing a massive building hosting a significant number of programs in the town centre of Milan, an area strongly characterized by a dense medieval fabric. Nevertheless, some important modern pre-existences, such as “Casa del Fascio” by Piero Portaluppi, become the main link for the development of the new School of Art and its harmonious settlement.

The building presents two different approaches: the first one, massive and linear, defines the base in continuity with the historic surroundings, while a modern light glass block is placed on the top.

The difference in the composition reflects the functional distribution:

public activities are placed on the ground floor, all organically connected by an open-plan hall, functioning also as an open exhibition gallery.

The educational spaces are hosted in the upper levels, shaped according to the activities taking place in: the south elevation hosts theoretical classes or small manufacturing activities, while workshops take place in the double height rooms on the north side of the building.

The monolithic base folds, rises and changes orientation to host noneducation functions. In front of the building a descending square is placed to offer outdoor shaded public space and to invite the inhabitants to enter the conference hall.

Roof / Main structure

Duplex classrooms

Researchers’ Accomodation

External Structure: beams and rods Underground Square

SCHOOL BLOCK Common terrace Exhibition-Hall

Exhibition space

Whorshop space (double height)

DETAIL OF NORTH ELEVATION

The design composition of the New School of Art follows a strictly functional disposition: one block overlooking a residential street is given to the researchers’ accommodation, and one block is given to their workspace, facing the Casa del Fascio by Piero Portaluppi. An open-plan hall organically distributes fluxes of visitors, students and academic staff. The classrooms develop on a duplex disposition to allow the right amount of light according to the activity taking place in it.

Chapter VII SOCIAL HOUSING

Location: Viale Tunisia, Milan, Italy

Type: Social Housing Group: Armenante Matteo Building Technology Studio - Politecnico di Milano

Performing shape

Connectivity and Flexibility

The project of the Social Housing in Milan adopts an efficient and performative design as main driver for the building’s development, moving aesthetic and composition aspects to the background. Designing according to efficiency, the volume is shaped in order to create cantilevering volumes filtering the sun light and casting shadows on every opening overlooking South. According to the same performative strategy, a 4x4meter grid, modular and flexible, is applied at each level to allow countless disposition of different sizes of flats: from a minimum-size one of 18sq (studio flat) to the biggest of 96sq (duplex for a 5-member family). The regularity of the plans is only broken by a technical and distributive element: a walkaway crossing the building along all its length and allowing an easy access to all the units for people and the whole power, hydraulic and insulating system. The eco-sustainable focus follows the design process from its early stage, in the choice of materials and products and the analysis of their life-cycle design, till the planning of its demolition, challenging a design dismissible as easily as buildable. Same attention is given to the settlement of a social and friendly environment: all the flats’ typologies hosted in the grid reflect a precise household. The green roof both improves the overall efficiency of the project and allows the inhabitants to have a new valuable place where to gather.

Type A - Studio Apartment Modules: 2 Users: singles / couples Square meters: 32

Type B - Flat Modules: 4 Users: couples/ elders Square meters: 64

Type C - Duplex Modules: 3+2 Users: small families / couples Square meters: 80

Type G - Duplex Modules: 2+2 (bigger) Users: families / students Square meters: 94

Type D - Flat Modules: 5 Users: small families / students Square meters: 80

Type E - Duplex Modules: 3+3 Users: families Square meters: 96

Type F - Flat Modules: 6 Users: families / students Square meters: 96

CO-WORKING and CAFE' Square meters: 230

G.R.C. Cladding Pannel

Concrete Balcony

Rock Wool Insulation

Double Plasterboard Sheet

Aluminium Frame

Single Glazing

Rod (opening system)

Rod (opening system)

Double Glazing

Aluminium Folding

Waterproofing Sheath

Waste Water Collector

Sloping Screed Cellular Glass

External Insulation

G.R.C. panel (anchoring system)

Waterproofing Sheath Sloping Screed Vapour Barrier Hollow-core concrete Roof

Expanded synthesized closedcell selfextinguishing polystyren

Gravel Grass Seeding Layer

Draining Layer Daku Stabilfilter Panel

Waterproofing Sheath Sloping screed

Insulating Layer

Hollow-core concrete

Expanded synthesized closedcell self-extingui shing polystyren

+ INSTALLATIONS

Location: Public Monuments, London, UK

Type: Political Intervention Group: Armenante Matteo Media Studies - Royal College of Art

Humanity has elected its narrators to survive us and transmit its story; these narrators are the monuments.

“Dismissed Monuments” investigates the legacy that past generations have left us, setting their witness in stone and giving it to their greatest custodians: public statues. However, these monolithic stories, even if so physical and present, tend to be adjusted, rewritten or even erased to better fit today’s narration.

An old dusty sheet, placed overnight on public monuments, recalls old furniture we don’t like anymore and we want to get rid of. The installation invites passers-by to notice and question the urban furniture we seem to have forgotten.

Which is the place for nowaday public knowledge and shared narrations?

It is nowadays, in a society living only its present, thinking and building just for a lifetime, that the matter of legacy becomes more important than ever: our memorials, most of the time temporary, are just the fleeting stage of a witness, set to be kept by the real monument erected by our age: the digital world.

Our greatest belongings, in form of incomprehensible scripts, are now given custody of private, ephemeral and changeable keeper.

The smooth and cold stone of the past memories turns now into endless shining lights in the darkness of a datacentre, non-place inhabited by no community but machines.

PLEASE NOTE: Such position has been challenged and rejected thanks to personal growth and further reflection following the booming of the Black Lives Matter Movement in 2020 and the writing of my History Thesis at TU Delft, ‘’Tabula Rasa: Positive Destruction and Possible Application in the Narrative of Western Societies’’ (NEXT PAGE)

Cavarly Memorial

Animals in War Monument

Marble Arch

Quebec Chapel War Memorial

Wallenberg Statue Hamilton Fountain

John Lennon Plaque

Sherlock

Holocaust Memorial

Queen Alexandra Bust Queen Caroline Memorial

Cavarly Memorial

Reformers Tree

Maharajah’s Fountain

Brown Dog Statue

Byron Statue

Queen Elizabeth Gate

Sir Hans Sloane Statue

Carabiniers’ Memorial

Royal Australian Air Remembrance Stone

Anzac Boudler Sculpture

Millenium Cross at Battersea Manor

Herbert Stewart Monument Stone of Christ Scientistis’ Church

Georges Royal

Royal Artillery Wellington

The Greek St Peter’s

// MONUMENTAL SHORT SERIES

// DISMISSED MONUMENTS

Sherlock Holmes Statue Street Olderly Boy

JMW Turner Bust

Breathing Sculpture

William Duke of Cumberland statue

Lord George Bentinck Statue

Festival of Britain Relife

Devonshire Coat of Arms Queen Alexandra Monument

Army and Navy Sculpture Queen Mother Rose Walk

Emery Hill Bust

William Vincent Bust Marshal Ferdinand Foch Statue

Pavlova Statue

Pimlico War Memorial

Huskisson Statue

Battle of Mareth Monument Sufragette Sculpture Scroll Grey Coat School Girl Tree

Beau Brummell Statue

RIPWC Turner Bust

St James’ Chuch Opening Sculpture

Victoria Station War Memorial St Micheal’s School Statue

Memorial Air Force Stone

Carabiniers’ Memorial

Sidney Albert Harding Tree Thomas Cubitt Statue

Audley Square Garden

Architecture

Public Square Neighborhood Garden

Georges Cuvier / 17th-Century Royal Academy Of Arts

Equestrian Statue Of The Duke Of Wellington / 1888 Wellington Arch

Artillery Memorial / 1925 Wellington Arch

Greek runner / 1926 Peter’s Square

TABULA RASA:

Positive Destruction and Possible Application in the Narrative of Western Societies

Matteo Armenante 5397162 Supervisor Sabina Tanović

History Thesis MSc Architecture Technical University of Delft Delt Lectures on Architectural History and Theory

p. 4 p. 10 p. 14 p. 20 p. 26 p. 30 p. 33 p. 39 p. 41 p. 45

+ MODEL MAKING SKILLS

The Hague Central site model

Belgrade Central Station (Prokop) site model

Analysis of the Royal Crescent, Bath

Connection studies of precast panels

Pottery and Ceramics

Concrete prototype for #THEARCH

+ SUMMER SCHOOLS

BUILDING A PROPOSITION FOR // PRACTICE & THEORY OF SUSTAINABLE AND SOCIAL ARCHITECTURE

Location: Porto, Portugal

Type: Refurbishment of an exparish

Led by: Critical Concrete

One-month summer school for international architecture students to learn new practical skills while attending evening lectures and refurbishing a three-story Portuguese ex-parish into the new Critical Concrete headquarters: a place for co-living / co-working offering workshop spaces and accommodation for artists and creative makers.

Location: Hamburg, Germany

Type: Community centre

Led by: HafenCity University

Two-week workshop in Poppenbüttel to design a proposition and test it through prototypes for a new self-buildable Community Centre as a way to make and strengthen a new community from the local one and the new arriving one of people seeking protection from war, violence and lacking economic prospects in their home country.

ACTIVITIES

// HOSPITALITY - FINDING THE FRAMEWORK

Location: Fredericia, Denmakr

Type: Caravan

Led by: EASA (European Ar chitecture Students Assembly)

The 2017 EASA tackled the topic of Hospitality and how the Architects’ Community is responding to nowadays mass migrations. Each team proposed a different intervention, mine built a caravan to be placed in strategic locations and activate the city through social and charity events, such as barbecues, concerts, exhibitions, classes, sleep over, etc.

+ EXHIBITION DESIGN

// MARIO BELLINI. IL DISEGNO DEL // 999. DOMANDE SULL’ABITARE CONTEMPORANEO

Location: Triennale di Milano

Type: Contemporary living Practice: SenseLab

The exhibition collects almost thousand questions about the contemporary living from different space designers invited to activate for three months the spaces of the Trinnale di Milano

SenseLab takes part in the discussion questioning the relation between time and domestic space through the making of a cronotopo,a physical representation of the time we spend in each room of our house.

Location: Politecnico di Milano

Type: Drawing exhibition Practice: Mario Bellini Architects

The temporary exhibition brings the Architect and Designer Mario Bellini back to the university where he graduated to discuss the importance of representation in the discipline. From hand drawing, through the very first renders, to BIM, three iconic projects from different crucial periods shows how architecture representation has developed in Bellini’s work and in the spatial practice over the years.

Location: Museo del 900

Type: 20th century artworks

Practice: Mario Bellini Architects

The exhibition focuses on Margherita Sarfatti, crucial figure in the twentieth-century artistic environment, first woman to become an acclaimed art critic and lover of Benito Mussolini. Installations, colours, and materials support the selected artworks from the most important contemporary Italian artists in shaping the complex personality and environment in which Margherita Sarfatti flourished.

// MARGHERITA SARFATTI. SEGNI, COLORI E LUCI

Margherita Sarfatti SEGNI, COLORI E LUCI

Location: Museo del 900, Milan, Italy

Type: Exhibition design

Group: Matteo Armenante, Raffaele Cipolletta, Mario Bellini Mario Bellini Architects

Personal responsability: development of the project from A to Z (from sketches to opening), development of technical drawings, identity making of the exhibition, represent the studio at official meetings and oversee the exhibition’s installation

Margherita Sarfatti, writer, journalist, art critic and promoter of Italian culture, was one of the leading intellectuals in the history of the twentieth century. First and most influential women in the art industry but also lover of Benito Mussolini, Margherita is an accurate representation of a controversial age in which Italian arts flourish in the shadow of the fascist regime. Hence the architectural choices for the display of a rich collection of artworks by the most significant Italian artists revolving around the figure of Margherita. Black iron characterizes the exhibition, in which architecture becomes a fundamental support for the difficult location in the museum: the corridor leading to the exhibition is highlighted by a metal structure, metaphor of the diffuse tension of the century, while a black iron carpet follows visitors to the entrance. Finally, because of the great variety in techniques, sizes and typologies of the artworks, graphic is minimized and tries to vanish in the walls.

Entrance to the exhibition Black iron carpet

Ticket Office Corridor leading to the exhibition entrance

Museum exit Main Corridor Black Iron Prism Storage / Technical Spaces

Longitudinal section Room 1-2

Start of the exhibition

Medallion detail:

Black Iron sheet

Portrait of Margherita Sarfatti Adolfo Wildt 1930

Carved polystyrene box with black paint finishing on wood support

Black Iron Sheet on plasterboard support

IDENTITY MAKING // COLOR PALETTE

Light Blue - R: 123 G: 165 B: 166

// ROOM DISPLAY

SPOTLIGHT

- One per artwork

PAINTINGS

- Paintings’ centre posi tioned 160cm from the ground (viewers’ eyes)

LABEL

- 26x29.7cm

- 45° outwards

- 2cm from wall

- 90cm from the ground

- When possible, ali gned to paintings’ inner frame

- Same colour of the room

- Wood / paintable material

SCULPTURES AND FURNITURE

- Placed on grey podiums (same floor’s colour)

- Sculptures’ centre positioned 160cm from the ground (viewers’ eyes)

DOCUMENT PANEL

- 200x40cm

- Each document in a customized showcase embedded in the panel

- Same design as room panel

ROOM PANEL

- 300X75cm

- Sharp edge - 2cm from wall

- Italian / English text - Same colour of the room

- Wood / Paintable material

LIST OF ARTWORKS PER ROOM:

Portrait of Margherita Sarfatti and Her Daughter Fiammetta, Achille Funi

Sketch of Margherita Sarfatti and friends at dinner, Achille Funi

Dinner at Rovenna, Achille Funi

Ticket of Margherita Sarfatti for the Scala in Milan

Rosa Rodrigo (The Beauty) Anselmo Bucci Waiting Gian Emilio Malerba Dress of Margherita Sarfatti (2) Friends Pompeo Borra Dress of Margherita Sarfatti (3) Women at the cafe

Piero Marussig

Portrait of Paola Ojetti, Marino Marini

The Visit, Virgilio Guidi

Portrait of Achille Funi, Francesco Messina Meriggio Felice Casorati

Nude with fruit bowl (Venus)

Mario Sironi The Peasant Mario Sironi The Family Mario Sironi Man reading Medardo Rosso Bather

Piero Marussig Sunday reading Achille Funi

Portrait of a woman Massimo Campigli

Portrait of the architect Pica Leone Lodi

Portrait of Nicola Bonservizi Adolfo Wildt