riccardo vide
ARCH. PORTFOLIO
reduced
The purpose of this portfolio is showing the main works elaborated during my academic years in Aalborg and Milan. The term on the left is referring to the contents of this portfolio, i.e. reduced to their essence to give you a glance of the final product.
viking kirken project of a church in Norway specialisation: tectonics / acoustics
tree globe + tiny house project of two cabins in the woods of Denmark specialisation: sustainability / technical drawing
make your home project of suburban housing in Denmark specialisation: urban + architectural design
house 1 + hĂłspedaria project of a guest house in Portugal specialisation: interior + architectural design
new arts’ accademia project of an academy of fine arts in Italy specialisation: structural + architectural design
academic 1 • viking kirken
viking kirken 1. area of intervention
2. highlighting the hills
MSc in Technology | Architecture MSc 02 ARC TEC Aalborg University with the cooperation of: Adam Szczepanik-Dzikowski Christian Schmidt Gundersen Luca Russo Ålesund | Norway
3. main axis
4. plaza as access point ← concept development → masterplan ↘ night view of the community building
5. merging languages
6. program division
7. directionality
8. feelings/connections
9. inner & outer path
10. light influence
11. roof languages
12. nature as fence
the vision CHURCH 1.
The project revolves on the idea of recreating a Viking village, the archetype of natural cosiness and feeling of tradition. The atmosphere and the charm of this site should create a sense of equality and increase the perception of being part of a community. That feeling is going to be achieved by creating common spaces, placed all on the same level, working with the landscape and creating both emerging sanctuaries and caves. The idea will be less about experiencing a “Path to God” and more about “Being Together”.
CHAPEL 2. COMMUNITY 3.
Therefore the location was treated by making as little changes as possible. Keeping everything as it is and just introducing the significant bodies in the area, i.e. the church, the chapel and the community building. The three volumes are composed in a manner that creates semi-enclosed spaces in the open air. Their shapes and materiality want to reflect the customs and rugged style of the inhabitants of these lands. The medium-size central plaza can be easily associated with a gathering place the core of each village. The whole complex aim to create a dialogue between the spaces reserved for the community and the sacred ones. They face each other while being adjacent to the central plaza, located on the central axis. The church itself is orient towards the south with a view opening towards the fjord. Its shape and the fact that it is embedded in the ground make it resemble a Viking Era’s boathouse.
3.
2.
1.
academic 1 • viking kirken
church form-finding
70 x 350 mm
80 x 350 mm
100 x 350 mm
The structural form of the church follows the constraints dictated by the plan and by the conceptual idea of romanticising the Viking hut. The geometry thus responds to the need of creating a ridged, concave, oblong shape with a strong directionality and a focal point where the altar is located. This is obtained through two portions of a shell culminating in a wedge that interrupts the continuity of the weaved motif letting filtered sun rays penetrate in the space. The Zollinger three dimensional frame has been chosen for its capacity to cover large spans, for the textural qualities of its elements on a large scale and the visual and executive simplicity of the joints compared to other lamella systems. Differing from the original patented system is the non-standard dimension of the wooden planks, to accommodate the non-uniform, synclastic double curvature. Furthermore, the width of the lamellas varies according to the different densities of the pattern in the structure. On a smaller scale, for the connection of the crosspoints, a multiple bolted joint was opted out against the original single bolt connection, to improve the flexural rigidity of the nodes. ↗ section model (church)
30 msec
→ view of the constructive system ↖ thickness of the roof elements (church) ← sound diffusion analysis The acoustic analysis, on the other side, was fundamental to understand the most performant shape to attribute to the church's roof. The design choice was born from various iterations of different configurations of the roof on both longitudinal and transversal section, producing nine models. Although churches should reflect both on speech and musical properties, characterised by different reverberation requirements, the main focus of this church was on speech intelligibility from a specific sound source, the priest.
280 msec
The importance of the word as a tool to reach people's mind and heart was a specific point of the vision of our church. Therefore the analysis was oriented toward higher clarity and the better intelligibility, showing that the structural language chose and the acoustic one were both pretty aligned with the design intentions.
academic 2 • tree globe
A
tree globe B
B A
MSc in Technology | Architecture MSc 01 ARC SUS Aalborg University Vodskov | Denmark
B
B
A
section A - A
section B - B
A
the vision The area of Pebermosen was supposed to be the perfect ground for the realisation of a cabin in the woods, designed to be a temporary retreat from the chaotic urban life. The client, in this case, was a fashion designer, a workaholic that needs her own space to find new ideas for her job. The request was for a quiet working space to make her latest outfits, with a unique design and with a sort of modern urban taste.
1
2
3
4
5
6
7
8
↗ site area without vegetation → daylight factor analysis ↘ energy consumption ↖ technical plan at 8,70 m from ground level (left) & technical plan at 6 m from ground level (right)
WORKING AREA 5,1%
← energy provision scheme ↙ technical sections The atelier created, called “tree globe”, was indeed taking inspiration from the forest that is surrounded by and become a sort of landmark for the passengers visiting the lake.
The access to the cabin starts from climbing the stairs to reach a trap door, located under the working table. The furniture was studied to use every inch of space available, using sliders to shift elements that can enlarge/reduce the room size. The working space becomes the core (living room and dining room) of the building, transforming a simple dwelling into a real office in the woods. The construction is divided into three ideal areas: the space for working (reminds the city dimension with a modern language), the terrace (a space for enjoying nature while she still wants to be at home) and the context (which can offer her cues for making her new collections).
JAN
JUL
DEC
JAN
JUL
DEC
8.2
CONSUMPTION [kWh/m2 yr.]
The construction develops detached from the ground to remind a tree. The staircase, the element of connection between the house and the steep terrain, is the trunk while the sphere is the crown.
5.1
0
Heating consumption = 33,3 kWh/m² yr Cooling consumption = 14,6 kWh/m² yr* *neglectable with natural ventilation strategy 33,3 kWh/m² yr < 62,7 kWh/m² yr (class 2015) It was not possible with the software to convert the heat produced by a natural fireplace into Watts but, if we assume an efficiency of 1000 W/hour and the use is 6 hours/day, the heating consumption is 16,7 kWh/m2 yr (< 25 kWh/m² yr - class 2020 for offices).
academic 2 â&#x20AC;˘ tiny house
B
tiny house A
A MSc in Technology | Architecture MSc 01 ARC SUS Aalborg University B
Vodskov | Denmark
B A
A
B
section A - A
1.
1.
2.
section B - B
2.
the vision The project for the tiny house was a reflection on a different design, creating the possibility for an individual to use a house all year long, instead of being just temporary. The project was inspired by the new small-house movement and reflection on creating a livable space with minimal dimensions (GFA 46 m2). The client, in this case, was a writer, with fewer needs than the previous one. The position of the house on the topography was searched to create a direct view of the lake.
1
2
3
4
5
The inspiration for the construction was born from the idea of a hut, the most primitive standard of construction, elaborated to reach the best energy standards for nowadays buildings (class 2020).
6
7
8
WORKING AREA 4,6%
↗ site area → daylight factor analysis ↘ energy consumption ↖ ground floor plan (left) & first floor plan (right) ← sections and constructive details (see sections) CONSUMPTION [kWh/m2 yr.]
↓ indoor / outdoor view (materiality)
6.1
3.7
0
JAN
JUL
DEC
Heating consumption = 29,9 kWh/m² yr Cooling consumption = 9,6 kWh/m² yr* *neglectable with natural ventilation strategy 29,9 kWh/m² yr < 55 kWh/m² yr (class 2015) With the same considerations of before, regarding the fireplace, the heating consumption is 19,7 kWh/m2 yr (< 20 kWh/m² yr - class 2020 for dwellings).
INTERIOR
EXTERIOR
academic 3 • make your home
1
2
3
5
6
7
4
8
9
10 11
12
1 2 1 3 2 4 3 4
make your home MSc in Technology | Architecture MSc 01 ARC SUS Aalborg University
1 2 3 4
1 2 3 4
with the cooperation of: Alja Cevc Magnus Dalsgaard Smith Hung Dao Jonas Philippon
1 2
Ålborg | Denmark
3 4
← vision concept - craddle to craddle design 1 2 3 4
→ focus on the variation of the plan asset (as the family evolves, the floorplan changes too) ↘ urban facade (personalisation of material choice)
1. 1 2 3 4
2.
3. 1 2 3 4
4.
5.
1 2 3 4
1 2
the vision 1. The main focus of every project should always be on the user - meeting their unique needs and wishes while creating an overall rich multisensory experience, suited to the human scale. Through an integrated design process, the aim was to elevate the qualities of the site and, by taking into consideration contemporary living trends, create a safe neighbourhood that offers different levels of privacy and encourages a strong sense of community. Essentially, bringing the much desired suburban qualities into the city. One of the typical suburban qualities that people look for in their future homes is the ability to customise the initial plans, change the disposition of rooms and expand their homes if needed. Additionally, there are a lot of different types of families with different needs and wishes. When designing plans, the goal was to incorporate these findings by making plans that are very flexible and allow for a lot of varying room dispositions. Within the limits of the construction system, floorplan solutions with only three fixed elements (one loadbearing wall where the two prefabricated elements are attached, the stairs and the technical vent) were proposed. The future residents should be able to choose their preferred solution from a kind of catalogue of possibilities and further alter the disposition as their needs change.
the new family settles, the couple stay downstairs
2. a new baby arrive, transform office into a bedroom
3. another baby comes, furniture divide the kids rooms
4. kids grow, rooms are divided by walls, new office is create
5. some members leave, as walls
academic 3 • make your home
1. urban courtyard
2. noise considerations
3. splitting in row houses
4. suburban fragmentation
urban composition The urban plan draws inspiration from an urban courtyard structure but is transformed to create a more informal suburban character, closer to the human scale. Daylight and wind considerations were taken into account when placing the buildings and the pitched roof has opted as the symbol of home and personal connection to a building. Towards the road on the north, small residential blocks are placed, to house affordable accommodation, while still giving the residents access to quality outdoor spaces with a suburban character. With taller buildings, more urban typologies and public spaces are spread in the site. ← designing concept ↓ activities map
5. human scale & home image
↘ urban plan → main tipology - plans and section ↗ ..urban model (playground area)
6. group formation
The ground floors of the apartment blocks provide space for public activities such as a small gym and a workshop for the residents, a communal dining room, space for co-working and a small shop. The principal public building is thought to be home to a library and host all 7. access to road manner of cultural activities. and stream
8. densification
9. sun & wind considerations
10. merging the roof language
Besides, the townhouses are group into five clusters in connection with different outdoor activity areas. There is a sports area, a floral zone, an outdoor gathering area, a playground space for the children and urban orchards.
GF
1F
2F
academic 4 â&#x20AC;˘ house 1
house 1 BSc in Architectural Design Interior Design Studio Politecnico di Milano architect: Claudio Vilarinho Irivo em Penafiel | Portugal
the vision This project aimed to portray a study and analysis of an existing residential architecture located in Portugal. “House 1” is what we call the main house, an architecture designed by Claudio Vilarinho, a Portuguese architect, and located in a town not too far from Oporto. ↗ eastern and southern facade of the construction → northern facade and roof of the construction ↘ plan composition ↓ spatial zone division ↖ ground floor plan + main house plan ↙ section and masterplan The architect’s idea was a prominent white volume that rested on a continuous grass carpet but characterised by six different facades. The building is located on a hill and follows the movement of the ground. Suddenly, this volume leans up, detaching from the soil and projecting itself to the valley. The operation was meant to be the least invasive as possible: the flooring was made with a simple concrete sheet, to allow the growth of grass, and the construction took place around a tree, preexisting on the site. The tree spot represents both the “negative” of the building (i.e. the empty area) and the primary access to the house. A parking lot was, consequently, provided in the space below the projection of the body. Finally, the windows were designed with a distinct logic, i.e. create large openings to the horizon so that the sun could produce a charming atmosphere inside. That’s why the South and West Facades are open while the others are completely closed. private public
connective secondary
private
academic 4 โ ข hรณspedaria
hรณspedaria BSc in Architectural Design Interior Design Studio Politecnico di Milano with the cooperation of: Davide Cattaneo Giovanni Degli Uberti Irivo em Penafiel | Portugal
the vision By deducting the logics at the base of the original construction, it was decided how to realise its guest house (hóspedaria, in Portuguese). The request was to create a small independent house, designed to host temporarily one or two people. ↗ render (view from the west) → model ↘ plans alignments with facades (est and west) + space zone division ↖ ground floor plan + main house and guest house plans ↙ section and masterplan While the main house soars into the sky, the “hóspedaria” stay well anchored to the ground, responding to the projection of the chief construction with another inclination. The house location is determined by the continuation of the path that starts from the heart of the original house: a long staircase surrounded by two high walls leads the visitor at the entrance of the construction. This path goes on, inside the house, passing through the large glass diaphragm, to search outside a privileged point of view towards the surrounding landscape. The entrance leads to the living area, a large room that revolves around a central island. If on one side it serves as a cooking spot, on the other has the fireplace, which looks at the seats recreated by digging the external wall. The opposite side of the residence presents the sleeping area, which seeks its privacy by using glass elements placed strategically to diffuse the light while keeping the privacy of the guests. Along the central axis, we have not just the toilets but, principally, the terrace, the real element of connection between the two areas. This terrace, characterised by projecting with its horizontal plane onto the valley, is allowing the visitor to search for new viewpoints.
conn. public
second.
private
academic 5 • new arts’ accademia
new arts’ accademia BSc in Architectural Design Architectural Design Studio 3 Politecnico di Milano with the cooperation of: Elisa Gobbi Frattini Mara Capobianco Milano - Scalo Farini | Italy ↗ site area (model) → three-towers group (model) ↘ structural model (without ateliers) ← complex renders + cross section
the vision The problem of overcrowding in the existing Brera Academy in Milan has led to the idea of recreating an additional campus for teaching fine arts, placing it close to one of the significant interchange point of the city Porta Garibaldi. The concept was to connect the historical importance of the city with a new sense of modernity. The realisation takes shape as a sort of castle, developing in height and requiring a special cantilever plate, made to cover a wide architectural span. In the area, there was the presence of two other buildings, transformed as administrative offices and museum. Because these two are connected to the functions of the complex, paths and corridors were created to easily link them with the Ateliers, squarish rooms designed to create works soon to be exposed. The intervention on the existing buildings didn't want to change their structure or their language. A similar logic was used to approach the design of the Academy. With a series of modelled walls, the construction rises from the ground, and the preexistent roof of the train station gain new importance, becoming the main entrance of the complex.
academic 5 • new arts’ accademia
classes & theaters The study started from a single classroom, an element that repeated and arranged in different ways recreates a tower. The best solution for the classroom was the round shape. With its circular form, it allows a total vision of the space, making extremely functional the reproduction of both paintings and sculptures. In each of these rooms, uniformly spreading the light was essential, allowing the artists to have both a clear vision of space and employ great chiaroscuro's effects in their works. To do that, we carved a series of inclined skylights in the covering, seeping the light and letting it spread in a uniform and nondirect way. On the other side, each workroom is different: flat ones, step ones and, also, small ones, used mainly to store materials. Along the corridors, used to connect three towers, linear models of classrooms are create for frontal-learning lessons. ↗ longitudinal section (focus on ateliers and plate) → plans of academy and museum ↘ transversal section (focus on experimental theaters) ↖ three-towers section ← three-towers plan (quote + 24.00 m) ↙ three-towers plan (quote + 41.00 m) The peculiarity of this Academy is the presence of two experimental theatres. The first one is inserted inside a large sheet, wedged between the arms of the Academy, and includes a series of movable platforms and seats that allows not only to form a single front theatre, but also a series of smaller stages (180° visibility). The second theatre, however, is located outside, above the sheet. It's organised according to a classical model, with a central stage and semicircular tiers, covered by a very modern tensile structure.
section A-A
B
plan + 0 m
B
plan + 9 m A
A
A
A B
B
B
plan + 24 m
B
plan + 41 m A
A
A
A B
section B-B
B
note
Most of the projects illustrated here are a work of cooperation with other students. Nevertheless, the vast majority of the illustrations in this portfolio are of my own production. Hรณspedaria & New Arts' Accademia were two projects involved in two exhibitons (MICRO Strategies Portugal & Progetti per Brera).
på forhånd tak
(+45) 50378150 riccardo.vide.dk@gmail.com