MARIA BONACINA portfolio
MARIA BONACINAportfolio
MASTER DEGREE IN ARCHITECTUREPolitecnico di Milano, Scuola di architettura e Societ, 110 L /110Degree Final Project : Frammenti Urbani. Larchitettura dello spazio pubblico in tre interventi a So Paulo, per una riappropriazione del Centro tra socialit, memoria e nuove identit.
INTERSHIPAquiliAlberg, Milanoin particolare aiuto nella progettazione di vetrine per negozi e appartamenti,apprendimento del programma Rhinoceros e Vray
INTERSHIPLabora Arquitetura, So Paulo, Brasilaiuto alla progettazione di interni, in particolare di appartamenti o edici scolastici e religiosi
COLABORATIONarch. Elisabetta De Gasperi, Milanocostruizione del modello 3d di appartamenti e renderizzazione attraverso luso di Rhinoceros e Vray
COLABORATIONarch. Alessandro Fergola, Genovamodellazione di un allestimento allinterno del Palazzo Rosso a Genova con Rhinoceros e Photoshop
DESIGN COMPETITIONstudent competition for an House of Music in Wien, Austria
BACHELOR DEGREE IN ARCHITECTUREPolitecnico di Milano, Scuola di architettura e Societ, 95 /110Degree Final Thesys: Eterotopia?reference professor: prof. arch. Antonella Contin
CLASSICAL STUDIES HIGHSCHOOL DIPLOMALiceo Ginnasio Statale Giovanni Berchet, Milano
Master Degree Final Project developed from set. 2013 to dec 2013 in So Paulo at FAU - USP with the professor Fabio Mariz. Reference Professor at the Politecnico: prof. arch. Emilio Faroldi
PARTECIPATION TO THE EXTRA - EU EXCHANGE PROGRAMMEUniversidade de Sao Paulo, Faculdade de Arquitetura e Urbanismo, Sao Paulo, Brasil
date of birth: 26 May 1989
place of birth: Milan
nationality: italian
address: via San Luca 10, Milano
tel: +393335917612 (ita), +41787788239 (ch)
mail: [email protected]
MARIA BONACINA
WORK EXPERIENCE
EDUCATION
march 2011- may 2011
sept. 2013- dec. 2013
set. 2011- may 2014
jan. 2014 - apr. 2014
oct. 2010- feb 2011
sept. 2011- april 2014
oct. 2008- sept. 2011
july 2008
july 2012- july 2013
WORK AT ABCPolitecnico di Milanosurveying and drawing in autocad of the historical building, Palozzotto Borbonico in Naples
april 2014
ITALIAN
Ai
ENGLISH
PORTOGUESE
FRENCH
PHOTOS ARTSMOVIES BOOKSTRAVEL
SOFTWARE: Windows, Mac
Others : Word, Excel, PowerPoint
LANGUAGES
extra curricular professional experience
skills
INFORMATIC SKILLS INTERESTS
SPANISH
Ps Id
CAD Rhino
Jan. 2007 formulation of questionnaires for Barchemicals
Aug. 2009 voluntary work in a heartquake camp at Sassa, near LAquila
Aug. 2008- 09- 12 exhibition arranger for Rimini Fair
Aug.- Sept. 2010 work as au pair in New York
Feb. 2011 promoter for Gierre Company
2009- 2012 Voluntary experience helping study at Cooperativa dei ori, Milano
May 2013- July 2013 private italian teacher in So Paolo, Brasile
Dec. 2013 waitress in catering.
Jan. 2011
sept. 2010 - July 2012
October 2014
hostess for Universit Cattolica di Milano
leader scout
publication of the thesys Urban Fragments
mother language
written: good TOEFL 82/120talk: goodwritten: very goodtalk: very goodwritten: goodtalk: elementary
written: elementarytalk: elementary
I like to travel and to spend time abroad, in addiction to the Extra- EU Exchange Programme and the Final Thesis in So Paulo, in 2004 I attended for a two week period the languague school in Bournemouth, England and in 2011 I spent one month in New York. During the university I organised with other fellow students an architectural four day trip in Barcelona in 2010 and in Switzerland in 2011, supported by the Politecnico di Milano.
Excellent skills to work in a team, even international, fained during the university period in project teams in the designs studios, and espercially during the exchange program and for the Final Project Thesis ( with two colleagues).
Vray
POLITECNICO DI MILANOSCHOOL OF ARCHITECTURE
1st year
3rd year
4th year
September. 28. 2011
April. 28. 2014
Contemporary art MuseumDesign Studio Iprof: arch. Giovanni Denti
Masterplan and Social HousingDesign Studio IVprof: arch. Caputo
Conservation of Palazzo DugnaniConservation Design Studio IIprof: arch. Manfredi, arch. Di Biase
House of Music
Bachelor Degree 95/110
Design Studio IIIprof: arch. Vincenza Lima
Scienze dellArchitettura, Facolt di Architettura e Societ, Politecnico di Milanothesys:Heterotopiaprof. arch. Antonella Contin
2008
5th year Social Housing and ServicesDesign Studio Vprof: arch. Angelo Bucci
Faculdade de Arquitetura e Urbanismo, Universidade de
So Paulo, Brasil
Master Degree 110L/110Progettazione Architettonica, Scuola di Architettura e Societ, Politecnico di MilanoThesys: URBAN FRAGMENTS
Housing and multicultural centerAtelier Verticalprof: arch. Claudio Braga
Public SquareLandscape Design Studioprof: arch. Silvio Machedo, arch. Fabio Mariz
LinksHistory of Brazilian Artprof: Maria Ceilia Floureno
URBAN FRAGMENTS
Our research discusses and involves the re qualication of the public spaces of the Historic Center of So Paulo, Brasil. The Center, place of foundation of the city and once one of the most rich and beautiful parts of So Paulo, is nowadays semi-abandoned and suffers social and architectonic decline.Nevertheless, the area presents several potentialities, attests a rich historical memory, it is well- served by public transport and it offers a large range of cultural and public services. Among the several attempts to give back his life to the Center, we decided to work on the public space, creating places where it is possible to rediscover the memory and the identity of the Center, and where it is suggested a new sociality. We rst analyzed eleven squares of the area, in order to understand the major problems and resources, and hence we developed three urban strategies which discuss the quality of the public space and of the curtain of surrounding buildings that dene them. We rst applied the strategies to a system composed by the Vale de Anhangaba, the heart of the public space, and three squares directly connected to him. We dened the guidelines of the masterplan, proposing the insertion of new volumes and functions, discussing routes, arborization, and the use of water.Then we projected three squares, Largo do Paissand, Largo So Bento, e Largo So Francisco, trying to read the context and to strengthen his present functions by adding a built part which offers public services. Our projects involve the public spaces and they try to apply the method of composition of landscape learntin the university of So Paulo.
35.385
59.4033
2.198.096
2.781.446
8.493.226
*
1881
1882-1929
1930-1949
1949-1962
7.634 ab./km2
7.055 ab./km2
12.180 ab./km2
12.463 ab./km2
4.640 ab./km2
4.105.795
ZONA EST
1.926.224
1.028.775
ZONA OVEST
331.986
CENTRO
FAU USP
MASP
ACAYABAS HOUSE
3 503 859
SUD14%
22%
1.149 RS
27%
12%
1.286 RS
7% 24% 688 RS
favelas
laureati
reddito pro capite
analfabeti
CENTRO
PAULISTA
FARIA LIMA
BARBERINI
1963-1985
25% 16% 1.436 RS
10%
767 RS
22%
ZONA NORD
ANALISI CENTRO ANALISI 11 PIAZZE MASTERPLAN LE 3 PIAZZE
fau usp
polimi
SETT
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13
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APR
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2014
Marcos Acayaba
Angelo BucciFabio Mariz
Ubiratan Silva
50m 100m 200m
500 m
500 m
500 m
500 m
500 m
500 m
500 m
500 m
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SANTA CCILIA
TERMINAL AMARAL
TERMINAL CORREIO
TERMINAL PRINCESA ISABEL
TERMINALBANDEIRA
TERMINALPARQUE D.PEDRO
ESTAOJULIO PRESTES
ESTAODA LUZ
ANHANGABAU
SO BENTO
S
REPBLICA
PEDRO II
LUZ
LUZ
LIBERDADE
ESDAAAD
personeentrano in centroogni giorno
4,18 km2
0,29 km2
supercie del centro
spazi pubblici e strade pedonali
698.160
URBAN VOIDS ANALYSIS
1881 1910 2014
1 ANHANGABA
LARGO DA MEMRIA
JOS GASPAR
S
SO FRANCISCO
PATRIARCA
PATODO COLGIO
SO BENTO
PAISSAND
AROUCHE
REPBLICA
1
6
5
3
94
2
8
7
10
11
The rst phase of the research concerned the analysis of the principals public spaces of the Center. We tried to understand the tipologies of the spaces, different from our european standars.We mapped the squares, the parks, the pedestrian ways but also the empty spaces in the urban tracade or abandoned buildings that one day would be part of a requalication. Than we analised 11 squares, by making a geometric survey and trying to live their spaces, to understand their use and their frequentation. This work was very useful to understand the general qualities and the critics of the public space of the Center, giving us the instruments to elaborate some urban strategies to solve them.
STRATEGIES APPLICATION
[ TRACKERS ]
[ GALERIA OLIDO ]
[ GALERIA DO ROCK ]
[ TEATRO MUNICIPAL ]
[ PRAA DAS ARTES ]
[ CENTRO CULTURALDOS CORREIOS ]
[ MONSTEIRO DE SO BENTO ]
[ EDIFICIO BANESPA ]
[ EDIFCIO MARTINELLI ]
[ESCOLAALVARES PENTEADO ]
[ CATEDRAL DA S ]
[ CENTRO CULTURAL BANCO DO BRASIL ]
[ PATO DO COLGIO ]
[ IGREJA DE SO ANTONIO ]
[FACULDADE DE DIREITO ]
[ IGREJA E CONVENTO DE SO FRANCISCO ]
[SHOPPING LIGHT]
[GALRIA PRESTES MAIA]
[SCUOLA DI DANZA DEL TEATRO]
[UNIESP]
[ PONTO CHIC ]
[ ALBERGUE ]
[ IGREJA DE NOSSA SENHORA DO ROSARIO ][ CENTRO CULTURAL AFRO-BRASILEIRO ]
[ CAF/ RISTORANTE ]
[ CAF/ RISTORANTE ]
[ OSTELLO ANAHANGABA ]
[ URBAN CENTER ]
[ INFO POINT ]
[ CINEMA ALLAPERTO ]
RICUCIRE ISOLATO
RIEMPIRE VOLUMETRIA
OSMOSI FUNZIONALE
A
B
C
EXPO CORREIOEXPO APERTOEXPO APERTO
Concept of the projcet
ristorante
blocco attrezzato
spazi espositivie atelier
circolazione
piazza Urban Center
biglietteria
Concept of the projcet
ristorante
blocco attrezzato
spazi espositivie atelierp
circolazione
piazza Urban Center
biglietteria
LARGO SO BENTO
LARGO SO FRANCISCO
GROUND FLOOR
RUA
SO
BEN
TO
C
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755.20
756
752.20
750.0
754.00750.00
753.50
756.20
754.60
754.0
753.00
753.9
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750.50 751.30 752.50
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FIRST FLOOR
2, 4, 6 FLOOR
3, 5, 7 FLOOR
EIGHTH FLOOR
restaurant
room andcommon spaces
room andcommon spaces
receptionofficescommon space
AVENIDA SO
JOO
RUA C
APIT
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O
BECO
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PIOLIM
LARGO DO PAISSAND
LARGO PAISSAND
739.53
737.53
740.05
738.54738.80
738.80
738.80
738.80
736.71736.71
A
B
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738.80738.8738.8038.8738.8738.8738.80738.80738.80738838.838 83 8738 808038 803838 880
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1
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4
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BASEMENT FLOOR
736.71
738.80
743.30
759.7
LIGAES
an exhibition project for the Pinacoteca do Estado of So Paulo
.ABSTRACT
A proposta da exposio nasceu de um interesse pelas obras vi-stas na Pinacoteca do Estado de So Paulo, com o desejo de entender a fundo o que carateriza e constitui a pintura brasileira no nal do sculo XIX, relacionando-a aos movimentos desen-volvidos na Europa no mesmo perodo, qual o Impressionismo e o Pontilhismo. A nossa pesquisa comeou no momento da primeira visita Pinacoteca, quando olhando as pinturas brasi-leiras nos voltavam memria as pinturas de Monet, Van Gogh, Czanne, e do outro lado se tornava evidente como tinha algu-mas peculiaridades que no podiam ser encontradas em outro lugar, em quanto a tcnica, cor e luz e elementos representados. desses trs aspectos que veio a idia de uma exposio que pudesse mostr-los explicitamente, para ver as influencias e os destaques da arte brasileira desse perodo. Junto com essa reflexo, sempre nos interessou entender os pon-tos de contatos entre esses dois continentes, vendo como os pin-tores brasileiros pintavam a Europa e vice-versa. Para enfrentar essas temticas nos decidimos usar as obras do acervo da Pinacoteca e acabamos escolhendo trs artistas que tem entre as maiores quantidade de obras expostas na Pinaco-teca e que nos parecem os mais signicativos do perodo: Eliseu Visconti, Pedro Alexandrino e Almeida Junior. A escolha de Almeida Junior foi o que guiou o trabalho desde o comeo, porque permite de enfrentar a temtica de um jeito completo, e foi o primeiro que nos marcou para sua grande ca-pacidade de evocar valores, costumes, elementos que no po-dem ser encontrados na Europa. Em seguida escolhemos Eliseu Visconti, pela sua vizinhana pintura europeia e pela sua origem italiana, nossa ptria, para poder entender como a tcnica que ele aprende na Europa pode se desenvolver no panorama brasileiro e como ele pinta um ou outro ambiente. Enm seleccionmos Pedro Alexandrino, para poder refletir tam-bm sobre o gnero da natureza morta e para mostrar um arti-sta que viveu sempre dividido entre o Brasil e a Frana. Desenvolvemos ento um percurso transversal entre os trs arti-stas, enfrentando a pintura deles luz das trs temticas explici-tadas em cima: tcnica, luz e cor e elementos. Alm do percurso transversal, que se destaca ento da clssica diviso das exposies segundo os gneros, escolhemos apro-fundar um aspecto da exposio atravs do gnero da paisa-gem. Essa sesso particular foi concebida depois do grande impacto que teve a viso de um quadro de paisagem de Almeida Junior, que nos marcou muito para sua originalidade e unicidade. En-tendemos ento que era com esse gnero que nos podamos entender como o pintor pinta a sua prpria terra (neste caso, o Brasil) e como um pintor de fora pinta a mesma. Decidimos, ento, selecionar algumas obras de fora do Acervo da Pinacoteca, para ladear a pintura da paisagem brasileira de Almeida Junior uma paisagem brasileira pintada por um pintor italiano e uma paisagem italiana pintada por um pintor brasi-leiro.
Sucessivamente a essa fase de concepo da exposio, entra-mos no mrito das suas caratersticas e peculiaridades, em pri-meiro lugar escolhendo as obras de cada artista ser expostas. O partido da nossa exposio prope-se ser exemplicativo mais que exaustivo, considerando tambm a quantidade de obras presentes no acervo, muito grande por quanto concerne Almeida Junior e bem mais modesto por Eliseu Visconti. Por essa razo escolhemos duas obras de cada autor por cada tema.
A ultima fase do nosso trabalho foi a concepo do espao fsi-co da exposio, dos paneis, da montagem e da instalao das obras.
The idea for the project of the exhibition for the Pinacoteca do Estado of So Paulo, has grown with the interests for some artists al-ready exhibited in the Pinacoteca, represen-tative of brazilian Impressionism. Studying their attitudes, techniques and thoughts it has been possible to project an exhibition that tries to compare the three artists, reading them critically and analysing some common themes in their pantry such as colour, tecnique and elements. For each theme some signicative pain-tings have been chosen to be observed to-gether and compared.The exibition nds his place in one of the biggest rooms of the Pinacoteca, compo-sed, such as all the others of the museum, by a bigger and linear space, and by a smal-ler one that normally harbours temporary exhibitions. The rst space has been divided by tempo-rary walls, creating a linear but not straight path to discover the three themes of the exhibition. The name of the exhibition, ligaes (lia-sons), indicates not only the aim of tra-cing links between the painters, but also between the european and brazilian art of the period of the Impressionism, trying to point out similarities and differences, and to give a critical lecture by european students projecting an exhibition for a brazilian mu-seum.
TECNICA COR ELEMENTOS
THEME 1 _ TCNICA
Cena de famlia de Adolfo Augusto Pinto, 1891, 106x13, Almeida JuniorAmolao interrompida (estudo), 1893, 70x50, Almeida JuniorPaisagem (estudo) 1896, 24,5x33, Pedro AlexandrinoNatureza morta (peras e morangos), data x, 32x45, Pedro AlexandrinoA Providncia guia Cabral, 1900, 180x108, Eliseu Visconti Descanso em meu Jardim, 1938, 85x65, coleo Ronald Visconti
THEME 2 _ COR E LUZ
Paisagem fluvial, 1899, 23,5x34, Almeida JuniorEstudo para Fuga da Sagra Famlia para o Egito, 1881, 45x32, Almeida JuniorPaisagem (estudo), 1896, 30x39 , Pedro AlexandrinoFrutas e flores, 1911, 69x124 (a Parigi) Raios de sol, 1935, 81x62, coleo Leonardo Visconti CavaleiroCasa da vov, 1915, 55,3x42,5, Coleo privada, So Paulo
THEME 3 _ ELEMENTOS
1. Estudo para cabea de caipira, 1893, 58x47, Almeida JuniorSaudade, 1899, 197x101, Almeida Junior3. Bananas e metal, 1900, 98x130,5 (a Parigi), Pedro AlexandrinoCozinha na roa, 1894, 130,5x110,5 (prima di conoscere Europa), Pedro Alexandrino Maternidade, 1906, 165x200 , Eliseu ViscontiUma rua da favela, 1890, 72x41, coleo Tatiana e Afrisio Vieira Lima Filho
Cena da familiaFrutas e ores
paisagem uvialpaisagem
Saudade
Cozinha na roa Uma rua da favela
D C
F E
G
ELEMENTOS
Natureza mortaPaisagem
A Providncia Descanso em meu Jardim Fuga da Sagra Famlia
Raios de sol Maternidade
Bananas e metal Caipira
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Casa da vovo Amolao interrompida
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CONTEMPORARY PUBLIC GALLERY
Design Studio IV - Housing & services, Centro, So PauloCS@
rua s.ta Efigenia
avenida Rio Branco
SANT
A EFIG
ENIA
RIO BR
ANCO
broke the block make a public passage
structural scheme broke the housing connect with open passages
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B C
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PLANTA TERREO1:200
PLANTA PRIMEIRO ANDAR1:200
rua
s.ta
Efige
nia
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s.ta
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B C
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D
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AAven
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Rio
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FRONT Rua Santa Egenia
SECTION CC
MULTICULTURAL CENTER
Design Studio V - Housing & services, Centro, So PauloCS@
9%
8%
0.00
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MESQ
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AVENIDA
RUA
CARVALHO
VIEIRA
AV.
DE
VITRIA
JOO
RU
SO
restaurant bookshopcaf housing expo bicicletrioauditorio
broke the block make a public space
the programme
class
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9,50
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SALA DE AULA
SALA DE AULA
SALA DE AULA
ELEVATION OF THE HOUSIN INSIDE THE AREA
ATELIER VERTICAL
This project was a great occasion to work in a large number of persons. It was a vertical atelier, with students of the second, third e fourth year and a erasmus student.
The work was developed in the city center and we had to choose an abandoned area or empty area.The our group chooses an area occupied for a big parking building, a very present function in the center, near the famous and dangerous neighborhood of Cracolandia.
The program had to consisted in a residencial part, an other commercial and the last cultural.The design of the public space also helped us to create a connection between the Avenida So Joo and the Rua Vitoria, broking the block e making a public square in the middle of the project the becomes a space for living and meeting for the people of the district. At the ground floor are placed the public functions, like shops, restaurants and the exposition, that need a greater link with the city, while the access to the upper floors is restricted a cause of the housing.There are also some functions that are developed at the upper floors like the theater, the library and the class for the study. All these public functions are linked by catwalks, stairs or elevators.
5,00
9,50
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11,75
-0,50
16,00
7,25
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0,00
SECTION CC OF THE EXPOSITION
THE CITY OF TASTE AND FLAVOR
Design Studio IV - Residential and commercial masterplan, Milan, Italyfourth year - Politecnico di Milano, Prof. Paolo Caputo
2m0m
2mmmmmmm0m00m0mmmm
The public space is designed as carpet between the buildings, caracterized by different uses in order to respond as fully as possible to the expectations of residents and visitors. The Way of Taste is a really route, not only informative, but also formative with workshop and open spaces. The walking is accompanied by public islands composed by vegetation adn flowers, playground for children and relax areas. The quality of these spaces is garanted also by the sudy of the flowers and of the plants. During all the year a continue variation of colours and density is garanted so that every season is caracterized by different shades and heights of the vegetation. The sustainability of the project is ensured by the presence of commercial spaces dedicated to botany that take care of the plants.
Our project originated from a reinterpretation of the fence that today delimite the area in order to transform in a lived and livable margin containing a large green area on which different functions and activities appear.
THE WAY OF TASTE
CONCEPT OF RESIDENTIAL BUILDINGS
The park is a great green surface that accompanies the route of the visitor between the thematic clusters, starting in some historical preexistences until the Ortomercato, the most important center of the route. This at the beginning is horizontal, but in the market becames vertical, so that is possible a bautiful view of Milan.The project of the green area and of the border buildings is the resul of work on the density and the identityof the area, starting by a rigid geometry in the part near to the city grid then articulating more freely in the revival of the mesh design of the Lombardias elds.
HOUSE OF MUSIC
Design Studio III - House of music, Wien, Austriathird year - Politecnico di Milano, Prof. Vincenza Lima
The proposal contemplated the construction of a building accomodating an House of Music for Wien, becoming an important connection between the citys history and its present. The project is intended at rst to be an element that changes the perception that users have of the park and the surrounding space, creating a pleasant experience not only for the visitors, but also for the people that will take a walk in the park simply.The program included both areas for public services for the city and the park, both private spaces to teach the music, an interior auditorium and outdoor spaces for the performances.Our project born by the movement made by the ground that generates itself spaces willing to accomodate different functions: auditorium, classes and the mediateca. This building doesnt want to be hidden in the park, but belongs to it. The park is enhaced by the architecture, thanks to the value that is given to it: new spaces and new experiences are linked to the music in the city.The borders of our architecture are not limited into the walls of the House of Music, but are spread all through the park, hearth of the city. Its the most proper set to meet the contemporary classic musical culture.
0,00
+1,00
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+1,00
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+1,00
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ELEVATION TO TE RIVER
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Contemporary Art Museum
Design Studio I - Contemporary museum, Milan, ItalyLMNS@HD>I?D(DF
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The proposal of the design studio is to build a contemporary art museum in the center of Milan. The starting difculty was how to relate with the tissue densely build and with an important historical value.Startinf from the analyse of the principal guidelines of the urban tissue, we have rotated the ground floor of the building to create an access that breaks away from the great flux of Via Torino, Partendo dallanalisi delle principali direttrici del tessuto urbano, abbiamo ruotato il piano terra delledicio per creare un ingresso che si discostasse dal flusso principale di via Torino, generating an open and public space in the most interior and quiet part.The public function are located at the ground floor, to be more accessibles, while the exposition areas are developed in the other three floors.
THE GROUND FLOOR
PORTFOLIO leggerodenti leggeroPagina vuota