Portfolio 2020 - Riccardo Gialloreto

ARCHITECTURE Riccardo Gialloreto

AA 2014 / 2019

/

P

O

A

R

T

F

A

O

L

I

E O

Tel. +39 3271363285

PERSONAL INFORMATION

Crafting

Riccardo Gialloreto

Address

Via Ognissanti 17, Chieti (CH), Italy

Telephone

+39 3271363285

Email

riccardo.gialloreto@hotmail.it

Nationality

Italian

Date of birth

19/10/1994

EDUCATIONAL EXPERIENCE

HOBBIES

Drawing

Name

Music

TECHNICAL SKILLS

Cinema

Travel

Photography

High School

Liceo Classico G.B. Vico

Comics Academy

Accademia del Fumetto

University

Politecnico di Milano

Autocad

Adobe After Effects

Workshop

LANGUAGES ITA ENG ESP

Budapest (Hungary) Jul - 2017

Madrid (Spain) Mar - 2018

Urban Promo Junior

Rhinocheros

Microsoft Office

Hello Wood Project Village

Athens Program

Sketchup Pro

Revit

Milan (MI) - 2013/2019

WORK FOREIGN EXPERIENCE

Adobe Indesign

Cinema 4D

Pescara (PE) - 2010/2011 http://www.scuoladelfumetto.net

bachelor degree 106/110 master degree 110/110

Adobe Illsutrator Adobe Photoshop

Chieti (CH) - 2007/2012

Milan Accessibility Research

Work / Internship

Consalez Rossi AA Milan (Italy) Feb / Mar - 2016

Ensamble Studio Madrid (Spain) Sept / Feb - 2018

Triennale di Milano Milan (Italy) Apr / Jul - 2019

OMA

Rotterdam (Netherland) Nov / May - 2019/20

Rotterdam, June 12, 2020 To Whom It May Concern

Re: LETTER OF RECOMMENDATION | Riccardo Gialloreto It is my pleasure to write this letter of recommendation for Riccardo Gialloreto. Riccardo worked as an intern at OMA from November 12, 2019 until May 11, 2020. Throughout this period, he performed his tasks with exceptional competence and in a professional manner.

Riccardo worked on a number of projects during his internship, including a high-rise building in Cyprus, the Feyenoord Stadium, the Moskow-Tretyakov and the HIA Airport project.

During his time at OMA, Riccardo showed an ability to work under pressure and a willingness to put in the hours, whilst always maintaining a positive attitude and dedication to producing work of a high standard. Riccardo is a creative and talented designer with sensitivities to the building form, the color and the materiality. He managed to gain a comprehensive and critical understanding of the complex design issues presented in the projects. He worked on a variety of complex projects and he gave a very well-presented responses. Riccardo is a fast learner who really engaged with his team and the high demands of a project. He has a positive team spirit he is a good team player and he has a collaborative personality.

During his internship at OMA, Riccardo had the opportunity to use and further develop his knowledge of crafting and physical model making techniques. He has the ability to understand the complexity of the 3-Dimensional space, and he is comfortable on addressing spatial and architectural responses.

He worked in a range of different design mediums, such as sketch collages, architectural models, CAD drawings, and conceptual diagrams. He further proved his skills in the quality of the work he produced whilst working with design software such as (AutoCAD, Rhino, Illustrator, InDesign and Photoshop).

Riccardo is a motivated and positive individual, who is dedicated to his work. He is capable of integrating design requirements into a final design proposal in an elegant and sensitive manner. Riccardo was always professional in his work and interaction with others. He performed his tasks with accuracy and consistency.

It was a pleasure to have Riccardo as part of the OMA team in Rotterdam. His dedication and passion for his work made his an appreciated member of the team. I can recommend Riccardo without reservation.

Yours sincerely, OMA

Sabina Stanescu Senior HR Manager Office for Metropolitan Architecture (O.M.A.) Stedebouw B.V. Weena Zuid 158 3012 NC Rotterdam - The Netherlands t +31 10 243 8200 - f +31 10 243 8202 office@oma.com - www.oma.com

P R E S E N E TAT I O N

Architecture is constantly evolving, following the shape of the cities through the ages. Is an interdisciplinary entity, essential for the evolution of the society. Is the link between people and space, not just fisically.

Architecture is “relation” in different kind of ways. Not just tangible, especially today that topics like instantaneousness, iperconnession and ubiquity are at stake. Today there’s no certanty, no rules, no principles, just contradictions. Everything vanish in a blink!

Architecture has always had to adapt to the “spirit of the age”, even if it seems like a Zeitgeist doesn’t exist anymore. Sincet he beginning architecture needed to keep up with progress.

Nowadays, that our work environment is overloaded, it has to deal with digitalization more than anything!

I actually have more an artistic point of view than a techincal one. But what I learned is that an architect has always to be aware. That’s why I tried to focus on my wickness rather than my strenghts.

I devoted myself to learn more about construction techniques, considering that I come from a totally different environment. I learned and I acquired experience in wooden, steel and concrete constructions, because I know that I have to learn as much as I can to be extremely flexible to different contexts.

I’ll always be a creative person, so I’ll never forget that architects need imagination first of all. We have to look forward an imagine of the world that doesn’t exist yet.

But on the other hand I think we must not forget our craftwork heritage and we have to think about the feasibility of our ideas.

Considering the level that technologies has reached, there’s no limits. We just have to imagine.

I

N

D

E

X

-

HELLO WOOD

-

m!

W O R K / A C A D E M I C

ENSAMBLE FABRIKA - PETRIFIED RIVER

Ensamble Fabrica is a factory project that the studio will use as production center of prototypes and prefab elements designed and realized through automation systems. The building consists in two lines of 13 pillars that hold up 13 trusses.

The construction process is quite simple: a dry assemblation of steel profiles used as container to pour concrete inside after placing a rebars reinforcement. Each truss lifted and connected, step by step, by two cranes with a system of beams to support the structure until the pouring up on the ceiling.

The River is a project that follows a series of land-art works started with Structures of Landscape, a project in Fishtail, MT, United States.

The concept consists in the emulation of the river path, coming from the mountain and ending in the lake. Three blocks of reinforced concrete represent those three elements (mountain, river, lake) just placed in balance one to another.

2018/2019

year

ENSAMBLE STUDIO

/ Ensamble Fabrika

groundfloor

longitudinal section

elevation

ameanities section

factory section

Location:

Calle Alondras, 728320 Pinto, Madrid, Spain

Function:

Factory Lab Ensamble Studio HQ

/ Petrified River

Location: Cooper Hewitt Smithsonian Design Museum, 2 E 91st St New York, US (Prefabrication in Madrid) Function: Design Triennial Exhibition Nature

Smithsonian Design Museum

year

2017/2018

academic

HELLO WOOD

TEAM LEADERS: NOMAD STUDIO

The tower is one of the most important archetypes of our settlements.

It is a symbol of continuity in time and space that connects the past and the present.

Climbing the viewing tower, we can see not only the expanded Csóromfölde with its new buildings from this year, but from its top we can also glance back at Csórompuszta, the former site of Project Village.

The tower is on the axis between the current village and the manor in the distance, being located precisely at the end of the high street.

It also preserves something of the past in its construction, recalling the first phase of the community’s settlement: the shape of the top of the tower reminds us of chimneys in Csórompuszta, and wood from earlier projects that have lost their function was also used to build it.

The project’s symbolic element is reinforced by the fact that it does not just have one entrance, but you can get to the top from any of its sides.

links:

\ tecnical drawing

year

2017/2018

academic

WALICOW PROJECT - SPOLIA PROFESSORS: GUIDO MARIO MORPURGO, ANNALISA DE CURTIS

The end of the war represented the aweking from a collective nightmare for Poland. Only fragments of memories remain of a nightmare, as in Warsaw only few shreds still bear witness of the trauma of destruction.

Between the process of destruction and re-construction, these precarious fragments play an uncanny (unheimlich) role: as survivors for the former and as scraps of a fearsome memory for the latter. Today the city wishes to move on, endangering the permanence of the fragments of its past.

The project on Walicรณw 14 represents both an act of removal (verdrangung) and protection on an open wound of the city. Dialoging with the material of the former roofs, a monumental lead covering box is lowered over the ruin in order to frame and filter its perception.

The act is intended with a critic aim: while hiding most of the building, the gigantic cover puts it in relationship with the bigness of the contemporary city, which has grown meanwhile around it with no care for the scale of the former blocks.

plan

principles

covering

frame

protection

removal

the

end

of

the

war

was

like

waking

up

from

a

nightmare

/ cross section

north elevation

views

west elevation

/ longitudinal section

year

2015/2016

academic

WIREFRAME RESILIENCE PROFESSORS: CAMILLO BOTTICINI, MATTEO FACCHINELLI, PIERPAOLO DONELLI

The project is concieved as a quick and resilient response to the primary dangers that Red Hook will face in the near future: rising tides and flooding.

With balanced concern both on this natural threat that will invade certain (predictable) grounds and on an urban reality in which the already unstable structure of a neglected suburban area in New York meets the potential of gentrification, three levels of intervention redesign the city: a protective green ecosystem that acts as a sponge, a scaffolding wireframe to make up for (and even gain surplus from) the losses, and a public shoreline that implements indispensable urban qualities.

The utopian nature of this concept that creates virgin lands is made achievable, following the theorical principles of Yona Friedman and Constant Nieuwenhuys, the technological capacities of scaffolding architecture and an attentive approach that involves both public and private figures in design and actualization processes.

masterplan

/ section development

/ full section

year

2015/2016

academic

MATHARE GHETTO

PROFESSORS: CAMILLO BOTTICINI, MATTEO FACCHINELLI, PIERPAOLO DONELLI

The river represents more of a problem then a rethe settle impossible to set in the area. Being used moreover dumping and the illegal activity of alcool production, it’s also contaminated.

To regenerate the river means regenerate the slum’s identity.

Because of the problem of constructibility in this settlment where it is possible to start placing material and cultivating food. Through orchards and the banks in a good condition, in order to avoid a relapse in the initial conditions.

A complex system of elevated gangways and connections between the buildings aim to guarantee a

The aim of the project is to set up an economic system of autoproduction and autoconstruction that allow the project to grow up alone just with a small initial capital investment.

brick obtained mixing a little amount of concrete textile products obtained recycling plastic bags plastic bottles filled with garbage, used as bricks

13.1 +3.00

+6.00

5.0 23.0

+0.00

23.4

north elevation +6.00

5.0

31.2

9.6

+3.00

14.0

9.5

5.0 25.0

pianta livello 2 1:200

ground floor

/ full section

/ facade details

western facade

year

2019/2020

academic

NEXT STADIUM TUTOR: PAOLA PLEBA - DAVIDE ALLEGRI

The tesis work attempt to merge the common passion for sport with the research and design activity, setting the goal of defining a new sports infrastructure model that can answer to the contemporary and future needs of sport, its protagonists and the city: The Nxt Stadium.

The following realization, supported by constant research and numoerous contacts with scholars in the sectorm is divided into four phases.

The first examines sport and its postodern definition, with particular attention to the last thirty years, understood as socio-economical an cultural indicators of a society. Successively in analyzed the evolution of sport’s events and of the subjets involved, outlining the present and the future needs of the world of performance and the new characteristics assumed.

This is followed by a survey of the places that host sporting events, how they have evolved both in terms of users and the composition of functions, and in the relationship with the urban context. The analysis, interpretation and cataloging of the case studies, chosen on the basis of the pre-established objective and the outcomes of the previous phases, represent the methodological backbone of the project preparation work. The fourth and last phase collects the tesults of the research and merges them into a design experience, which gives form and content to the new model of sports infrastructure, paying specific attention to its components and links with the historical urban space, hypothesizing its verification in a precise context

links

concept

/ axonometric section

composizione elementi

COVER rivestimento

connessioni CONNECTIONS

STRUCTURE struttura

tribuna STAND

servizi SERVICES

0

facade design

2

4

8

/ interior view

194

plan

/ longitudinal section

/ structure detail

14 13 12 11 10 9 8 7 6 5 4 3 2 1

/ stand detail

14 13 12 11 10 9 8 7 6 5 4 3 2 1

1 structural pipe (d:15cm) 2 connection plate (thk:4cm) 3 connection pivot (d:13,5cm) 4 rotation plate (thk:11cm) 5 steel connector (thk:20cm) 6 connection plate (thk:1cm) 7 structural pipe (d:8cm) 8 bolted plate (thk:1cm) 9 circular pivot (d:10cm) 10 steel rebar (d:8cm) 11 steel connector (h:31cm) 12 connection plate (thk:1cm) 13 alveolar beam (h:50cm)

1 circular pivot (d:10cm) 2 alveolar beam (h:50cm) 3 connector (d:5cm) 4 seats-structure connection hole (d:5cm) 5 connection plate (thk:1cm) 6 prefab seats (rise:16cm; tread:20cm) 7 cover (thk:2cm) 8 structural pipe (d:8cm) 9 steel plate (thk:1cm) 10 waterproof skin (thk:1cm) 11 seat 12 connection plate (thk:1cm) 13 connection screw (d:2cm)

14 alveolar pillar (h:50cm)

14 reticular structure

/ pitch detail

natural grass soil geotextile fabric drainage mat concrete plate modulo campo

irrigation insulation steel structure

struttura portante

pistone idraulico

/ STREET VIEW

year

2018/2019

academic

THE NEW YORKER ARCHMEDIUM COMPETITION - VERTICAL CITY

New York is a city with horizontal lines but it is growing vertically with the skyscrapers. The New Yorker Tower want to be a continuos part of the city with its life and architecture, a space open to the public reality.

Opposite to the anonymous architecture of the skyscrapers that don’t take in account the context of the city, its identity, and the lifestyle, The New Yorker wants to be a specific answer for the city of New York, land where high-rise buildings. A solution for the future of the city and its vertical growing preserving its characteristics and the reality of the city blocks and their specific features.

links:

M

A

G

A

Z

I

N

E

Cristiano Gerardi Riccardo Gialloreto CONCEPT

manifesto is an independent nonprofit fanzine. Its purpose is to spread bobbling ideas on architecture.

It is meant as a loud and direct device of comunication: printed into A2 front-back papers, it is then folded into A5 format in order to be easily distributed as a flyer.

Once in our hands, unfolding it you can read the articles and then, flipping to the back, post the manifesto on the wall. find us on:

https://manifestoexclamationmark.wordpress.com

2017/2018

year

MANIFESTO - 1st ISSUE

academic

m!

year

2018/2019

academic

m!

MANIFESTO - 2nd ISSUE Cristiano Gerardi Riccardo Gialloreto MANIFESTO of “MANIFESTO!”

Designers, architects, urban planners: We need to rise!

We need to raise the volume!

it fo

ra

rch

nif

itec

tur

ep

rop

est

aga

nda

o!

Mi 22 lano pr Jun ic e: e 18 1 co in

#2!

But under this mask, is is there, as Loos argued, the possibility to build

even architecture loses substance to go parallel

our inner self?

architect of early XX

or a means of artistic

Then an adequate context is necessary for this relational construct to

to release self psychic

from the ancient greek theáomai meaning “to see, the guiding principle is the act of being a spectator to a scene or

it from ego, to overlook it

of such an archaic and complicated anthropic mechanism? The birth of tragedy offers to us the

Necessity of reasoning on

the modern individual

can happen, but also every designed and built space,

separation of the exterior from the interior; that of societal life from

is the playhouse for the

the case of his buildings

physical shape made of streets and monuments,

and blank facades hide a complex and splendid interior, a mask against collectivity is necessary to protect one’s intimacy and thus to build an identity of oneself, like a

give form to the stage and houses face the scene as a cavea: architecture is the narrative structure for both the interpreters and the audience of the human

4! one, no one or one hundred thousand?

meeting and sharing place necessity of aggregation into account, in order for meaning to be conveyed and shared; the square cannot be replaced by a virtual

We all consider the theatre

connection, such as television and tele-phone (tele = distant), on the one hand

a certain performance is

physical space— make the

Necessity of reasoning on

it from ego, to overlook it

of such an archaic and complicated anthropic mechanism? The birth of tragedy offers to us the

Then an adequate context is necessary for this relational construct to

to release self psychic

possibility to understand the founding idea: through a sense of collective catharsis, social gathering around the mise-en-scene of fundamental behaviours

our inner self?

the guiding principle is the act of being a spectator to a scene or is there, as Loos argued, the possibility to build

or a means of artistic

from the ancient greek theáomai meaning “to see, even architecture loses substance to go parallel

Livia G,

Livia G, Eren G,

But under this mask, is

at least listen to ourselves?

4! article: one, no one or one hundred thousand?

Mi 22 lano pr Jun ic e: e 18 1 co in

solipsistic mutiny from reality: in self-imposed

of the performance: meaning

curators: Cristiano G,

2! editorial: city is theatre

#2!

1! here are contents people, thus dissolving the idea of community in favour

o!

distancing and annihilating

nda

The delivery of meanings is made difficult by

est

”

1! contents

contributors:

cast instability and undermine the coexistence based on confrontation

over our heads; let’s manifest our theatricality on the public stage, in order to head together

rop

space and persona mirror

on the communication, therefore public space

ep

Since XX century the

Manifesto! insists on the importance of architecture

Let’s demolish the pyramid

2! editorial: city is theatre

so it is reduced to a

3! manifesto:

control over the spectacle space: it gives structure

protagonists, it is necessary to reappropriate the urban context, as the very stage for the play

of personal life not only by the mass media, of

seen as something that resides in the body of

the protagonists and our

intimacy? Debate remains

all this is an unsettling conclusion: if every time the individuals are treated based on the momentary impressions they give, every act of communication becomes one

With a provocative attitude manifesto! decides to denounce the incommunicability: it is our aim to convey a message and the message in itself is the necessity

tur

life in society becomes a

social conventions in

for the process of creating

nif

that everyone can easily relate to: each and every one of us can identify themselves as the audience

When one’s play is put into question, the subtle social system maintained by the disciplined social interactions and even the personality of the actor

ma

spectator interact in order

different individuals, a hundred thousand, depending on the context and on the

by the sociologist Erving Goffmann in the late ‘50s: every social situation could be considered an act

Pirandello had intuited:

one continuous act of a theatrical performance?

aga

Society and its issues are evolving and growing fastly!

possibility to understand the founding idea: through a sense of collective catharsis, social gathering around the mise-en-scene of fundamental behaviours

itec

Privacy and Publicity, she considers the practice of

different individuals, a hundred thousand, depending on the context and on the

of the performance: meaning

rch

in evidence the aim of modern architecture to be displayed more than

2! editorial: city is theatre

ra

of representation,

of personal life not only by the mass media, of

it fo

Considering buildings

intimacy? Debate remains Pirandello had intuited:

ch

mise-en-scene: one’s problem becomes then that of playing a convincing

let’s stop talking about ceramic tiles and purity of form!

Let’s stop talking to ourselves!

We must spread the awareness on how space influences us!

We must assert the importance of design for the sake of democracy in our society!

ch

atta

“

ma

atta

M

O

D

E

L

S

E

N

D

m! riccardo.gialloreto@mail.polimi.it