2016 aurora destro 3

Aurora DestroPORTFOLIO

2

When I was asked to link some words to the concept of verticality I immediately thought about

masculinity. The “competition for height” can be seen in the buildings of every age that shape the architecture of cities. Buildings are symbols

and the vertical ones are males. A church, for instance, is made by two complementary parts, the tower as masculine symbol, and the dome that indiscriminately hosts the believers in a

mathernal way. This project focuses on Milano-Isola, a zone in which many male-edifices have been built. From this perspective the menace of this buildings is naively diminished, in order to stimulate new thoughts and ideas for the future.

BUILDINGS’ GENDER_______

“HIGH RISE”COLLECTIVE EXHIBITION

2014

| E

XHIB

ITIO

NS/P

UBLI

CAT

IONS

PUBL

ISHE

D BY

PO

LITE

CNI

CO

DI M

ILAN

O

6

PLOTLATCH_______

COLLECTIVE PROJECT

Nowadays, in every firm, thousands of young architects cut, paste, redraw and assemble libraries of images, entering into fast and ‘perverse’ processes of production, on which they have no control. All these scraps and pieces of drawings are often set aside or abandoned, and become an emblematic catalogue of the current condition, an ‘archive of horrors’.

Potlatch is a collective project.

As in the traditional Native American ceremony, all discarded materials are gathered together in a metaphorical celebration of the ritual, in which remnants of production are donated and consumed, to give them a new meaning. Potlatch is based on gift economy and proceeds without any speculative logic: the result is an infinite virtual landscape of waste, accessible to everyone. Through Potlatch, these sterile fragments are released, and the beauty of the disposition sublimates our condition of immaterial workers with thoughtful detachment.

Fosbury Architecture, as recipient will limit itself to assemble a temporary composition. Playing with these scraps the aim is to build up an open source platform carrying out a huge apotropaic drawing, as an opportunity to reaffirm our fragile status. The platform is conceived as a flea market, a collective form, proliferating and permanently under construction. The Potlatch flea market it is not designed, but it is a unified whole composed by multiple individual memorabilia.

2014

| E

XHIB

ITIO

NS/P

UBLI

CAT

IONS

PUBL

ISHE

D BY

ABIT

ARE/

JAN

ISSU

E

8

BRIOSCHI

ESTCODE

C10

9 1

2

12

3

4

45.00°

45.00°

ESTCODE

9

BRIOSCHI

ESTCODE

C10

9 1

2

12

3

4

45.00°

45.00°

ESTCODE

10

Drachenberg is a 120 meters high 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 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 surroundings. The project brings into focus the natural landscape, the view of the city, the sky and its light through experience. Its references are the great examples of archeoastronomy around the world and their relationship with the circadian cycle of nature, and the works of contemporary artists who research on the theme profoundly. The design of the spaces is strictly connected with the natural light and how it changes with the passing of time, in this way architecture becomes the medium that makes the naked eye observatory work.The design of the project is based on elementary centric geometries. They are recurrent shapes that can be found in every natural element. Centric geometries are also present in every culture and they have been used in architecture since ancient times, especially in sacred buildings and those connected with spirituality. Therefore the spatial composition follows a geometrical grid based on the center and two main axis (north-south, east-west). The geometrical grid has been built on 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 shifts the visitors’ perception to 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.

“OPEN EYES”_______

A PLACE OF MEDITATION AND CONNECTION WITH NATURE AND

ITS RYTHMS

10

ABST

RAC

T20

15 |

ACAD

EMIC

STH

ESIS

PRO

JEC

T | M

ASTE

R O

F AR

CHI

TEC

TURE

POLI

TEC

NIC

O D

I MIL

ANO

12

GENERAL PLAN

13

“Going uphill”VIEW

16

EXPLODEX AXONOMETRIC VIEW,SECTION, CELESTIAL AXONOMETRY

PAVI

LIO

N II

17

16:30 h

5:00 h

8:30 h

15:00 h

4:30 h

SEQUENCIAL VIEWSJUN 21st

PAVILION II

18

The goal of Lwd2018 (Leeuwarden as European Capital of Culture in 2018) is generating culture with a bottom-up initiative instead of imposing some monster-plans from above. Instead of building unused/unnecessary/then-abandoned constructions, we want to gift to the city something coming from its soil, a project that may not be so monumentally permanent and unreasonably costly.As landscape is such an important aspect of Leeuwarden personality, both from the cultural and the historical point of view, we decided to consider the regional territory as a whole. Hence Leeuwarden appears the capital of an anthropic lowland, a flat land scenery made by agricultural fields, grasslands and a dense net of canals, populated by villages, towns, cows and wind turbines.The main aim is to reinvigorate Leeuwarden cultural life through its territory, via ephemeral land art projects. It is a way to look backwards at its roots and simultaneously work on the physical reality.Land Art stimulates new approaches and unconventional ideas that take place in the landscape. Because of the materials and deep connection to nature it is submitted to a temporal process, something that doesn’t interest other disciplines (except dance and performing arts), so it evolves (or un-evolves toward death) with the surrounding.Land Art stimulates new approaches and unconventional ideas that take place in the landscape. Because of the materials and deep connection to nature it is submitted to a temporal process, something that doesn’t interest other disciplines (except dance and performing arts), so it evolves (or un-evolves toward death) with the surrounding. As Land Art has no theory and fails to attend any conceptual concern, it opens up to thought-provoking possibilities. It made possible to think about an ephemeral unfixed project, an entropic horizontal diffused city, a stage with a piece going on that needs time - day, seasons, years - and space - movement - to be perceived.

“100 PLACES OF LAND ART”CALL FOR COMPETITION!

_______

A COMPETITION AS ANSWER TO A DESIGN ISSUE

18

CO

NCEP

T20

15 |

ACAD

EMIC

SDE

SIG

N ST

UDIO

II | M

ASTE

R O

F AR

CHI

TEC

TURE

POLI

TEC

NIC

O D

I MIL

ANO

19

CO

NCEPT

MANIFESTO

20

METAPROGECTSTATEGY

21

MASTERPLANTHEMATIC OPEN AIR LAND ART GALERIES

22

METAPROJECT

STRATEGY

|.|The strategy is to create a Land Art installations system along the existing connection networks (spread city of Towns and Land Art sites) 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 connection networks to these sites are refined further by eco-friendly systems of shared vehicles, bicycles, boats and along with introduction off a one-year lasting temporary air networks of airships and hot-air balloons. This provides a freedom degree to the movement pattern in and around the Land Art Sites for the visitors along with inhabitants. |.|The connections between the 11 cities and the 4 islands are characterised by four different themes, so that one embraces a path made by installations both physically and conceptually related to each others. |.| As the Frisian landscape has always been characterised by devices that converts natural energy, as old windmills and wind turbines, the main axis is made by land art installations 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 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, declaration] |.| In the forth axis installations reformulate in the simplest way the

organic/inorganic materials. The starting point of the projects will be the elements of the site. [re-formulation, entropy, elements]

24

WIN

NER

ENTR

Y I

1 km

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

THE LABIRINTH OF THE TRAVELLER

The center has a magnoetic attraction.The center isn’t visibile from the labirinth path.

The center is a hole.. face it!The path depends upon everyone’s choices.The time depends upon everyone’s choices.

It values yhe free will.

26

WIN

NER

ENTR

Y II

Flat landscape Wind erosion

Entropy

201

5

2018 2028 2038

fu

ture

WASTE MONUMENT

It breaks the horizontality of the Frisian landscape by reformulating waste material.

Each cone-mountain will be gradually destroyed by the wind action that passes through a hole.

Each hole’s orientation follows a different wind direction.The first mountain to be destroyed will be on the side

where the wind blows more.

28

“The Extending of the Guggenheim Museum of Venice” concept is to bring Contemporary Art in the Grand Canal, and it is based on the fusion of the existing palace and its collection with a new removable structure showcasing contemporary art. Since it is a modular-removable steel struc-

ture, that can be build in a different way depend-ing on the exposition it hosts, I designed every detail as if it will be really assemble: thinking

about the real scale for the first time was certainly stimulating and instructive, because it drew me close the profession. As I has always been inter-

ested in Art, this project fuelled my thoughts and my passions, it inspires me thinking about how to present the art works to the public, to make it

than more accessible.

EXTENDING OFTHE PEGGY GUGGENHEIM MUSEUM

_______

VENICE

Peggy Guggenheim on the terrace

2011

| AC

ADEM

ICS

DESI

GN

STUD

IO III

| BA

CHE

LOR

OF

ARC

HITE

CTU

REPO

LITE

CNI

CO

DI M

ILAN

O

29

REMOVABLE STRUCTURE

CO

NCEPT

30

LARGE CONTAINER FORTEMPORARY EXHIBITIONS OF

CONTEMPORARY ART

CONTAINER: exhibitions spaceSCAFFOLDING: service spaces

TOWER: view and vertical connection

CO

NCEP

T

31

GENERAL PLAN

32

SECTION, PLAN

EXAMPLE OF CLOSED SETTING(closed by woden pannels)

TEMPORARY EXHIBITION:The Hyperrealism

R. Estes, R. Mueck, D. Hanson, R. Stipl, J. Wateridge

34

THE BUILDING OF

35

OPEN/CLOSED SETTINGS

36

INKREACTION_______

TATTOO SHOP LOGO DESIGN

2015

| G

RAPH

ICLO

GO

DES

IGN

37

LOGO STUDYBUISNESS CARDS + STORE SIGN

38

INKREACTION_______

TATTOO SHOP LOGO DESIGN

Competence in graphic design and communica-tion in branding culture is requested to a visual communication design proposal related in gen-

eral to the archeological site of Villa Adriana and in particular to the new museum pavilion. The project elaborates a design for graphic commu-

nication and coordinated imaging related to: proprietary communication, narrative graphics,

web design and graphics and merchandising. The graphic elements define a flow of communication on a vast scale that attempts to occupy the spaces

of the visual perception of the public.

IDENTITY GRAPHIC DESIGN PROJECT_______

PIRANESI PRIX DE ROME 2014

CO

NCEP

T

38

GEOMETRICAL STUDY OF THE LOGO, FONT, TEXTURE

2015

| G

RAPH

ICID

ENTI

TY G

RAPH

IC D

ESIG

N PR

OJE

CT

39

italiano| english

NEWS

MUSEUM

MUSEUMEVENTS

EVENTS

TICKETS

LOCATION

SHOP

CONTACT

Copyright 2014

Night openingsaturday until 24.00

ALBERTO GIACOMETTILA SCULTURA

TEMPORARY EXIBITION

14 September 201414 January 2015

La Villa comprende edifici residenziali, terme, ninfei, padiglioni, giardini che si alternano secondo una distribuzione del tutto inusuale, che non rispecchia la consueta sequenza di ville e domus, anche imperiali.Straordinaria era la ricchezza della decorazione architettonica e scultorea della villa che è stata oggetto di frenetiche e sistematiche ricerche a partire dal Rinascimento. Le spoliazioni di marmi, avvenute già in età medioevale per reimpieghi di vario tipo, hanno determinato una dispersione tale dell’apparato decorativo della villa, che quasi tutti i principali musei e collezioni di Roma e del resto dell’Italia, nonché d’Europa, annoverano tra le loro opere esemplari provenienti da Villa Adriana.

Nel 1999 Villa Adriana è stata dichiarata Patrimonio dell’Umanità dall’Unesco

MuseumTheaterLibrary

WEBSITE

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

TICKETS & FLYER

INAUGURAZIONE

NUOVO MUSEOARCHEOLOGICOVILLA ADRIANA

Museum

Theater

Library

1

1

2

3

2

3

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

[email protected]

2016 aurora destro 3

Documents