Michele Marini
architecture portfolio
selected works 2013-2018
contents:
introduction curriculum vitae digging in the past of Xi’an City: the spiral museum Xia Jiazhaung urban village renovation Artprison YAC a built free choice hiding and unveiling guest-house in Afife “imago” reference letters
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Architecture is comprehension, it’s an idea, it’s knowledge and the reinterpretation of the multiple identities of a site (locus), it’s revocating its history, it’s the possibility to give a voice to the silent relationship between users and space. Being able to make coexist huge and complex issues like measure, context, history, culture and form, in my opinion, it’s the most unique skill of an architect, and it’s also the most difficult to achieve. I think that architecture should be the built manifestation of an idea, which takes into consideration all the issues aforementioned and not only a caprice or a melting-pot of shapes and fashioned elements. I think that we should design looking at the vastness of history, the future, but especially the past (“Good building would produce a marvelous ruin” Louis Kahn), understand and measure our self with the over-layering of every scale, the one of the urban fabric and the one on an old wall. Understand the culture of the design site, the users needs, which kind of spaces are they used to live following their culture. In this way we will collaborate in the creation of a new architectural identity, that is not generic, it’s not absolute, but authentic and site-specific. My academic experience allowed me to partially touch all the different branches linked to architecture, from the urban planning to the constructive detail. The exchange year I passed in China, during which I developed the biggest part of my final thesis, gave me the chance to think about how important could be the comprehension and the deep study of one culture and how to translate it in shapes, spaces and materials. Now I’m ready to investigate again the multiplicity of this job, that has the architectural design as main core, this time from a professional point of view, hoping to find the same satisfaction, that has enlivened me since I’ve started studying architecture.
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curriculum vitae:
Michele Marini 07-05-1993 via Guido Gozzano 13, Brescia (BS) via Carlo Farini 2, Milano (MI) +39 3931997753 michelemarinias@gmail.com
language:
computer:
italian:
Autocad 2D / 3D: Photoshop: Illustrator: InDesing: Cinema4D:
(mother-tongue)
english:
(fluent, B2 TOEIC)
Artlantis 6: Nikcollection: Microsoft office: Skecthup: Rhinoceros:
personal introduction During the bachelor I’ve joined many activities inside and outside the academic course and I spent my curricular internship at BEMaa, Bruno Egger Mazzoleni architetti associati. In September 2014 I obtained the bachelor’s degree, with a score of 105/110 with a thesis named “Le operazioni del comporre” (“Compositional operations”). In the same year I started my master in Architectural Design, civil architecture supplied in english. At the beginning of the 2015 I was selected for the Double Master Degree program (DMD) at the Xi’an University of Architecture and Technology, program that consist in a year of exchange at Xi’an to obtain a chinese master degree and one year and a half in Milan to obtain the european master degree. This experience allowed me to enrich my thesis in the Xiao Yanta area (a UNESCO site candidate in Xi’an). During the exchange I had the opportunity to work inside the design studio of the former dean of the university, Prof. Liu Kecheng, raising chinese architect, specialized in cultural buildings design in heritage and archeological sites. In the July 2016 I obtained the chinese master degree with the thesis named “Urban Villages in China”, come back in Italy I obtained also the italian master degree in April 2017 with the thesis: “From Fragments to the City - Digging in the Past of Xi’an: Design Enhancement for UNESCO Small Wild Goose Pagoda Area and Anren Fang”. Nowadays I’am an assistant at Politecnico di Milano in the -Architectural Design I- studio hold by Prof. Francesco Menegatti and Prof. Tomaso Monestiroli and the -Master studio Architectural Design I- hold by Prof. Laura Anna Pezzetti, in the meanwhile I collaborate with G.A.P. Gruppo Associato Paterlini (Brescia) in design activities.
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professional experience: 2014 4 months internship at BEMaa_Bruno, Egger, Mazzoleni architetti associati
2014-15 Professor assistant at Politecnico di Milano, Architectural Design Studio III, Prof. Francesco Menegatti
2015-16 10 months internship at Liu Kecheng Architecture Studio (5 months on theorical research)
2016 1 month internship at Laura Anna Pezzetti office, #ScuoleInnovative competition
2016-2017 1 year job as junior architect at GAP Gruppo Associato Paterlini (Brescia) Professor assistant at Politecnico di Milano, Architectural Design Studio I, Prof. Francesco Menegatti, Prof. Tomaso Monestiroli Professor assistant at Politecnico di Milano, Master Degree Architectural Design Studio I, Prof. Laura Anna Pezzetti
2018 3 months internship at June14 Meyer-Grohbrügge & Chermayeff (Berlin): competitions and design actually having a 6 months internship at Nieto Sobejano Arquitectos (Berlin): competitions and design
education: 2011-2014 Bachelor’s degree in Architecture at Politecnico di Milano, score: 105/110 2014 Beginning of DMD (Double Master Degree program)
2016 Master degree in Architectural Design at Xi’an University of Architecture and Technology
2017 Master degree in Architectural Design at Politecnico di Milano, score: 110/110 cum laude
2018 Italian Habilitation Exam for the “Chamber of Architects”, 30-07-2018 (Firenze).
selected workshops and competitions: 2014 exhibition _ “Micro Strategies: Portugal_ Little Portuguese Houses” at Politecnico di Milano Bovisa and Leonardo workshop _ “Caserma Mameli renovation”, Prof. Laura Montedoro featuring TGZ Würzburg
2015 workshop _ “Xi’an Heritage-led workshop I”, Prof. Laura Anna Pezzetti, Prof. Carlo Libero Palazzolo, Prof Liu Kecheng
2016 competition / exposition _ “XAUAT Foreigners Workshops Exposition”, 3° place workshop _ “Xi’an Heritage-led workshop II”, Prof. Laura Anna Pezzetti, Prof. Carlo Libero Palazzolo, Prof Liu Kecheng competition _ “#ScuoleInnovative”, Prof. Laura Anna Pezzetti, Prof. Carol Monticelli competition _ “ACP-Het Stenen Hoofd Playschool” exhibition / competition _ “POLIMI for ICOM”, winner’s listed design
2017 workshop _ “Porto Academy 2017: Persona (by Marcio Kogan)”, Marcio Kogan
2018 competition_ “Premio Michele Silvers”, gold mention (collaborators: Daniele Delgrosso, Claudio Livetti) competition_ “Art Prison / YAC”, gold mention (collaborator: Marco Agosti)
publications: Koozarch: https://koozarch.com/2017/09/28/a-built-free-choice/#respond c_a_g_e: http://archicage.com/hiding-and-unveiling/ https://www.instagram.com/p/Bdm-YsRFpZ0/?taken-by=c_a_g_e arch.reporter: http://www.archreporter.com/house-one-person/ http://www.archreporter.com/hiding-and-unveiling-landscape-observatory/ 5
digging in the past of Xi’an city Master degree thesis 2014-2017 Xi’an, China Prof. Laura Anna Pezzetti Prof. Carlo Libero Palazzolo Prof. Liu Kecheng Prof. Carol Monticelli unbuilt
Scavare nella terra è un’ azione archetipica, i primi rifugi dell’uomo sono infatti le caverne, scavate sui fianchi delle montagne. Nel nostro progetto di tesi, lo scavo diventa invece l’opportunità di diseppelire, di portare nuovamente alla luce la struttura urbana della vecchia e più grande capitale imperiale cinese: Chang’an. Il progetto nasce come riqualifica dell’area archeologica della Xiao Yanta a Xi’an, per creare un polo culturale a scopo museale a seguito della scoperta di reperti archeologici di epoca Tang (epoca in cui anche la pagoda presente nell’area è stata costruita). Il progetto è costituito da due lunghi edifici atti a difendere l’asse storico di percorrenza della pagoda, quello di sinistra un museo archeologico che mostrerà nuovamente i resti del muro di cinta del vecchio quartiere del tempio della pagoda (an ren fang); a destra un edificio città che sopperisca ai deficit di un tessuto eterogeneo e caotico nell’area ovest del sito. A chiudere il percorso museale c’è lo Spiral Museum, museo il cui percorso porta il visitatore in un percorso interrato che collega i due edifici lungilinei e il presistente museo dello Shaanxi. Nel settore sud è la riqualifica di un urban village, insediamento residenziale simile ad una slum, molto comune in Cina. Io, nello specifico, mi sono occupato personalmente di questi due ultimi progetti.
Digging the earth is an archetypical action, caves are infact one of the first shelters in human history. In our project, digging become the opportunity to unearth the urban structure of the oldest and biggest chinese imperial capital: Chang’an. This area is right now in the list of the capable UNESCO site, because of the presence of a Tang period (700 a.D.) pagoda and 4 years ago, it was discovered the ruin of the ancient edge wall of the pagoda temple block .The project is a renovation of the Xiao Yanta (little pagoda) area in Xi’an, in order to settle down a new museal system. Two long buildings are disposed as difensive walls to protect the axis of the pagoda system, the building on the left side is a archeological museum that will recall the dimension of the old block; the one on the right is a city scale building that has to compensate the lack of activities of the right part of the block, completely residential, etherogeneous, scattered and chaotic. At the end of this building there’s the Spiral museum, a building that through its mussel path, brings the visitor 10 m under the ground to a sunken connection to the archeological museum and to the preexistent Shaanxi Museum. In the south side of the area were going to renovate an urban village, residential settlement similar to a slum and very common in China. Specifically, I worked on these last two designs. 6
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imago: Xi’an 2016 + heritage mapping
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urban scale model
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general masterplan
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the spiral museum
Lo Spiral Museum si pone esattamente speculare rispetto all’asse della pagoda, per controbilanciare l’enorme peso planimetrico del Museo della Storia dello Shaanxi, il nuovo museo mantiene le stesse misure di quello persistente, ma viene infossato sotto il livello della terra per ridurre al minimo il suo impatto volumetrico sull’area di progetto, in rispetto della Pagoda. Il nome di questo museo è dato dal tipo di percorso espositivo che lo caratterizza, infatti tramite un percorso a spirale scavato interamente nella terra, il visitatore è portato a 10 metri sotto terra, quota alla quale si trova la sala conferenza sotto la grande aula centrale e un percorso interrato direttamente collegato al piano interrato del Museo dello Shaanxi (attualmente inutilizzato e pieno di opere di valore tra cui un modello che ricostruisce Tang Chang’an). Seguendo il percorso il visitatore incontra 12 padiglioni espositivi più una grande aula centrale, questi padiglioni presentano la stessa sezione che consiste nella sottrazione di un tronco di piramide da un volume puro, creando quindi diverse percezioni luminose a seconda della quota di ingresso. Il museo, sempre usando il metodo dello scavo, tramite delle piazze ipogee tiene assieme sia i due edifici residenziali a est, offrendo una piazza pubblica e mette in collegamento il settore dell’urbana village e quello del Heritage center, il lungo edificio culturale sul lato est dell’area.
The Spiral Museum is disposed mirroring the Museum of Shaanxi History with the respect to the Pagoda axis, in order to counter balance its huge plan weight, but it’s completely sunken in the ground to reduce the volumetric impact on the pagoda and on the entire area. The name of this museum is given by the type of exposition path that the visitor will follow, it’s a spiral path carved in the ground that reach a level of 10m under the ground, on this level there’re the auditorium of the museum and a connection to the ground level of the Museum of Shaanxi History (today un-used, full of precious artifacts and a model that emulates the Tang Chang’an capital city). Following this path the visitor will enter in 12 pavilions, that might seem similar, but actually they got a different kind of light effect given by the different level of the entrance. From an urban point of view, this museum is a pivot that organize the east-side of the area with a sunken public square, it connects the Urban Village in the south-side sector with the long Heritage Center, a cultural building, on the left and it creates a connection with the west-side, without bothering the pagoda view and the pagoda axis. In this museum here’re a lot of different influences taken by the archetypical architecture of northern China. Being the theme of digging the stronger in the entire masterplan, the kind of path and the sections’ shape of the pavilon are taken by the typology of the Tang imperial tombs, situated in the north area of Xi’an city. 10
imago: Tomb of Princess Yongtai, section + Ming DInasty Great Wall Dun Tai, plan
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spiral museum plan +1,4m 12
urban village - spiral museum connection
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digging to compose the space 14
spiral museum sections
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Xia Jiazhaung urban village renovation
All’interno dell’eterogenea e caotica area di progetto della Small Wild Goose Pagoda, a sud-est è presente anche un urban village. Gli urban village sono degli agglomerati residenziali autocostruiti molto simili a slums o favelas e sono un fenomeno molto tradizionale in Cina, essi sono il prodotto della fagocitazione da parte della crescente metropoli cinese di piccoli villaggi che stazionavano appena fuori dal limite urbano della città cinese. Questi agglomerati iniziano a comparire con l’inizio della rivoluzione industriale all’inizio degli ’80 e per molti anni non hanno avuto una struttura legislativa che ne gestisse lo sviluppo o tanto meno l’abbattimento. All’interno di questi piccoli villaggi urbani, in pessime ed insalubri condizioni di vita, vivono studenti neo laureati in cerca di appartamenti poco costosi, famiglie di lavoratori impegnati in industrie e moltissimi lavoratori illegali che non avendo il passaporto urbano non potrebbero ottenere un contratto di residenza e fuggono in questi settori residenziali proprio perché il controllo da parte delle autorità è ridotto al minimo. La mia tesi e il progetto propongono un modello riutilizzabile per riqualificare gli urban village, mantenendone la ricchezza culturale e la tradizionalità sia negli spazi che nel tipo di utenti: i “villagers”. Ciò che rende ricco questo fenomeno sono proprio i suoi abitanti, ora come ora, per riqualificare un urban village il governo cinese decide di abbattere l’intero settore, sfollarne gli abitanti e costruire torri per uffici da 30 piani. Con la mia proposta voglio dimostrare, che tenendo un tipo di costruzione “low-rider” ad alta densità con una integrazione commerciale, posso mantenere gli abitanti dell’urban village, creando un settore commerciale funzionante, sostenibile e che conferisca un’identità ad una parte della città.
Inside the heterogeneous and chaotic Small Wild Goose Pagoda area, in the south-east side, there’s the Xia Jiazhaung village, an Urban Village. The urban villages are a mostly residential sector very similar to favelas or slums and they’re a very traditional phenomenon in China, they’re the result of the chinese city sprawling, that, during the 80’s, started to “eat” the small agricultural villages all around the old walled city. Is in fact during the chinese industrial revolution, that these kind of self-built residential sectors start to appear all around the productive sectors or next to the big transportation infrastructures. The urban villages remained completely unruled for a lot of years, only 10 years ago some municipalities in China started to think about how to deal with them or, basically, to regulate their demolition and the “relocation” of the inhabitants. Inside these urban village there’re different kind of users living in unhealthy and bad situations: there’re neo-graduate students looking for cheap accommodations, heavy industries workers which don’t own the legal urban passport, so they find a shelter inside the urban village and of course also a lot of families of street sellers or workers. My thesis and the project propose a new and unknown model in China that will maintain the traditional aspects and spaces of the former urban village, trying to maintain the real source of richness of such a phenomenon: the “villagers”. I came up to the idea that in this case we cannot speak about an architectural heritage but “intangible heritage” handed down by the people. Nowadays the chinese Government renovates the urban village simply demolishing them and building 30 storeyed high office towers and randomly relocating the villagers. With my model, I want to demonstrate that a low-rider, high-density residential and commercial intervention can allow the villagers to remain, creating a working and sustainable system, maintaining the spaces richness of the former urban village, and giving a strong identity to a small part of the city. 16
imago: CHINA (Henri Cartier Bresson) + Academy of Art in Hangzhou (Wang Shu)
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Before 1979
1979
1980
Property: Individual owned Land: Collective land
Urban Grid
Property: Individual owned Land: Collective land
1980 Rural Village 1990 Urban Village
original villager Illegal build up of the former village
Urban Village
Home for the migrants
land lord Farmers to Landlord
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alleys system
Tang dinasty road / districts
traces / digging courtyard
commercial pavillons and carved public spaces
residential volumes
distributions carved in the volumes
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masterplan ground floor
urban village traces as urban furniture
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private connection
public connection
storages
commercial pavillons
student apartment
worker apartment
double apartment
house-holder apartment
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kitchens
ground floor plan
section, living the voids
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MEMBERS: 5 (Granparents, Parents, 1 Child) INCOME-Good: Renting rooms (Grand parents), Average Job (Parents) ACCOMODATION: 115 sqm, 3 Bedrooms, 2 Bathroom, Kitchen, Patio.
MEMBERS: 6 (Granparents, Parents, 2 Children) INCOME-Good: Renting rooms (Grand parents), Average Job (Parents) ACCOMODATION: 115 sqm, 3 Bedrooms, 2 Bathroom, Kitchen.
MEMBERS: 3 (Parents, Child) INCOME-Average: Street Sellers, Factory Employee, Touristic sector ACCOMODATION: 75 sqm, 2 bed rooms, kitchen
MEMBERS: 2 INCOME-Low: Street Sellers, Factory Employee, Touristic sector, Musicians, Artists, Students ACCOMODATION: 22 sqm, 1 room, kitchen, restroom
MEMBERS: 1 NUMBER OF GENERATIONS: 1 INCOME-Low: Street Sellers, Factory Employee, Touristic sector, Musicians, Artists ACCOMODATION: 10 sqm, 1 room, restroom 23
F1 plan
sections, the new alleys
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pavillons and courtyard system
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the old alley
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the new alley
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Art Prison, Favignana, YAC: competition, gold mention 2018 Favignana, Italy Marco Agosti GenuardiRuta unbuilt
Il progetto è la naturale estensione nel ciclo di vita della fortezza di S.Caterina. Come un nuovo muro difensivo, il progetto include l’edificio presistente e contiene tutte le nuove funzioni. Il nuovo edificio si articola su due livelli, uno pubblico, composto da una serie di camere espositive connesse da un percorso che ricorda il fossato della fortezza e uno privato, che ospita le residenze, gli spazi produttivi e meditativi di due artisti. Il vocabolario e la spazialità del progetto sono campionati da quelli della fortezza, mantenere una simile progressione degli spazi tra i due edifici è l’obiettivo principale. Grazie all’impervia posizione del castello e alla sua incredibile vista sul paesaggio, la solitudine e l’ispirazione sono già presenti, l’obiettivo era scavarle fuori dalla pietra con questo progetto. La fortezza ospiterà una regolare collezione di arte “site-specific”, prodotta da artisti locali. Abbiamo pensato che per avere qualcosa di più profondo di un normale museo, l’arte dovesse essere lo strumento di rigenerazione principale. Queste opere porteranno alla luce i segreti nascosti di questo incredibile edificio. L’essenza della storia di Favignana è scavata nei muri di pietra di questa fortezza e si possono leggere, speriamo che un giorno sarà possibile leggere il resto della storia sui nostri nuovi muri di tufo.
The design is a natural extension in the lifecycle of the S.Caterina Fortress. Like a new defensive wall, the project enclose the old structure and contains all the new functions. The new building works on two different levels, a public one composed by a series of exhibition rooms connected by a “castle moat like” path, and a more private one, that hosts two artists, their living, meditative and production spaces. The project vocabulary and spatiality are sampled by the ones of the castle, maintaining a similar sequence of spaces between the new building and the old one is a crucial task. Thanks to the harsh position of the castle and the incredible view on Favignana and on the Mediterranean Sea, solitude and inspiration are already present, the goal was to dig them out from the stone with this design. The fortress will host a regular collection of site-specific artworks made by local artists, we thought that in order to have something deeper than a simple museum, art should be the main tool to restore the castle. This specific artworks will enhance the hidden secrets of this amazing building, in order to show them to the visitors. The essence and the history of Favignana is curved inside the stone walls of this castle, and it’s possible to read them. We hope that, one day, the visitors will be able to read the rest of the story also on our new tufo wall. 28
imago: Casa no tempo (Aires Mateus) + Mediterraneo (F. Fontana)
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evolution of the walls
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the wall
the castle spaces
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atelier section
p0 plan, the moat like path 32
atelier and meditation rooms
main entrance to the new fortress
p-1, sampling the fortress space 33
embracing the fortress
a new path
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“Mediterraneo”
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a built free choice Porto Academy _ 2017 2017 Marcio Kogan unbuilt
Durante lo studio tenuto dall’architetto Marcio Kogan (MK27), ci è stato chiesto di progettare un’ipotetica dimora per un personaggio del film “Persona” di Ingmar Bergman. Il titolo del progetto è “Una scelta costruita”, perchè a volte le scelte devono essere prese nei posti giusti. Il testo che segue è uns descrizione “poetica” chiesta da Kogan per descrivere le nostre intenzioni progettuali. La casa è per un ragazzo della mia età, età dove le indecisioni e le scelte oscurano la mente con una nebbia d’ansia. Il giovane committente, una volta puro e aperto alle persone dopo corrotto e misogeno, deve decidere se vivere in mezzo alla società o ritirarsi in solitudine. E’ Gregoji Pecorin con una scelta. La casa deve esseere sull’acqua, lontana da tutti, un isola su un’isola, difficile da raggiungere e difficile da lasciare. Ci saranno due parti, una convenzionale e una eccezionale. La prima è un immagine di luce, apertura, comodità e vita convenzionale, questa parte si rivolge alla spiggia dell’isola come muta osservatrice della società. La seconda è massa, è pietra e una grotta cieca con solo due aperture, una sul tetto e una rivolta verso il mare infinito. La casa è una dicotomia costruita, è schizofrenia e atarassia, luce ed ombra, leggerezza e pesantezza, e la possibilità formale di prendere una decisione.
During the studio hold by the architect Marcio Kogan (MK27) we were asked to design an hypothetic house for the one character of the movie “Persona” by Ingmar Bergman. The house name is “A built free choice”, because, sometimes, choices must be taken in the right places. The following text is a “poetic” description asked by Kogan to describe our design intentions. The house, is for a guy of my age, when indecisions and choices darken our mind with a fog of anxiety. The young commitment, once pure and open to the people and later on corrupted and misogynist, has to take a decision about living or not living in society. He is Gregoji Pecorin with a chance. The house must be on the water, away from everything, an island in the island, difficult to reach, difficult to escape. There’ll be two parts, a conventional part and an exceptional part. The first one is the image of light, opening, comfort and conventional life style, it faces the island as a mute observer on society. The second one it’s mass, it’s stone, a blind cave, with only two openings, one on the roof and the other on the infinity of the see. The house is the built idea of dichotomy, it’s schizofrenia and ataraxy, light and shadows, lightness and heaviness, it’s the formal possibility to take a decision. 36
imago: “Persona”, Ingmar Bergman
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collocation and plan
view from the sea
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sections main room
sections bed room
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conventional space: living room
unconventional space: the grotto
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“nostalgia”
“meditations”
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Hiding and Unveiling Pamukkale Landscape Observatory Competition 2017 Pamukkale, Turkey Michele Marini unbuilt
There’re two different parts in this design, one that shows it self with elegance and strength and the other one is hiding inside the mountain. The tower is the figurative will of the travertino stone to come out again, breaking the layer of white stone, the cave has only one entrance from the side of the big path on the mountain, and another one is on the roof. This two face of the design are volumetrically completely different and they have also different aims. This project is a landscape observatory, but it’s also a new important access to the ancient city of Hierapolis. I chose a tower first of all, to give the possibility to watch the “cotton mountain” from a special point of view, but also to allow a new view on the other important part of this area: the archeological area of Hierapolis. Second of all, in the ancient time, the Domitian Gate of this city was attached to a very tall tower, that worked as a landmark and as a protective structure, and so, as in the past, a new tower will mark the entrance to Hierapolis. I decided to locate the project at the end of the already existing path, to sign the end of something and the beginning of something else, to stress the idea of a new entrance. The other part of the building contains the conferen-
ce room and a small working area, and to enter this space, everyone must pass trough the big domed-roof hall. For this other part I wanted to recall the massiveness and the monumentality of the spaces inside the ancient building in Hierapolis, but without ruining the amazing white stone wall. I started to subtract volumes that had dimension, shapes and proportion that recall these buildings. The only exception is the entrance, that is visible in the “facade” and it’s inspired by the big vaults of the Thermal Bath of Hierapolis. From this big hall, the visitor will directly access to the roof-top using a big stair observable from the main entrance. The roof of the building is the new observatory, and it has a 180° wide on the entire valley without obstruction. In order to not ruin the view, instead of having handrails, I used some small pools to block the passage to the visitors, or to invite them to watch the valley directly from the water. The pools are disposed in this to enhance the only entrance to the tower on the west side of the platform. This is the building, a double-faced entity, completely different in shapes and spatiality. Monumentality is the only theme that keeps together this two sides, because I think it is what Pamukkale and Hierapolis need and deserve. 42
imago: travertino stone / Pamukkale detail
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Pamukkale design area
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design plan
designing the voids, axonometry scheme
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conference room and entrance hall
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entrance hall and vertical connections
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the tower on the valley
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view from the roof-top
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guest house in Afife workshop 2013 Afife , Portugal Prof. Marco Borsotti Prof. Davide Galletta unbuilt
Il tema del workshop da cui nasce questo progetto consisteva nella progettazione di una guest house di supporto a ville progettate da grandi archietti portoghesi in Portogallo. Ogni gruppo partecipante al workshop ha dovuto cimentarsi con ville di architetti diversi, aventi linguaggi, scale e contesti diversi, creando in questo modo una serie di molteplici temi compositivi sul tema dell’addizione e della reinterpretazione del costruito. Nel nostro caso la villa di riferimento è casa ad Afife, progettata da Nuno Brandão Costa ad Afife, edificio che presenta una grande attenzione alla scala rurale del sito, una semplice chiarezza volumetrica con ampie aperture atte ad osservare il paesaggio. Volendo mantenere la ponderata scala della presistenza, l’addizione progettata da noi mantiene la stessa grandezza dell’edificio di supporto alla villa. La volumetria lapidaria della guest house è rotta solamente dalla canna fumaria del camino, gli spazi interni sono regolati dalla presenza di un unico volume, posto al centro, contenente i servizi igenici e la cucina, in questo modo i percorsi gestiscono la posizione della ampie vetrate che si aprono sul paesaggio.
The theme of this workshop was the design of a guest house as a support for different pre-existing villas, designed by great portoguese architects in Portugal. Every group in the workshop had to face the different aspects and the different states of minds of these portuguese architects, we had to study and understand different languages, scales and very different contexts, creating in this way a series of compositional themes about the relationship with the built environment and the addiction. In our case the reference was “casa ad Afife” by Nuno Brandão Costa ad Afife, house that focuses a lot on the relationship with the landscape and its rural scale, characterised by a simple composition of volumes, with big openings towards the valley. We wanted to maintain the ponderate scale of the pre-existing house, so we kept the same measure of the garage of Casa in Afife. The lapidary volume of the guest house is broken only by the chimney, the inner spaces are organized around a unique central volume, that contains the rest room, the shower and the wardrobe, in order to leave as free as possible the passages, the furniture are thought in relation with the openings, overlooking the valley and creating a sight connection with the pre-existing house. 50
imago: House in Ajuda (Aires Mateus) + House in Afife (Nuno BrandĂŁo Costa)
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roof maquette
ground floor maquette
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guest house addition
guest house ground floor plan
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west view
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south-west view
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section A-A’
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section B-B’
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imago : a tool for thinking “imago” are concepts and themes transfigured in images. “The images are explanations, metaphors, foundations, memories and intentions. They are poetic and philosophical avowals. They reveal a personal perspective on thoughts. They show the roots of architecture and expectations concerning projects. Conscious and unconscious.” (Valerio Olgiati)
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“The cathedral not dominating the city� Karl Friedrich Schinkel + Shanghai Tower
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“A treshold for S.Jerome (# 1)” “St Jerome in his Study”, Antonello da Messina + Hanhzhou Collage of Arts, Wang Shu
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“Vertical port” “Beach scene”, Jan Henrik Weissenbruch + De Rotterdam, OMA
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“Imago spei” “Hadleigh Castle”, John Constable + Bruder Klaus Field Chapel, Peter Zumthor
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“The white stair” “The white wall”, Giovanni Fattori + House of the photographer, Carlos Ferrater
“An istitution should have no shape” “Piazza Loggia, Brescia”, Antonio Tagliaferri + Sines Center of Arts, Aires Mateus Associados 64
“Create a background” “Pretini”, Mario Giacomelli + Philharmonic Hall Szeczecin, Barozzi Veiga
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reference letters 2018
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June-14 Meyer-GrohbrĂźgge & Chermayeff www.june-14.com Karl-Liebknecht Strasse 11, 10178 Berlin +49 30 53791450
Berlin, January 2nd 2019 To Whom it May Concern, I am very pleased to write a letter of recommendation for Michele Marini. Michele has interned in our firm from February to April 2018. During that time he has worked on a variety of projects such as the design phase of the gallery renovation Meyer Riegger, a competition for Horizn Studios and a study for a new exhibition hall in Leipzig. His responsibilities were : -developing ideas and options in the first design stages -creating presentation drawings and models Michele fulfilled all those responsibilities with commitment and to our greatest satisfaction. In this way he has been both able to understand our existing aims as well as take our projects in unforeseen directions. His thoughts were much appreciated and his contribution to the office was wonderful for all concerned. Michele has the ability to go beyond what is asked of him. He is wiling and very eager to learn new things. He is reliable, focused and, most importantly enjoys his work, which made it a pleasure every day to have him in the office. Simply, she will perform very well when faced with any architectural or planning challenge while bringing creativity to any situation. With this letter it is my sincere hope that he receives any and all possible support in his future endeavors. Don’t hesitate to contact our office should you wish to speak further about Michele. Sincerely,
Johanna Meyer-GrohbrĂźgge, Dipl. Ing ETH Achitektin
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! arch. francesco menegatti via panisperna 237 00184 M+39 393 4354646 T+39 0697273280 docente presso la scuola civile di architettura politecnico di milano
Roma 5 dicembre 2018
Recommendation letter to Michele Marini To whom it might concern, I strongly recommend Michele Marini as he is applying for a working position in your office. As Professor in Politecnico di Milano in the ABC dept., I followed Michele for the Design Studio III (third year), that he successfully completed, and I’ve asked him to be my teaching assistant during the following 3 years. Michele is passionate, very hard-working and he has the desire to reach high level of learning and he is able to elaborate a personal view concerning the project process. He always try to understand the others and to help them to develop their architectural ideas, without imposing his point of view. At the same time, he's curious and he always wants to push his level of knowledge upon his limit, learning fast and always practicing what he had learned. He can produce high level drawings of any kind with innovative point of view. His attitude is to seek a continuous update into the contemporary architecture discussion. I can ensure that Michele is gonna always work seriously, his adaptability will allow you to give him every sort of task. At the same time he’s going to bring a nice human impact in your working environment. I wish to Michele all the best and it is my hope that you’ll consider his application. For any information, please feel free to contact me. Sincerely, Prof. Franscesco Menegatti
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