ARCHITECTURE PORTFOLIO MICHELA MEMO by Michela Memo

ARCHITECTURE

PORTFOLIO MICHELA M E M O

CONTENTS

CURRICULUM

THE BUGATTI MUSEUM

LOOKING AHEAD

COVERING TIME

CURVESPACE

THE FIFTH SYMPHONY

A LIVING-ROOM TO DRESS ON

CONNECT ONE TO CONNECT THEM ALL

EcOn PARK

DOMUS ARTIFICIS: LEARN THE ART AND PUT IT ASIDE

THE LEMON-HOUSE

LA CROIX ANCRÉE

CRIME AND PUNISHMENT

Michela Memo

First name/surname

12 settembre 1995

Date of birth

Via Umbria 14, Scorzè (VE)

Address

334 2870744

Telephone

michela.memo129@gmail.com

E-mail

EDUCATION AND TRAINING

january 2021-present Professional collaboration B+B associati tasks: - 3D modelling - 2D drawing - rendering - post production - arcihtecture design (concept develop) - drafting of practices - measurements relief - video developping october 2020-february 2021 Teaching assistant Integrated Workshop 2 | degree in Architettura Costruzione e Conservazione | third year | Universirà Iuav di Venezia | professor Pier Antonio Val septmber 2020-january 2020 Professional collaboration andreanalesso studio tasks: - 3D modelling - 2D drawings - rendering - post production - set developping - furniture design 28 september 2020 Entitlement to exercise the profession Ministero dell’istruzione dell’Università e della Ricerca 2017-2020 Università IUAV di Venezia May 2020: Second level degree in Architettura per il Nuovo e l’Antico Degree thesis: “The Bugatti Museum: from the failed insertion in the Italian dream to the unveiling of an abandoned place “ with marks 110/110 cum laude april 2019-may 2019 Internship Studio Federico Dalpasso Architetto tasks: - develop of a personal interior project - 2D drawing - 3D modelling - rendering - post production - measurements relief

july 2016-september 2016 Internship Studio Associato Carlana-Mezzalira-Pentimalli tasks: - 2D drawing - 3D modelling - drafting of executive documents 27th april 2019 Exhibition-seminar “The recovery of three architectonic excellencies in Grimaldi and of palazzo Misasi in Altilia” by Pierluigi Grandinetti, Alberto Dal Bo’, Daniele Chiriaco Quote of the project about Palazzo Misasi developed during Design Workshop 3 june 2016-july 2016 Curricular workshop Arch. Tejedores&Linares june 2015-july 2015 Curricular workshop Arch. Bsrclay&Crousse 2014-2017 Università IUAV di Venezia July 2017: Firs level degree in Architettura Costruzione Conservazione with marks 110/110 cum laude september 2014 Award of Premio Rotary for scholastic results 2009-2014 I.I.S. Statale “Ettore Majorana-Elena Corner” in Mirano (VE) June 2014: Level certificate of Liceo Scientifico with marks 100/100 cum laude

PROFESSIONAL SKILLS

- architecture design - interior design - furniture design - 2D drawing - 3D modelling - rendering - post production - graphic design - measurements relief - video developping - physical models

PERSONAL COMPETENCES

Languages Italian English

French

PERSONAL COMPETENCES

Social skills and competences: Skill of coordinating, subdividing and working in team, achieved through many works of group led during my university and working career. Personal skills and competences: Excellent dialectic and skills of interaction and of dialogue. Excellent learning skills. Ability to face problems and situations with reason and method. Precision and rigour.

INTERESTS

SOFTWARE

An aspect of design really interesting to me is the preparation and the stage design, that’s the conception of the internal space not as a simple box, but as an interpretating place, where content and container can ennoble each other. Thanks to my experience in a professional studio, I had the opportunity to get closer to the interior world, getting to know the importance of the craftmanship and the cure on details, but also of spatial effects brought by the light and the materials. Another fundamental theme for me is that of representation: the image theme, the way through which we send a message, the ability to represent the own project: that’s why I’ve always spent lot of time learning graphic softwares and trying to manage the graphic world. I’ve always been fascinated by the image and the advertising world, in particular by the relationship between them and by the ability to make a sensation real thorugh the image main. Through the experiences made during my university career, I also discovered my interest for the design activity in all its aspects, in particular, the sensitivity for the existing, towards which I’ve developed an attitude of respect and a more and more growing consideration. I’m in particular fascinated by the possibility of a new construction which isn’t alternative to the old but which tries to be complementary to it, not losing its contemporary nature. That’s why I developed a degree thesis about the theme of the industrial recovery, a very felt problem in the contemporary city. In particular, the thesis planned the conversion of Bugatti centre of Campogalliano in a museum, meaning a social space for the community, transforming the urban waste in a living place. Great attention was also paid on the design theme, studying the old advertising and graphic system of the brand in order to figuare the expositive space. Near the architectural training, it’s part of me also the humanist education, in particular the literature, the arts, the philosophy, which have fascinated me till I was a child and then found their fulfillment in the high school education, and, nowadays, are cultivated in my private reading and visiting museum spaces.

Pacchetto Office Autodesk AutoCAD Adobe Photoshop Adobe Indesign Adobe Illustrator

Graphisoft Archicad Cinema 4D V-Ray PhotoScanPro SketchUp

QGIS

Lens

Cloudcompare

Autodesk ReCap Cutout Pro Adobe Suite

THE BUGATTI MUSEUM Degree thesis Campogalliano, Modena

Regeneration of a former factory, conversion in a museum complex

Prof. Pierantonio Val

Work: of group

A.Y. 2018/2019

The project development has been preceded by a long research on Bugatti story from which it emerged a world which had to be unveiled and told. That’s why it has been decided to convert the former Bugatti factory of Campogalliano, active between 1989 and 1995, in a museum space, in memory of the swan song of an Italian dream which, as the green light Gatsby eveyday saw at the end of the jetty, for a while it seemed so near to touch. The big projectual work has been concentrated, in particular, on the attempt to develop a connection between all the buildings, today independents, in such

a away to create one only expositive tour. This starts, following the original order, from the planimetric square and circle buildings, passing through the two central corps and arriving to the productive building for excellence, the shed buidings, where our collection is concentrated. Inside these ones, a new linking roof has been realized, which stands for backbone from which the paths develop and where the representative functions are concentrated. Than, it has been placed a system of mezzanines, with the purpose not only to reproportion the space but also to function as introductive and representative

element of the same expositive path. The choice of elements form isn’t casual but it follows the use of pure forms made by the architect Benedini inside the complex. In the end, the architectural choices have been developed considering the settlement strategy and the way of fruition of contents main, in order to create an organic unicum and to be able to express an emotion over the simple fruition. So, the desire has been that to pick up the inheritance of a past which can’t return, offering a new possibility to dream, a new green light to see.

LA VOITURE

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On both pages: west elevation, longitudinal section, axonometric projection

P1 - EXIT

P0 - ENTRANCE

P2 - PANORAMIC TERRACE

P0, P1 - BAR

EXHIBITION SPACE

P-1 - ARCHIVE

P0 - CONSULTATION ROOM AND BUGATTI CLUB

P0 - ADMINISTRATIVE OFFICES

P0 - WORDROBE

P0 - AUDITORIUM

P1 - CONSULTATION ROOM

P1 - TEMPORARY EXPOSITIONS

P7 - ROOFTOP TERRACE

P0 - MUSEUM ENTRANCE TICKET OFFICE

P0 - BUGATTI MUSEUM BOOKSHOP

TEST DRIVE TRACK

P1 - LABORATORIES

P1 - LIBRARY

P2 - RESTAURANT

On this page: section, tower party wall On the other page: view from the top of the tower

1. a. Sloping gravel finishing layer (100 mm) b. Bituminous foil c. Insulation material (50 mm) d. Concrete slab (25 cm) 2. a. Curtainwall with glass external installation and aluminium uprights and transoms (200x50 mm) 3. a. Resin finishing b. Lightweight screed (50 mm) c. Insulation material (50 mm) d. Concrete slab (25 cm)

4. a. Dry-laid quartzite floor b. Compact gravel layer (50 mm) c. Concrete slab (25 cm) d. Foundation of sand and gravel

5. a. Porcelain tile floor with marble effect (20 mm) b. Glue layer suitable for metal surfaces c. Smooth metal sheet (5 mm) d. Hollow square steel profile (35x35 mm) e. Smooth metal sheet (1 mm) f. Steel supporting beam (IPE 200)

1. a. Alveolar polycarbonate panel (2 cm) b. Hollow square steel supportin pillar (250x250 mm) c. Alveolar polycarbonate panel (2 cm) 2. a. Concrete wall (25 cm) b. Insulation material (50mm) c. External finishing in aluminium panels

5. a. Sloping gravel finishing layer (10 cm) b. Bituminous foil c. Insulation material (50 mm) d. Concrete slab (25 cm) 6. a. Porcelain tile floor with marble effect (20 mm) b. Glue layer suitable for metal surfaces c. Smooth metal sheet (5 mm) d. Hollow square steel profile (35x35 mm) e. Smooth metal sheet (1 mm) f. Steel supporting beam (IPE 200)

3. a. Resin finishing b. Lightweight screed (40 mm) c. Corrugated sheet slab (10 cm) d. Steel supporting beam (IPE 200) 4. a. Corrugated sheet slab (10 cm) b. Steel supporting beam (HEM 240) c. Plasterboard false ceiling with rock wool sound-absorbing layer (60 mm)

On this page: central corps perspective section, auditorium section On the other page: view from the internal mezzanine of central corps

5 4

On this page: shed buildings trasversal perspective section, view from the circular mezzanine, shed building longitudinal perspective section On the other page: view from the internal mezzanine in the central corridor of shed buildings

LOOKING AHEAD Design Workshop 1 Porto Marghera, Venice

Residences, commercial spaces, exhibition spaces, library

Prof. Giovanni Marras Thomas Reynolds

Work: of group

A.Y. 2017/2018

“Looking ahead” represents an attitude which stands beyond a simple project line to signify a dream for future, the perspective to envision new horizons for a place, in particular for our place. The attempt of our project is to recover the relationships among the people and the link human-nature. The presence of nature starts from outside, in the park where the project is built, goes inside the architecture defining its structural wooden system and finally it climbs on the towers, where it remembers to the sky its starting point and to us that even if we climb the stars we’re still human

and sons of nature. The architecture tries, in a certain way, to follow the nature, stretching to offer it by different points of view. Moreover, it tries to combine spaces freely shaping by the individual, and standing for the necessity of independency, and more community spaces, which represent the need of society and relationships with other people in order to enrich themselves. The square is the principle element standing for the idea of community, as we learnt from the past, linking all the individualities in a divided unicum. So, another fundamental theme is the history. As Ernesto Nathan

Rogers underlined, we’re nothing without memory and no architecture is possible without history and knowledge of the past. That’s why we don’t want to forget Porto Marghera past but we want it the base for the future that looks, literally and metaphorically, to Venice, which represents the stratification of a place able to learn from his past and not refusing it, old but always new, able to absorb its citizen life and to transform it in architecture, which has been our mission.

commercial building

museum

library

On the other page: level 0 plan On this page: elevations, sections On both pages: square view

LEGENDA

On the other page: elevation of one tower On this page: cross section

Last floor

1. X-lam seven layers structure (25 cm) 2. Bedding screed (5 cm) 3. Fiberglass insulation (2 cm) 4. Radiant system (9 cm) 5. Glue (1 cm) 6. Wooden flooring (1 cm) 7. Glulam column (40x40 cm) 8. Thermal break sliding window hidden in the floor 9. Vapor barrier (0,1 cm) 10. Fiberglass insulation (7 cm) 11. Waterproof sheet (0,1 cm) 12. Bedding screed (3,7 cm) 13. Wood fiber insulation panel (3,7 cm) 14. Wooden sub-strcuture (4x7 cm) 15. Flat larch cladding (2,5 cm) 16. Glass parapet with anchoring system in the floor 17. Steel rope anchored in the floor 18. Tensioning device 19. Steel rope anchoring system

Two typical floors

20. Sun shading system 21. Stiffen sun shading steel profile 22. Hard wood node 23. Separate wooden slats false ceiling 24. Metal false ceiling supporting system 25. Noise-absorbing panel (7 cm) 26. Slope screed (minimum 5 cm) 27. Waterproof scheet (0,1 cm) 28. Gravel finishing (10 cm) 29. Metal flashing sheet (0,2 cm) 30. Concrete slab (10 cm) 31. Foundation iglù (25 cm) 32. Concrete slab (20 cm) 33. Concrete foundation pitn (10 cm) 34. Metal grid 35. Metal grid steel upright 36. External flooring (8 cm) 37.Underton (6,4 cm)

Ground floor

29 28 27 26

25 24 23 22

21 20

07 06 05 04 03 02 01

17 19

09 10 11 12 13 14 15

30 31 32 33

35 36 37

COVERING TIME Design Workshop 2 Caserma Pepe, Lido of Venice, Venice

Auditorium, exhibition rooms, libraries, catering spaces, student residence

The intervention revolves around the relationship with the existing barrack, establishing a long-distance relationship connection with it. This is, in fact, the concept which guides our project, which develops as a walk through old and new, keeping however distances and respect misures with the past. The new building where the square plan auditorium takes place, finds his nature from the geometry of the place and it mesures and proportionates with the convent court. The link both physical and conceptual between old and new, between the auditorium and the barack, is made

Prof.s Pierantonio Val Roberto di Marco Lamberto Borsoi

Work: of group

by a new element which has in its deep nature the old: an exhibition porch which determines a defined path between the two buildings assuming as trace the wall. So, the structure is articulated and proportionated according to elements it enters into a relationship with: smaller and slender with an attitude of penetration towards the new buildings, higher and massive, with an attitude of protection towards the wall. The path concludes inside the barack, both from a functional point of view, because there are the last exhibition rooms, both from an architectural and conceptual point of

A.Y. 2017/2018

view for the presence of two walls which insert in the internal elevation central arcade. This intervention stands at the same time for the conclusion of the entire path and fot its contrapposition, because it is decided to offer the sky, denied till now, to man. Moreover, it assumes a symbolic synthetic role of the entire project framing the ancient well with the new, in the same way the new addiction assumes the role of framing portal of the ancient court.

On this page: plan level 0 On both pages: bird’s-eye view

On this page: auditorium section On the other page: general sections On both pages: auditorium view

On this page: auditorium and porch view On the other page: barack perspective section On both pages: barack inside view

CURVESPACE Professional collaboration Fiesso d’Artico, Padua

Model setting, set developping, rendering, postproduction

The space, that’s a beauty salon, is developped on the curve line which, referring to the concept of Arte Nouveau “strenght line”, is shaped as a susyem of concave-convex relations suggesting the path to follow and proposing as a sort of belly. The colours, of neutral tints which go from the white to the grey till the black of windows, are conceived, related to the formal choices, to resound with the light and to create a suspended space, which suggest beauty and refinement. The images

andreanalesso studio

Work: alone

and the representations have been studied in order to express the important aspects of the project. In order to underline the formal choices and the light effects, it has been decided to use a quite void set, which goes beyond the specific intended use of the space to concentrate on the sensations it was able to transfer. That’s why it has been chosen some black elements, as two Carrie lamps by Norm Architects and a CH24 chair by Carl Hansen, which stand out but at the same time whi-

october 2020

ch call the basic shades, acting as accents inside the basic harmonic symphony. A great importance is given to the light, to the chiaroscuro effects and to the relation between natural and artifical light in order to give back the real sensation in the most realistic way.

THE FIFTH SYMPHONY Professional collaboration Verona

Model setting, set developping, rendering, postproduction

The space is going to be a house where architecture, art and design can meet each other. That’s why all the space is developped in a harmonic key, linked to the music reference represented by the piano. So all the project is based on neutral colours, from the tobacco colour to the canvas colour, which give a warm and confortable atmosphere to the space. Then, all the rooms get significance by the lights, stu-

andreanalesso studio

Work: alone

died to assume a fundamental role inside the spaces. The images have been studied in order to turn back these sensations, playing with sets which create some emphasis inside the overal symphony. The light has been calibrated to convey the importance it assumes inside the project, playing with beams of light and floating atmospheres. All this has been related to the studied of materials, of their weight and their

november 2020

finish, and the attempt to express all this through the images, in order to convey the real sensations through their representation.

A LIVING-ROOM TO DRESS ON Curricolar internship Trieste

Layout and preparation of a clothing shop

The project concerns a single-brand clothes, shoes and accessories shop of medium-high target for female customers between the age of 25 and 45. The place has been devised with an almost parisien taste and with a “domestic” atmosphere which aims to put the customer comfortable, making her feel measuredly cuddled, as it was at home. That’s why the colour palette chosen turns to earthy shades: powder pink, wine colour, cream colour and light grey; so all those tastes which give a warm and cuddled sensation but, at the same time, a sensation of richness and elegance. To give a

Federico Dalpasso Architetto

Work: individual

precious touch, it has been chosen a marble floor and a bronze metal used for the supporting structure of the racks. These are all realized using the metal for the structure and the grey wood for the support surfaces. The floor is instead characterized by a herringbone pattern realized with coloured marble pieces and it has some tastes which go from cream to mud too. For the seats, pouf, armchairs and couches, it has instead been chosen the velvet. Another leitmotiv is the wallpaper used for the wall on the left of the entrance, behind the reception desk and as background wall of some ranks, which has earthy tastes

aprilmay 2019

too. The choice of the metal finishing also returns in the reception desk, characterizing the surfaces turned inside the shop. The space has been, in the end, articulated in order to let a more passing zone where there are most of the goods at the ground floor, instead the upper floor has been conceived has a more private place which includes the dressing rooms and also some beauty stations, where the customers can take their time and also who comes with them can find his comfort.

On this page: entrance view, view of the second room at the groundfloor On the other page: west elevation of the window

On this page: north elevation of the window, ground floor plan and first floor plan On both pages: first floor view

CONNECT ONE TO CONNECT THEM ALL Urban Planning Altilia, Cosenza

Urban connection, catering services, atelier, exhibitions

The approach to the project began analyzing the urban fabric features, concentrating on morphological aspects, on the buildings of interest, on local traditions, as the stonecutter art, and on the interventions made by the local administration throughout the years. This study brought to the definition of a strategy in order to mend the urban fabric through a connection having Palazzo Misasi as pivot. This intervention has the purpose to put into communication the two historical cores nowadays disconnected, proposing as a only connection able to activate, by gemmation,

Prof. Stefano Munarin

Work: of group

many others. That’s why the strategy suggest to put inside the old town functions able to call in primis the local population inside it and, secondly, to attract a historical-artistic tourism. In this way, it has been studied and interpretated also the volunty of the local administration and of the citizens who, in first person, carried on through the years initiatives to incentivate the village in terms of cultural tourism main, recovering the artistic and ambiental beauties. So the idea is that to open a path thanks to the recover of what existis, able to connect all the historical core points of interest,

A.Y. 2018/2019

in order to create a sort of natural route among the local beauties. Ideally, this route could continue till the Parrerre quarries thanks to the asset of connections made by the local administration during the last years. This is supported by the introduction of new exhibition, restoration and laboratories functions, with the aim to give more strength to the route main.

church

viewpoint

coffee shop

urban corridor

building monument of himself museum

town hall laboratories

multifunctional building meeting point

presence of architectural elements made by the stonecutters

platforms for stone work

space for expositions/ exhibitions

rest of ancient wall element residences

On this page: village axonometric view On both pages: section

On this page: view of the knot in the square On the other page: view of the knot in Palazzo Misasi garden On both pages: section

EcOn Park Eco Park Contest Marcon, Venice

Equipped park, playground, polifunctional pavilions, performances, sport areas

The project follows the idea of a park opened to all the community in which different macro area function zones are developed. In particular there are: a sport pole in the north of the area, where prefabricated pavilions open to soccer and basteball fields; a playground in the east side, an amphitheater in the west and a picnic area in the south. Moreover, a central zone is left free for temporary events or for a possible future expansion. Then, sustainability and prefabrication are two important concepts always present throughout the project. In particular, the pavilions are developed as

MetaFin e Desall

Work: of group

wooden prefabricated structures in which same structural elements can create two different kind of space, one with rectangular plan the other with square plan, where different functions can be placed. A great attention is paid for the choice of flooring, which is in draining cement to avoid the development of heat islands and to favor water drainage. Vegetation is chosen in order of his position, so medium to tall trees of three different species are placed in the boundary and inside the area in order to create shaded areas, instead anti mosquito bushes are placed near the river. The playground is de-

maynovember 2019

veloped as a zone protected from the others by the creation of a circular structure, on which the swings are hanged, which allow to create a semi-closed zone entirely dedicated to children. The amphitheater is also configurated as a moment of pause totally dedicated to the performance and it structures as a sort of ribbon wrapped itself up having as native element the wall.

On this page: plan, swings zone view On the other page: amphitheater view

4 3

LEGENDA 1. Laminated wooden pillar 2. Laminated wooden beam 3. Infill sandwich vertical panel 4. Infill sandiwich horizontal panel with roof finishing 5. Solar panel 6. Curtain wall 7. Brise soleil

On this page: plan, trasversal section, exploded axonometry of the square and circular plan pavilions On the other page: pavilions inside views

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DOMUS ARTIFICIS: LEARN THE ART AND PUT IT ASIDE Design Workshop 3 Palazzo Misasi, Altilia, Cosenza

Exhibition spaces, dining spaces, laboratories

The building analysis was led using photographic and bibliographic documentation supports and the comparison with features of other comparable buildings. The analysis has been usefull to develop an intervention strategy which, considering the emerged elements, individuated the most transformable parts of the building and the important aspects to bring out in the innovation and restoration project. That’s why it has been decided to concentrate the most invasive part, the one with the staircase, the lift and the metal structure services, in the most transformed part of the building throughout the years. The choice to concentrate the intervention on vertical connections has been also determined by the ele-

Prof.s Pierluigi Grandinetti Paolo Faccio Anna Saetta Antonella Faggiani

Work: of group

ments emerged during the analysis, which pointed out an interruption in existing connections, so it emerged the necessity to design new elements in order to connect the entire building. The paths, naturally circular or parallel, are another typical element which has allowed to the collocation of functions and to the idea of inserting an exhibition space which took advantage from existing paths nature. In the end, the attention paid on the features of window and door openings, particularly typical element of the building, of his history and of the transformations it was the object during time. This has guided the choice to intervene in different ways in different openings, deciding sometimes to restore some plugged openings,

A.Y. 2018/2019

some other time, to made some interventions which kept those aspects of building nature that were essential for us. The expected consolidation works have the purpose to improve the structural behavior of the building, not to change his nature and, in particular, they concentrate on the realisation of metal hoops in the intemediate slabs and of wooden ones in the roof slab, favouring a box-like behaviour of the structure. Moreover, a boarding layer and a marine wood plywood one are been placed in the roof in order to share uniformly out the actions and to play bracing function of the horizontal seismic action.

On this page: exploded axnometry and functional diagrams Pagina a fianco: principal elevation before and after entrance

artistic laboratories

new connection and service elements existing stairs

catering spaces exhibition spaces

laboratories of experimentation with historical machines

ROOF STRUCTURE

LEVEL 2

LEVEL 1

LEVEL 0

On this page: plan level 0, level 1, level 2 On the other page: staircase cross section, staircase section

THE LEMON HOUSE Consolidation of historical buildings Villa Papadopoli, Vittorio Veneto, Treviso

Consolidation work

The path of knowledge started from the study of historical documentation and of archive sources compared with the direct observation of the building during the site visits. From that, it was analyzed the constructive phases, the materical features, the work techniques and the relations among elements. So, it was pointed out the deterioration phenomenona and the collapse mechanisms, deepening the principal elevation and the two wings. Starting from the deep study of the building, it was assumed the macro-elements present and, in

Prof. Sara Di Resta

Work: of group

relation to out of plumb and mechanisms of structural collapse in the plan, it was assumed the most vulnerable kinematics. The consolidation work has been developed in different aspects, aiming a structural improvement which augmented the mechanical perfomances of the building, preserving as much as possible the historical material and the original structural behaviour. Considering the explored options, it has been chosen those interventions which resulted less impactful both from a visual point of view both from a structural point of view.

A.Y. 2017/2018

The used materials have been properly chosen on the basis of compatibility with historical material, in terms of weight and rigidity, always keeping the principles of distinctness and of minimum intervention, not introducing imitative characteristics of historical architecture when not necessary to consolidation. Here it has been reported only a few aspects of the entire path, in particular the geometric and constructive reconstruction and the interventions planned at the end of carried out studies.

On this page:

south elevation, west wing inner side, est wing outer side, west wing inner side, est wing outer side

INTERVENTIONS FOR SEISMIC IMPROVEMENT AND INTERVENTION TECHNIQUES Guidelines for the valutation and the reduction of seismic risk for cultural heritage: 6.3.9 Foundation interventions Consolidation work in foundation: Preceded by other researches to determine if the action is in place or not, and, eventually, to establish the causes. If the action is in place, we’ll procede with the intervention, if the subsiding stabilized we won’t do any intervention. If necessary from the analysis, we’ll extend the intervention also at the other wing. a F sism

Guidelines for the valutation and the reduction of seismic risk for cultural heritage: 6.3.2 Interventions for the reduction of connection lack Reticolatus intervention: Analyzing the material features, the crack pattern and the macro-element mechanism of collapse, it occurs the necessity to improve the connection with the orthogonal macro-element and to increase the cohesion avoiding further propagation of existing crack patterns and the development of new ones. We have excluded the interventions of mortar and grout injections beacuse they modify the behaviour of the historical masonry and they risk not to diffuse uniformly. Moreover, we have rejected the reinsertion technique, which, in this case, would lead the removal of most historical material. So, we have decided for the reticolatus intervention, which concerns the drafting, inside the joints, of a metal net fixed with threaded rods and mortar topping up. This improves the monolithic behaviour of the wall, the connection of corners and it avoids the further propagation of cracks.

Intervention phases: 1. Excavation of the ground on the sides of the wall till proper depth 2. Injection of hydarulic lime mortar in the wall to make the foundation more rigid 3. Maturation 4. Perforation using a core machine 5. Installation of micropile (Ø80) inside the hole 6. Filling with cement mixture 7. Realisation of a concrete connection beam (10x8)

7 6 5

The intervention is going to be realized in the foundation of the entire macroelement, with a scattered step of micropiles along the wall and a more concentrate one where there is the subsiding.

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Intervention phases: 1. Elimination of plaster and of mortar coating 2. Deep fleshing of joints for 6-8 cm depth 3. Pression hydro cleaning of fleshed joints and partial repointing 4. Insertion of trasversal rods put, as much as possible, in a regular way and at a distance of about a section wide. The bar is driven for a depth of about 2/3 of section wide, with the aim of realising trasversal connections. 5. Fixing with anti-shrinkage mortar 6. First refilling with hydraulic lime mortar 7. Insertion of a mesh made with little steel strands UHTSS (Ø3). Where there’s the pilar, the mesh is turned out in order to improve the cohesion and the monolithic behaviour of the macro-element. Moreover, the connection with the orthogonal wall is improved. 8. Tensioning of strands using the nuts on the threaded rods 9. Second refilling with hydraulic lime mortar 10. Final refilling of joints in order to let the bars droven for about 3-4 cm The intervention allows to leave open brickwork. So, we have decided not to replaster the intervention surface assuring the intervention recognition.

INTERVENTIONS FOR SEISMIC IMPROVEMENT AND INTERVENTION TECHNIQUES Guidelines for the valutation and the reduction of seismic risk for cultural heritage: 6.3.2 Interventions for the reduction of connection lack

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Tie rod insertion in façade: To avoid the mechanism of façade expulsion caused by the rigid plane of the concrete slab, it has been inserted a system of antiexpulsion steel AISI 316 tie rods anchored to the principal façade and to the internal walls. These have been then drown in a concrete mortar screed.

4 1 2 3 Intervention phases: 1. Realisation of a pre-hole 3,5 mm thick 2. Insertion of a Ø2 AISI316 tie rod close to the slab 3. Fixing with epoxy resin 4. Drowning of tie rods in the sand

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Guidelines for the valutation and the reduction of seismic risk for cultural heritage: 6.3.6 Interventions to increase the resistance of wall elements Interventions of crack patterns mending: Analyzing the material features, the crack pattern and the macro-element mechanism of collapse, the interventions on crack patterns have been organized in relation to throat dimension of the crack.

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Intervention phases: 1. For cracks with throats <5-6 mm: gluing with epoxy resin 2. For cracks with throats 6 mm<g<20-30 mm: grouting and injection with hydraulic lime mortar 3. For cracks with throats >30 mm and passing cracks: reinsertion techinque with brick listels 25x5,5x2,5

Intervention phases: 1. Remotion of pinnacles 2. Elimination of bedding mortar 3. Insertion of a metal sheet (10 mm thick) with centrale hole (Ø30) 4. Anchoring to the existing masonry with AISI 316 threaded steel rods (Ø16) fixed with epoxy resin 5. Insertion of the steel pivot (Ø20) at the base of the capital 6. Insertion of the pinnacle with the pivot fixed in the hole of the sheet mentioned at point 3, fixed with epoxidy resin

Intervention on masonry portion with chimney: 1. Rimotion of chimney rests 2. Reinsertion techinque with brick listels 25x5,5x2,5

LA CROIX ANCRÉE Contemporary Art History Palvanova, Udine

Installation

The project concerns the installation of Pevsner’s work of art “La Croix Ancrée” inside the urban context of Palmanova and it concentrates on three themes particularly dear to the artist: space, time and spirituality. For what concerns space, it has been decided to put the piece of art in the principal square of the town, creating a pavilion which becomes an instrument to introduce some chosen and determined points of view; but it is also en element of space scomposition and of perspective overturning where a curved mirror, as a spoon, lets to reflect the work upside-down. The theme of time, instead, expresses through the concentric path formed by the structure main, which forces the visitor to discover it gradually, having the opportunity to observe it first only from some determined points of view, which put it in rela-

Prof. Francesca Castellani

Work: of group

tion with important elements of the space and, only in the end, to be able to enter in the inner circle, grasping the work entirly and having the opportunity to turn around it. The presence of spirituality inside the installation is connected to the dome, for which the pavilion represents a sort of baptistery. It’s in axis with it and it reflects, in the central plan and in the vaulted ceiling with central oculus, the typical structure of ancient baptisteries. This relationship is made stronger inside the pavilion, where, using perspective games and the creation of windows, Pevsner’s work is related to the dome through an opening. This one lets to observe it with the dome as background, framed by a second opening in the metal shell, emphasizing not only Pevsner’s spirituality but also his strong religiosity; it moreover recalls the subject main of

A.Y. 2017/2018

the sculture, that is the cross. Also the atmosphere which is created is spiritual: the outer shell is lit by radial openings, while the inner one by a well light allowing to illuminate the piece of art from above with a filtered and suspended light, which creats an atmosphere of floating and of time and space suspension. These sensations, corrisponding to those Pevsner wanted to create through his work and his research, are emphasized by a rubben floor which makes the steps impalpableand nearly cleared. All this, therefore, creates an isolated space but at the same time strongly linked with the context from which it obteins strength and significance, creating a spiritual place of observation and comprehension not only about a work of art but also about an artist, whose humanity, as well as artistic ability, is a founding element.

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On this page: view with dome as background, section, view On the other page: section, plan

CRIME AND PUNISHMENT Interior Architecture Stage of a virtual theatre

Theatrical staging

Shakespeare. Macbeth. An inexorable shift to darkness. Shakespeare’s tragedy is characterized by an inescapable faith, to which the protagonists seem they aren’t able to escape; and by a law of retaliation which hits inexorable, because to each crime it corrisponds a physical or mental punishment. As Raskolnikov learns in “Crime and Punishment” there isn’t a purpose which can cancel the pain inflicted by a crime, there isn’t a “superior aim” which can cancel the guilty conscience. As much as Rodja will be tormented by the guilty conscience for the moneylender’s murder, in the same way Macbeth will be vexed by people’s phantoms he kills, and Lady Macbeth so much obsessed by her crimes to become crazy.

Prof. Giorgio Ricchelli

Work: individual

Moreover, both in the russian novel and in the Shakespearean tragedy the punishment arrives: Raskolnikov to hard labour, Macbeth killed for his ambition and thirst for power which transformed him in a tyrant. So, in the entire pièce, protagonist’s convintion to rise in his delusions of grandeur reveals, insted, to be a shift to darkness. The inspiration for the staging comes directly from Dante’s hell, converted in an ascending spiral, which some concave mirrors reflect upside-down, inspiring to Kapoor’s work of art. Through the reflection the real nature of protagonsits’ actions is revealed: the apparent pursuit of glory is, insted, a shift to the oblivion. The structure is articulated in five levels, the same number of the acts

A.Y. 2015/2016

of tragedy, where the actors move during the representation. The fifth level is reached during the last act and it represents an only apparent climax because the mirrors reveal it as the lowest infernal circle. The infernal atmosphere is accentuated by the utilisation of ebony and by the positioning of red lights in the staging. They’re the only source of light which spreads through vertical elements and it is planned they switch on in a gradual way, following the level structure and the actors’ movement on that.