Architecture Portfolio
Matteo Pelagatti
Table of Contents
4-5 CURRICULUM VITAE
2010 - collage: oil on canvas and printed picture - orginal dimensions: 30x40 cm 2010 - oil on canvas - original dimensions: 70x70 cm
ings where exposed at the „Estroverso“ exhibition in Milan, march 2012.
16
7-13 REFURBISHEMENT
15-19 CONCEPTUAL WORK
Alpine Museum
Parallax Series
Munich 2015 Prof. Nagler
Melbourne 2014 Prof. Woods
SELECTED WORKS
21-25 ONE TO ONE
27-31 DETAILING
Pavilion for Tanzania
Sustainable Row House
Munich 2013 Prof. Eversmann
Munich 2012 Prof. Musso
33-37 ARTS Visual Arts Architecture Sketches Paintings
OTHER WORKS
platzsituation | sporthalle mit integriertem u_bahnausgang
allee | geschaeftsstrasse und kleine plaetze
roofscapes | dachbegruenung und grillzonen
URBANISM
TIMBER CONSTRUCTION
VACANT SITE
Roofscapes
Family House & Atelier
Fritz Koenig Museum
Munich 2013 Prof. Michaeli
Munich 2012 Prof. Kaufmann
Munich 2011 Prof. Nagler
Curriculum Vitae Name
Matteo Pelagatti
Birthdate
8. September 1992
Nationality
Italian
Adress
via Moscova 46/9a, 20121 Milano, Italy
pelagattimatteo@gmail.com
Education September 2005May 2011
German School of Milan (DSM), Milan, Italy main subjects: mathematics, physics, arts, languages
October 2011August 2015
Bachelor of Arts in Architecture at Techical University of Munich (TUM), Munich, Germany
February 2014February 2015
Exchange Program at University of Melbourne (UoM), Melbourne, Australia
Internships March 2012
Chapman Taylor Architetti, Milan, Italy Architecture Office
March 2013
Anyway, Milan, Italy Communication and Design Agency
January 2015February 2015
SiblingNation, Melbourne, Australia Architecture Office
Languages
Italian - native speaker
French - B1 basic
German - C1 fluent
Spanish - A2 basic
English - C2 fluent
Programs
Technical Drawing (Autodesk - AutoCAD)
3D-Modeling (Rhinoceros)
Image Editing (Photoshop )
Rendering (Vray Rhino, Cinema 4D)
Layouting & Diagrams (Illustrator, InDesign)
Microsoft Office (Excell, Word)
Other Skills Arts
Handdrawing - Tutor of architectural sketch-drawings at TUM in 2012 Painting - exhibited at Estroverso in March 2012, Milan Acting - theatre courses at Teatro Libero, Milan 2010 - 2011 Music - guitar, self-taught
Communication
Internationality - great adaptation at multicultural environments developped through summer camps, language courses and exchange studies Teaching and Leading - founder and director of school journal IlChiodo and drawing tutor at chair for Architectural Design and Conception at TUM
Sports
swimming, soccer, climbing, skiing, surfing, athletics
Pubblications
works publicated in Logbook Munich, Munich 2015; Ortstermin Burghausen – Der doppelte Blick, Munich 2015; JahrBuch 2013, Munich 2013
Others
Drivers Licence B
Refurbishement Alpine Museum
individual work - Bachelor Thesis | Professor Nagler | Technical University of Munich | SS 2015 The Alpine Museum counts to those smaller size, niche-topic museums, which are gradually disappearing from the cities and are though particularly soothing in the nowadays vibrating museum scene. The former “Cafè Isarlust” is distinguished by its clear freestanding and symmetric volume and by its location on the Praterinsel, an island on the Isar river in Munich.
During the second world war the building burned down completly. After 1945 it has been rebuilt in a very simplified style, which matched the Architecture of that time. The original clarity of the buildings structure got lost. Following interventions transformed the interior life of the building more and more into an incomprehensible labyrinth, which now needs a new order. The task is to rethink the spatial organisation of the House of Alpinism in Munich. The main facilities of the building are the exhibition spaces, the offices of the German Alpine Club (DAV), the library with its archive and the depot. The building should mantain its character.
STRATEGIE INNEN: ursprüngliche Ordnung, Großzügigkeit und Charakter des Gebäudes wiede > 1. klare Nutzungseinteilung > 2. Ausrichtung des Gebäudes Westen-Osten (mit Auswirkungen auf Eingang, horizontale > 3. introvertierte Westfassade / Öffnung der Ostfassade zum Garten 1.
2.
3.
Erschließung/Empfang STRATEGIE INNEN: ursprüngliche Ordnung, Großzügigkeit und Charakter des Gebäudes wiederherstellen Nutzungsräume > 1. klare Nutzungseinteilung > 2. Ausrichtung des Gebäudes Westen-Osten (mit Auswirkungen auf Eingang, horizontale und vertikale Erschließung) Cafe > 3. introvertierte Westfassade / Öffnung der Ostfassade zum Garten Veranstaltung Museum
1.
Keller 1909
2.
3.
Erschließung/Empfang e Ordnung, Großzügigkeit und Charakter des Gebäudes wiederherstellen Nutzungsräume
0 10 (mit 30 Auswirkungen 70 m auf Eingang, horizontale und vertikale Erschließung) esten-Osten Cafe 50 Öffnung der Ostfassade zum Garten EG 1887 Veranstaltung Museum
EG 1909
Keller 1909
2.
3.
Site Plan Hauptachsen
Zwischengeschoss 1887
Zwischengeschoss 1909
kleinere Öffnungen / eindeutige Eingänge
EG 1887
EG 1909
Zwischengeschoss 1887
Zwischengeschoss 1909
Keller 1909
1.OG 1887 Hauptachsen
1.OG 1909
Unterteilung in 3 Schiffen
Studies of Existing Structure kleinere Öffnungen / eindeutige Eingänge
house. The load-bearing structure results in four main axes which divide the floors into three main naves. EG 1909 Using this given configuration, every facility was assigned to In addition to a new interior order, a spatial extension of the zum Gartenqualities. durch Offenheit und Terrassierung Alpinism House is needed, due to its increased facilities. the space with the most Bezug adequate Hauptachsen Unterteilung in 3 Schiffen 1.OG 1887 1.OG 1909 Considering the peculiar location of the Museum and its The entrance, now clearly set on the west side of the house, geschoss 1909 previous proportions, the more logical decision was that to add leads to a foyer which functions as a distribution room. The one level to the building. This would not only improve the urban cafè and the function room are situated at the ground level in role and visibility of the Alpine Museum, but also preserve the double height ceiling spaces, opening up to the garden. Arsecular trees on the plot. chive, library, offices and museum are all located on a different The new organisation of the different facilites is the direct levels, connected by a representative stair placed in the bay window on the east side. consequence of studies based on the orginal structure of the Bezug zum Garten durch Offenheit und Terrassierung DESIGN
1.OG 1909
Unterteilung in 3 Schiffen
Basement - Archive,Sanitaries
Ground Floor - Cafè,Function Room
1.Floor - Library
2.Floor - Offices
3.Floor - Museum
Section A-A
Section C-C
Section B-B
Ground Floor Plan - Foyer, Cafè, Function Room 0
1
2
3
7m
5
Front Elevation 0
3
7m
Cross-Section - Archive, Function Room, Offices, Museum 0
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2
3
7m
5
North Elevation 0
3
7m
View of the Exhibition Rooms Model Picture
Parallax - Conceptual Studio
shift, respond to, reject or co-exist within different ‘backgrounds’ (sites)? How do the museums exist as a Series – assemblages of Difference and Repetition which communicate the ‘brand’ of the collective museums internationally?
Studio 8: Gift to the City thinks past the dominant ‘white-wall’ art gallery model to consider what art galleries and art museums can be? STUDIO 8 promotes experimental, speculative and gestural architectures / non-architectures that disrupt museum typology and signal museum futures.
Phase 1: Design: 5 galleries for 5 artworks. Each artist will be interviewed by the students during the first part of the semester. One quote of the interview should than be used as concept driver for the gallery design.
Gift to the City III PARALLAX will explore the theme of Parallax via asking each student to develop a single research theme which is investigated over separate sites worldwide (of your choice). How does the ‘object’ (the research theme) mutate,
Phase 2: Design 5 (small, medium or large) privately owned “Art Museums” to ‘house’ each gallery anywhere in the world. One out of three given curators interviews has be chosen as a concept driver to develop an own research topic. The thesis should base on rules which apply to every designed museum.
individual work | Prof. Woods | University of Melbourne | WS 2014
Roboter Crab-Projector
Construction Diagram
Melting Diagram
DESIGN Artist Liam Gillick talking about the structure and location an artwork is exhibited in : “ WELL, AND I ALWAYS THOUGHT: I WILL PRETEND IT IS THERE !” The artworks of Liam Gillick are always strictly related to the location they’re exposed in, dealing with its history and partic-
ular over-structures. This methodology permits him “to work in possibly every location, but always in relation to that location”. “Margin Time” was as well created for a specific context which gives the artwork its strength and meaning. Projecting the video into a vanishing ice-wall and moreover into a gallery which will completely disappear is a way to create a NON-LOCATION: the only place where a site specific work could be exhibited.
section AA 1:100 section AA 1:100
A A
A A
B B
B B plan 1:100 plan 1:100 Gallerie Gillick Gallerie Gillick
Sections and Elevations
talking about the structure in which an artwork is exhibited talking about the structure in which an artwork is exhibited
0 4 10 14 m "well "well and and II always always thought: thought: II will will pretend pretend it's it's there" there"
Axonometry - Artworks Placing
Conceptual Diagram
DESIGN AVAF | Eli Sudbrack : “ THIS IS WHAT THE SHOW IS ABOUT. I MEAN “BIG BANG” IS LIKE THE SYMBOL OF RESISTENCE. AN IDENTITY THAT MAY BE LOST “ This particular artwork of AVAF deals with the topic of resistance. In particular the artist focuses on the city of SaoPaulo
which is constantly changing and “eating itself”, distroying and losing traditions and identity. The GREY LAGOON which the visitor needs to wade without drowning is a metaphor for the self-destroying-modern cities-mentality, which can only be saved by art and history. The atmosphere conveys the sense of nostalgia and casts positive light on the “ruin”.
Sections and Elevations 0
4
10
14 m
Tree House Study Pavilion
teamwork with Felix Kremp | Professor Eversmann | Technical University of Munich | WS 2013/14 The task is to design study pavilions for the Kibwigwa Students Center. The projects are freestanding, openly accessible structures, giving the children (ages 10-16) the opportunity to study and meet between classes. The pavilions provide privacy for
free study, providing simple protection against sun,wind and rain. Bamboo, a local material, is used for the project. Planned as innovative structure, diverse spatial effects and moods are created, while its simple structure allows to be easily constructed on site. Bamboo is a material with relatively small cross sections; larger forms may incur from the smaller-scale multiplication of elements. The project’s goal is to realize detailed designs. The concepts are studied based on prototypes.
Construction Sequence
DESIGN
The project is composed of two overlaying roofs, creating a set of intertwined spaces on different levels. The ground level offers a more conventional study space with desks and AUSSENANSICHT LERNPAVLLIONNUTZUNG chairs, whereas the upper level is seen as an individual reading space. The inclined structure serves as seating as well as a staircase seamlessly connecting the upper and lower rooms. Screens of weaved bamboo elements between the structure 942.8 280.0
662.7
and the roof create a diffuse lighting, ideal for concentrated studying. The spatial richness is achieved by simple means: The frames can be fabricated out of the same geometry, with repeating angles, where only lengths of the bamboo canes can vary. The angles of the two roofs (35째 and 50째) are chosen to permit a thatched roof construction, which is a cheap local material. The Fish-mouth joints are only used at 90-degree angles. The roofs widely cantilever, ensuring the protection of the structural bamboo members.
Detail Section 0
0,25
0,5
0,75
1,25
1,75 m
Sections and Elevations 0
1
2
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7m
entrance sit entranc
top view of top view of uppe
Row House - Detailing
teamwork Felix Kremp, Luc Morroni, Gilles Dostert | Prof. Musso | Technical University of Munich | WS 2012/13 The task is to design a house with particular focus on the aspects of materiality and sustainability, achieved through an intensive analysis and development of details at a smaller scale. The brief is to design a home for a young working couple.
As well as usual private areas like sleeping room, living room, kitchen and bathroom, particular semi-public working spaces have to be designed. The young couple, working as professional photographers and architects, needs a dark room in the basement, a big atelier room and a computer working station. The challenge therefore is to design a building which combines a public and a private character, keeping a clear distinction in order to be both able to receive clients and ensure privacy where needed.
Plans 0
1
2
DESIGN The building develops vertically from a more public character on the ground level up to a more private character. The atelier and the office are kept on the ground level in order to be easily accessed by the clients without crossing private rooms. On the first level a very open space includes a kitchen, eating and living area, whereas the bedroom and bathroom are situated
3
5
7m
on the last level. This privacy differentiation is reflected in the front faรงade by the openings which become smaller in the upper levels. The whole building is orientated towards the more quite and green area in the back. For this reason the biggest openings and all the outside areas are situated on the back side of the house. The double bending of the back faรงade improves the usability of the terraces avoiding too narrow spaces and be
Facade Section and Front Elevation 0
0,5
comes at the same time an aesthetical mark of the house. The split levels permit to create optimized spaces for different activities and at the same time ensure the view to the back garden from every angle of the house. Higher spaces are provided where creative work has to be accomplished, like in the atelier; smaller cozier rooms are created for example for the bedroom. The materiality is based on the mixed use of concrete and wood. The contrast between inside and outside
1,25
1,75 m
is strengthened by the darker timber used in the inside as floor finishing and the brighter timber panels used on the faรงade, keeping an elegant, reduced, amount of materials. Thermal insulation which wraps the whole building, a water pump using thermal energy from the ground and solar panels on the roof permit the house to be totally sustainable and reach the standards of a passive house.
Detailing 0
0,1
0,2
0,3
0,5
0,7 m
detailing design studio| teamproject with Felix Kremp, Luc Morron
view from terrac
view fr
at
“floating chairs”, Burghausen 2013
Arts | Sketches | Paintings VISUAL ART | “FLOATING CHAIRS” | EXKURSION BURGHAUSEN 2013 “A ball of chairs slowly spins, almost meditative, hanging from a steel cable in the Heiligkreuz church. The sculptur turns the saints-figures on eye level into spectators. The floating chairs bundle the energy of the hystoric and secluded place.” Der Doppelte Blick, Munich 2015
ARCHITECTURAL SKETCHES As much as differnt writing styles, each person has its very personal way to draw a line. Sketching is therefore a subjective interpretation and reproduction of the reality. The quick reproduction of a place with its particular atmosphere relies in a fast recognition of what’s the genius loci. Sketching is not just a drawing excercise but rather my way to train my observation and analysis skills. PAINTING It has been my passion since I’m little. That’s how I can the best express myself. There is no sophisticated message, nor aim. It is just my sensations through colour and lines.
Europe, Rotring, architectural sketches
paintings
Milan 2010, oil on canvas, original dimensions: 70x70 cm exposed at „Estroverso“, march 2012.
Milan, watercolor, architectural sketch
top: 2010 - collage: oil on canvas and printed picture - orginal dimensions: 30x40 cm Milan 2010, oil on canvas and photo collage, orginal dimensions: 30x40 cm left: 2010 - oil on canvas - original dimensions: 70x70 cm exposed at „Estroverso“, march 2012.
both paintings where exposed at the „Estroverso“ exhibition in Milan, march 2012.
the end.