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a collection of projects - year #15GIULIA MARETTI
ARCH
DESI
GN
PHOTO
GRAPH
YINTE
RIORA
RT
I’m a recent graduated Master course student in Architecture at Politecnico di Milano who loves everything concerning architecture and its related fields. I strongly believe in the combination of other forms of art such as painting, sculpture, design, installation, photography and the role that architecture plays in interpreting them and the importance of comparison between different approaches. The architecture as such, must be constantly redefined and this happens only through knowledge starting from ideas and concepts, which enter into relations with other disciplines and with different ways of thinking.During my studies I tried to follow this vision, doing my Bachelor degree in Florence and the Master in Milan. The key element of my training has been the international experience at Bauhaus University of Weimar where also I discovered my interest in photography. Moreover thanks to the internship in London in an architectural practice I could combine my interest for photography and architecture.
I strongly believe in the power of images and the importance of communication from graphic representation and editing to photography. What I expect in the future is to improve my knowledge up to a remarkable level developing my attitudes towards this approach.
giulia marettiABOUT ME
100 places of Land Art 18
Market place
32
High-rise Porosity 26
Modexpo
38
Open Eyes 4
Made in Japan-40th 44
ArchitectureLandscapeExhibition
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58
50
Villa Adriana Museum-Corporate image
Cug- Corporate image
Interior Photography- V+Vinterni London
visualcommunicationphotography
Thesis Project 2015Politecnico di MilanoMaster in Architecture
5
Drachenberg is a 120 meters heigh hill, one of the few places around Berlin from which it is possible to see the city’s panorama. It is a natural site surrounded by Grunewald forest, characterised by the contact with nature, silence, isolation from the city and a 360 degree view of the horizon. All these features make it a place of introspection and connection with the natural sorrounding.Through the experience the project brings into focus the natural landscape, the view of the city, the sky and its light conditions.Its references are the great examples of archeoastronomy and their relationship with the circadian cycle of nature and the monumental/great works of contemporary artists ( James Turrell, Charles Ross) that are profoundly linked with the theme.The design of the spaces is strictly connected with the natural light and its changes through the passing of time, in this way architecture become the medium that makes the naked eye observatory work.
The design of project is based on elementary centric geometries. They are recurrent shapes that can be found in every scale of nature. Centric geometries are inside every culture and they have been used in architecture since ancient times, especially in the sacred buildings and the ones connected with the most spiritual human need. Therefore the spatial composi-tion follows a geometrical grid based on the center and the two main axis (north-south and east-west). The geometrical grid has been built following the orography of the site as well, so that it embraces and develops the volumes of the project within the volume of the hill. Eight hypogeal spaces connected by tunnels are disposed around a central element. They build up a sequence of rooms, each one of them focuses the perception on a different aspect of the natural cycle of light and nature. The sequence ends in the central pavilion that finally reconnects to the totality of the 360 degree view.
A plAcE Of MEdiTATiOn And cOnnEcTiOn wiTh nATUrE
Open eyes
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solstizio d’estate
solstizio d’inverno
equinozi
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00. Ingresso
Politecnico di Milano |Facoltà di Architettura e Società | Corso di Studi: Architecture | a.a. 2014/15 Tesi di Laurea Magistrale | Relatore: Pier Federico Mauro Caliari | Correlatore : Carolina MartinelliOcchi Aperti - un luogo di osservazione e connessione con la natura ed i suoi tempi | Aurora Destro Giulia Maretti
Sezione, esploso assonometrico, assonometriaScala 1:200
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priSM TOwEr
iniTiATiOn- 21/06 13:00iniTiATiOn- 21/06 13:00
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zen
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mer
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state
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inverno
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wEST pOOl - 21/06 20:00
wEST pOOl - 21/12 08:20GAllErY - 21/06 15:30
GAllErY - 21/06 16:30
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hOUr rOOM- 21/06 02:00
wEST pOOl - 21/06 20:00
wEST pOOl - 21/12 08:20
hOUr rOOM- 21/06 02:00
SKYBOwl
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Design Studio 2014Politecnico di Milano
II year of Master in Architecture
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The strategy is to create Land Art installations system along the existing connection networ-ks on the Frisian territory: a 25 kilometres radius park of Land Art.The focal points of the system are the 11 cities and 4 islands which are connected by the already existing networks of road, rail and water connection. The proposed 100 sites for Land Art are spread around these connection networks.The connections between the 11 cities and the 4 islands are cha-racterised by four different themes, so that one embraces a path made by installations both physically and conceptually related to each others. The main axis is made by land art in-stallations that capture green energy from nature in order to be visible by night, both from the aerial view and the more conventional land-ways. - energy, light. In the second path the land art works will establish a strong connection with the environment, so they have to be focused on the ecological aspect, by investigating the relations of organisms to one another and to their physical surroundings. - ecology, environment, organisms.A third route follows an aptitude that wants to be a gesture on the landscape, more than a mise en valeur of a biological/scientific quality of it. - entropy, ephemerality, gesture/declaration.The The forth axis is composed of installations that reformulate in the simplest way the or-ganic/inorganic materials. Therefore the starting point of the projects will be the elements of the site. - entropy, re-formulation, elements.
100 places of land ArtlEEUwArdEn 2018 - EUrOpEAn cApiTAl Of cUlTUrE
100 places of land Art
Leading axis
Concept
Herbarium ofWetland ecosystem
Purified geometries
A water purification system
Ordered geometry
Projective geometry
The project of Land Art evolves from the aim of making Leeuwarden as a WATER HUB till 2020. Therefore, a Constructed WETLAND is been introduced at the periphery of the Leeuwar-den as an aim to flourish it as same till LWD 2018. This will not only act as a land art but a connection between Humans, Flora and Fauna.The Concept of the land art uses the natural element Water as its main eccentric key to join the two nodes of the site with the help of very strong geometrical layout combined with the func-tions involved in cleaning of water through a wetland. The Ordered and Projective Geometric modules that form a wetland machine been joined visually by a leading axis acting as pedestri-an pathway.
Purified Geometry- ECOLOGY
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The Labyrint of the traveller - dEclArATiOn
<200 m
The Labyrinthof the
Travellerthe path depends upon everyone’s choicesthe time depends upon everyone’s choices
it values the free will
Renassance ‘smulticursal labyrinth
geometrical plan drawing with multiple choices
One’s pathindividual choice
the traveller needs to find his own guideline
Elements/archetypes:episodes
Alone by yourself
The unknown
Equilibrium
Cap in hand
Center
Forks/crossroadschoices
85.Declaration AD0005
Center Forks/crossroadschoices
Elements/archetypesepisodes
One's pathindividual choise
the traveller needs to find his ownguideline
Renassance'smulticursal labyrinth
geometrical plan drawingwith multiple choices
Kinetikos - EnErGY
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Kinētikos
Kinētikos a work of land art for the city Hindeloopen, providing electricity to the city through the natural
force of wind.
Kinetic force is captured and turned to electric power by the use of piezoelectric ceramic supports that are arrayed around 60,000 piezoballs. Each piezoball is 30 centime-ters in diameter with a transparent outer skin, vibration sensors light up LEDs that function as a seasonal calendar as well as a nighttime spectacle.
The basic element of the artwork consists of 12 meter heigh vertical support that sustains 19 spheres.By the repetition of the basic vertical element a kind of kinetic energetic field is build up around the dock that one upon a time acted as border between open sea and water
entrance to the port. By treating both sides of the dock in the same way the projects remembers the original spatial condition of the site.
Energetic field
Today:bounding line
Past:“walk in the sea”
“Walk in an energy field”
landopen sea
Energeticfield
Today:bounding line
Past:walk in the sea
walk in anenergy field
Waste Monument - REFORMULATION
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Waste monument
Wind erosion
Entropy
Flat landscape
Design Studio 2013Bauhaus Universität Weimar
II year of Master in Architecture
27
The assignment was to create a rational high-rise building in Addis Ababa- Ethiopia, that supports diversity and connects people with different economical backgrounds. The main point was to develop a flexible mixed-use building with public space that promotes interaction between uses and users. HOW?1. Create a building that uses the contrast between wholeness and diversity as main concept. 2. The building is built up by different spaces and functions using the concept of porosity to diversify public spaces from the more private.3. Flexible and different sized modules are covered with parametric façade.5. In the residential skyscrapers the flexibility is emphasize with movable private boxes that can increase according to the necessity.4. Concrete structure with wooden inner walls and a unifying ventilation façade made out of local material.
Vertical AddishiGh-riSE pOrOSiTY
cOnnEcT TOEXiSTinG STrEETS
AddpUBlic SpAcES
TrAnSlATE TOfiGUrE GrOUnd
AliGn TOGrid
crEATE ArcAdES GrOUnd flOOr
Residential Floor Plan
Parking
ShopsRestaurants
Market
Offices
Cultural Box
Maxi-WGS
Middle Income-WGS
High Income wGS
modular porosity
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Project Thesis 2011Università degli Studi di Firenze
III year of Bachelor in Architecture
The proposed idea was the design of a building that would have housed the “Casa della Moda”during the international exhibition MODEXPO 2010 next to the “Stazione Leopolda” area in Florence.The project took inspiration from the Paul Smith brand’s origin,having absorbed its distinc-tive love for arts and its contrast between Classic and Contemporary.The concept started off from an iconic pop art picture,the Rolling Stones’ tongue logo,in conjunction with the stylist symbols of coloured lines.This created a “ unique solution“building,a CONTINUOS TAPE that whit its movements created all the spaces.
The continuity was contrasted by a fragmented image generated by big glass prisms which closed the building and in some areas extended further away from the tape,like they wanted to get out from it.
The project rests almost entirely on pillars which pass through all its height,generating a free space at the ground level were spectators get a full rich view of the building.
ModexpopAUl SMiTh'S pAviliOn
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GroundFloor Plan
GroundFloor Plan
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viSUAl And cOncEpTUAl pATh
fUncTiOnAl SYSTEM
offices
showroom path
perceptive path
exposition path
Public events Exhibition Services
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Design Studio 2012Politecnico di Milano
I year of Master in Architecture
The project is developed following the horizontal shape of the area creating a new public space.Considering the program as a whole, it starts taking into account the main access to the area and the necessity of a new social interaction.I have divided the functions in two building in order to leave the market at ground floor and Bar- Restaurant and Multifunctional room at higher level but connecting them in a piazza used to temporary market and as a communication place.Following this strategy,the landscape has been thought in a different hierarchy, creating a buffer that protect and enclose the area.
Market placenEw SOciAl inTErAcTiOn
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supermarket
market
Bar-RESTAURANT
MULTIFUNCTIONAL ROOM
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SEcTiOn 3
SEcTiOn 1
SEcTiOn 2
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Scenography and Musealization 2013Politecnico di Milano
I year of Master in Architecture
45
Suggestions, events, images take us back into the wonderful world of the 60s, to celebrate the 40th anniversary of the live album, the most important in the history of Rock, as a watershed for a new beginning to conceive music.Made in Japan is “a mountain of rock” huge and visible to everyone, including outsiders, in which the musicians express their technical and artistical qualities and where you feel the true essence of ‘Hard-Rock.In this scenario, the project was created and developed by collecting items and making them their own in order to recreate the excitement experienced in those moments and at the same time give a new “perceptual” and “emotional” light ,through the evocative image of a “Olympus “an expression of the Rock, wrapped in a” cloud “.Five bright cubes invite the visitor to climb to the first level of the structure.Each room, with a surface 4x4m,is dedicated to a song of the album Made in Japan , and becomes the pretest to talk about the historical events and cultural background , scenary for the composition of the most beautiful songs of the historical group .A second elevator door brings at the top level of the structure, where through a gallery the visitors enter into the main music room. Accompanied by the song “ Highway Star “, a song full of virtuosity, there is a video projected on the walls.
Made in japanEXhiBiTiOn AT BASilicA pAllAdiAnA
Componente y
950,
010
0,0
950,
010
0,0
1000,01000,0
1910,0
100,0
1900
,0
Componente x
1000,01000,0
1910,0
100,0
950,
010
0,0
950,
010
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1900
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Componente z
Dettaglio incastro chidori
Lati A-B Lati C-D
950,
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950,
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1900
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STrUcTUrAl TEchnOlOGY
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1.Rolling Stone
4.Child in time 5.Space trackin 6.Olympus
2.Smoke on the water 3.Strange kind of woman
EXhiBiTiOn
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CugcOrpOrATE idEnTiTY
Siamo tutti diversi, ma allo stesso tempo uguali, perché usciti dalla stessa matrice.
Il concetto alla base della costruzione del nostro logo crediamo debba quindi essere l’uguaglianza.L’immagine da cui siamo partiti per la realizzazi-one del logo è una griglia formata da elementi tutti uguali (quadrati). Prendiamo tre di questi elementi perché tre sono le lettere che costituiscono la sigla del Comitato Unico di Garanzia (CUG).
Per rendere appieno il concetto di uguaglianza abbiamo usato delle semplici regole geometriche: uno scheletro quadrato di uguale dimensione e l’utilizzo di linee orizzontali e verticali di spessore diverso (1:4). La diversità è data dalla declinazione delle regole: la lunghezza e la presenza, o meno, delle linee sullo scheletro. L’uguaglianza determina l’armonia delle proporzioni, la diversità determina la riconoscibilità e l’individualità delle tre lettere. Per trasformare le tre lettere in logo le abbiamo avvicinate conferendo così all’insieme la compat-tezza di un unicum geometrico.Per aumentare la leggibilità delle lettere abbiamo inserito una nuova regola che agisce su ogni scheletro: la smussatura degli spigoli.Data la modularità della geometria abbiamo com-posto il logo, formato così dalla ripetizione sfalsata ed intrecciata della scritta CUG in orizzontale e verticale, inscrittibile in una griglia. Il logotipo del Politecnico di Milano ha la stessa larghezza del nuovo lettering, proporzione per cui il peso delle due entità risulta essere equilibrato.
Il logo così ottenuto possiede caratteristiche richi-este dal bando di:- rigoroso processo di lettering durante la sua creazione;- notevole versatilità d’uso grazie alla sua potenzi-ale modularità utilizzabile per: creazione di textures che possono costituire un disegno più complesso, basi grafiche per biglietti da visita, design di pagine web, ecc.
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Pantone | Solid Coated Cool Gray 5 CCMYK | Cy 0 Ma 0 Y 0 K 32RAL | 9006RGB | R173 G173 B173Websafe | #999999
Pantone | Pantone Solid Coated Black 6 CCMYK | Cy 0 Ma 0 Y 0 K 0RAL | 9005RGB | R0 G0 B0Websafe | #000000
Studio Cromatico
pag. 1
51
The project follows the requests of a competition announce by Politecnico of Milan for CUG, equal opportunity organization.The starting point of the lettering was the concept of equality using a modular grid.Following this assumption the corporate image looks flexible in order to be arrange as a texture.
Siamo tutti diversi, ma allo stesso tempo uguali, perché usciti dalla stessa matrice.
Il concetto alla base della costruzione del nostro logo crediamo debba quindi essere l’uguaglianza.L’immagine da cui siamo partiti per la realizzazi-one del logo è una griglia formata da elementi tutti uguali (quadrati). Prendiamo tre di questi elementi perché tre sono le lettere che costituiscono la sigla del Comitato Unico di Garanzia (CUG).
Per rendere appieno il concetto di uguaglianza abbiamo usato delle semplici regole geometriche: uno scheletro quadrato di uguale dimensione e l’utilizzo di linee orizzontali e verticali di spessore diverso (1:4). La diversità è data dalla declinazione delle regole: la lunghezza e la presenza, o meno, delle linee sullo scheletro. L’uguaglianza determina l’armonia delle proporzioni, la diversità determina la riconoscibilità e l’individualità delle tre lettere. Per trasformare le tre lettere in logo le abbiamo avvicinate conferendo così all’insieme la compat-tezza di un unicum geometrico.Per aumentare la leggibilità delle lettere abbiamo inserito una nuova regola che agisce su ogni scheletro: la smussatura degli spigoli.Data la modularità della geometria abbiamo com-posto il logo, formato così dalla ripetizione sfalsata ed intrecciata della scritta CUG in orizzontale e verticale, inscrittibile in una griglia. Il logotipo del Politecnico di Milano ha la stessa larghezza del nuovo lettering, proporzione per cui il peso delle due entità risulta essere equilibrato.
Il logo così ottenuto possiede caratteristiche richi-este dal bando di:- rigoroso processo di lettering durante la sua creazione;- notevole versatilità d’uso grazie alla sua potenzi-ale modularità utilizzabile per: creazione di textures che possono costituire un disegno più complesso, basi grafiche per biglietti da visita, design di pagine web, ecc.
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Pantone | Solid Coated Cool Gray 5 CCMYK | Cy 0 Ma 0 Y 0 K 32RAL | 9006RGB | R173 G173 B173Websafe | #999999
Pantone | Pantone Solid Coated Black 6 CCMYK | Cy 0 Ma 0 Y 0 K 0RAL | 9005RGB | R0 G0 B0Websafe | #000000
Studio Cromatico
pag. 1
COMITATO UNICO DI GARANZIA
COMITATO UNICO DI GARANZIA
via Ponzio, 33MILANO
T: 02 2399 3765 @: [email protected]
via Ponzio, 33 | MILANO T: 02 2399 3765 | @: [email protected]
via Ponzio, 33 | MILANO T: 02 2399 3765 | @: [email protected]
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Villa AdrianacOrpOrATE idEnTiTY
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During the workshop at Villa Adriana, Piranesi Prix De Rome, it was asking to create a corporate image for the new museum of Villa Adriana.The project uses the geometries of the Villa combine them in a symmetric image.The final image looks flexible in order to be arrange as a texture using different ways of representation.
Biglietto valido per il giorno di emissione e per un solo ingresso.Non riutilizzabile dopo l’obliterazione. Ticket valid only for one entry and for the day of issue. One validates this ticket will not allow re-entry
.
€ 8,00
Biglietto valido per il giorno di emissione e per un solo ingresso.Non riutilizzabile dopo l’obliterazione. Ticket valid only for one entry and for the day of issue. One validates this ticket will not allow re-entry
€ 8,00
VILLA ADRIANAMuseum-Theater-Library
VILLA ADRIANAMuseum-Theater-Library
INAUGURAZIONE
NUOVO MUSEOARCHEOLOGICOVILLA ADRIANA
Museum
Theater
Library
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DOMUS
Costruita tra il 118 e 138 d.C. da Adriano (Publius Aelius Hadrianus) nato probabilmente ad Italica, presso Siviglia (Spagna), il 24 gennaio del 76 d.C.; adottato da Traiano, cugino del padre, gli successe nell’Impero nel 117 d. C.
La Villa si distribuì su un’area di almeno 120 ettari, su un pianoro tufaceo compreso tra due fossi, quello dell’acqua Ferrata ad est e quello di Risicoli o Rocca Bruna ad ovest. Per realizzare un complesso così grandioso Adriano decise di spostare la propria residenza fuori della capitale, scegliendo un territorio verde e ricco di acque, nei pressi di Tivoli, a 28 km da Roma, sui banchi tufacei che si allargano ai piedi dei Monti Tiburtini.
Attualmente l’area visitabile è di ca. 40 ettari.
MuseumTheaterLibrary
orario 9.00-19.00
Area Archeologica di Villa AdrianaLargo Marguerite Yourcenar, 1
00010 Villa Adriana - Tivoli (RM), Italiatel. +39 0774 530203 fax +39 0774 531979
Biglietto valido per il giorno di emissione e per un solo ingresso.
€ 8,00
VILLA ADRIANAMuseum-Theater-Library
Biglietto valido per il giorno di emissione e per un solo ingresso.Non riutilizzabile dopo l’obliterazione. Ticket valid only for one entry and for the day of issue. One validates this ticket will not allow re-entry
€ 8,00
VILLA ADRIANAMuseum-Theater-Library
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Interior Photography
During my experience at V+V interni, London based interior architecture studio, I had the opportunity to work in a parallel field I always liked: Interiors Photography. Besides the pure technical work as Interior Architect, I had the chance to shoot different Interior environments that my studio realised during that period (2014). These Photos are published by RIBA London Directory 2015.
www.vplusvinterni.com
v+v inTErni - lOndOn
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