english portfolio

portfolio

giada gemignaniportfolioportfoliointerior designer.

curriculum vitae

PERSONAL INFORMATION

GIADA GEMIGNANI

istruzione e formazione

ADDRESS

FIRST NAME SURNAME

DOMICILE

TELEPHONE NUMBER

E-MAIL

NATIONALITY

GENDER

DATE OF BIRTH

via Ghiacciaia 2B, Monselice (PD)

via Marcoantonio Colonna 36, Milano

340/8373645

[email protected]

italian

F07/03/1986

2012 Master’s Degree in Interior Design, Faculty of Interior Design, Politecnico of MilanEVALUATION: 103/110Thesis Title: “A new identity for the Modern Gallery of Milan”, design-museography-marketing

07/2011-06/2012 Apprenticeship and consequent collaboration at Grioni studio, interior design and communication

2008 Interior Design Bachelor’s Degree at the Politecnico of Milan, Faculty of Design.

2005 Senior high school qualification specializing in science education,“C. Cattaneo”, Monselice (PDEVALUATION: 98/100

2004 Stage at the “National Institute of Nuclear Physics”, Legnaro (PD) ARGUMENT: the course was about the use of nuclear for dating and studing art works

professional experience

05/2010

ACTIVITIES: to design private residential spaces and pubblic spaces linked with food esperience, to plan a project, to contact suppliers and clients, to supervise the yards and the constructions, to search and plan all the innovative design projects

“In&out stones”Francesco Lucchese, Trentino Sprint in collabora-tion with Politecnico of Milan

05/2009

MOTHER TONGUE

OTHER LANGUAGE

“Exposing Creativity, Innovation and Inven-tion”Peter di Sabatino

Italian

ENGLISH

05/2008 “Study for the development of no pharmacolo-gic therapy”Alessandro BiamontiMedical Institute for Alzheimer “Fondazione Giusmini Vertova, Bergamo” in collaboration with the Politecnico of Milan

2011-2012 Some graphic works made for events, graphic advice for private clients

04/2010 Advice for a private apartment in Milan.The division of the spaces and a design support about furniture

07/2007-09/2007 Assistent in a Building Surveyor office.Use of informatic and planning programs.

workshop

linguistic knowledge

INFORMATICSKILLS AND

COMPETENCES

INTERPERSONALSKILLS

ORGANIZATIONALSKILLS

ARTISTICSKILLS

INTERESTS

Driving licence

TOEIC TEST on the 31/05/2008

Certificate of attendance of an English Course at the “Whitelands College”, Londra 2000

Excellent use of the computerOFFICE collection: Microsoft Power Point, Micosoft Word, Microsoft ExcellADOBE MASTER COLLECTION: Illustrator, Photoshop, IndesignAUTOCAD 2DMODELING 3D: Sketchup, Studio Tools with Lightscape

Strong capacity to work with a team grown during university years and progressed through the work and the relation with professionals

Strong capacity to coordinate team works. The goal is always to present a perfect work respecting the timeline

Some courses of freehand drawingStudy of the Piano

B

Particular interest for art, frequent visitor of exhibi-tions and cultural events, particular interest for photography, travel passion in a fusion between multicultural and personal experience and architecture interest too.

reading FLUENT

FLUENT

FLUENT

writing

speaking

personal skills and competenCES

index

2aa BRAND STAND

6b YACHT DESIGN

18c EXHIBITION

24d URBAN DESIGN

30e MUSEUM

46f CONTEST

52g OTHERS

giada gemignaniworks.interior designer.

STAND BRAND

UNIVERSITY PROJECT: COMMUNICATION SPACESYEAR: 2006PLACE: SUPERSTUDIO PIU’, MILAN

progetto grafico

task. To design a space inside the Milan Fair during the Milan Design Week for a famous graphic magazine

The project consists in planning a fair stand for the italian magazine Progetto Grafico. Considering the brand values and the comunication goals, the project consist in an interactive box which evokes the rules of the bidimensional pages through the space tridimensionality. The mind map connects the articles to images from different arguments. Inside of the box, the constumer will explore different themes, using videos presentations and some linked objects increasing experience.

2

RESEARCH AND ANALYSIS OF A BRANDAND HOW IT COULD BE

COMUNICATED INSIDE A SPACE

Exploration through a touch screen video of the articles catalogue, the visitor can select and read one of them

There are some box elements and a touch screen which shows some photos mindly linked with the argument selected

Selecting one image, some videos appear and some drawers lights. Inside of them the visitors find some linked objects and magazi-nes.

graphic sector magazine

division through colors

reading by images

readers collaboration

continuous logical refers

aimed and professional target

analisi brand

storyboard

Mind is a space which represents the human mind, its images, memorizations and consequent elaborations

logo

1 2 3

BRAND STAND

3

sight a.

sight b.

Interactive wall is compo-sed of monitors on the upper side, a touch screen wall in the middle and of some fixed elements or arrows arranged in a grid formation

Dimensions: 3 meters each side

The box is composed of two interactive walls and of another one which is used for the magazine exposition

stand progetto grafico

mind3

a

4

CABINA 4+4

Lo spazio si sviluppa attorno allo spazio centrale circolare attorno al quale si intersecano ulteriori ambienti funzionali. Al centro lo spazio del focolare è costi-tuito da un tavolo con delle sedute( zona giorno), di sera invece lo spazio viene utilizzato per dormire per terra, in dei sacchi a pelo in vero e proprio stile safari. Le forme fluidificano verso il ban-cone collegando l’interno con l’esterno creando ulteriori spazi.

LAYOUT

zona relax sul balcone

1) DISTRIBUZIONE DI GIORNO

1

22) DISTRIBUZIONE DI NOTTE

divanetto apribile per rico-vero di sacchi a pelo ,valigie

porta oggetti

zona living/notte

armadio

YACHT DESIGN

UNIVERSITY PROJECT: COSTA MAGICAYEAR: 2009PLACE: CRUISE SHIP

COSTA CROCIERE

task. To think about a cruise ship, new spacial and functional solutions to renew the brand image

The italian company “Costa Crociere” renew itself. The goal is to think about a new style for one of its ship. The cruise ship represents different stimulant places that you can explore during a trip. The Costa Magica route includes South America, Europe and Asia, they’re heterogeneous landscapes each marked by its own landascape. The cabins report to a world of explorations and feelings which stimula-te fantasy. The cruise ship has been divided in four areas refering to the ecosystem division of the world.

6

THEME STUDIED IN DETAIL THANKS TO MEETINGS WITH

YATCH DESIGN LEADERS

pole

ocean cabins

forest cabins

african cabins

2.

2+1

4+4

The concept “Ecosy-stem” leads the whole reorganization of the ship which has been thought for couples, families and bigger

groups

ecosystem

CABINA 4+4


LAYOUT



1



porta oggetti

zona living/notte

armadio

cc

decks1-2

decks6-7

decks8-9

decks10-11

YACHT DESIGN

7

G G

sezione del ristorante

rivestimento della cupolacupola di copertura

CABINA 4+4


LAYOUT



1



porta oggetti

zona living/notte

armadio

CABINA 4+4


LAYOUT



1



porta oggetti

zona living/notte

armadio

YATCH DESIGN

UNIVERSITY PROJECT: COSTA MAGICAYEAR: 2009PLACE:CRUISE SHIP

CABIN 4+4

task. To reinvent standard cabins to give an opportunity to big groups to live together a trip experience

The African cabins, decks 8-9, are thought for big groups limited to eight people. The first presentation was a classic one with beds and some interior decora-tions. Next step has been the revolution of the space shape thinking about a new idea of adventure like in a campsite. The community spaces are the most important thing in African houses which develop from the idea of aggregation of different families. The same thing happens there where a whole deck is dedicated to groups whose trip idea is to meet new people.

8

RESEARCH OF INNOVATIVE SPACIAL SOLUTIONS USING

MATERIALS AND SHAPES

B

G G



G G



The space is created by the use of curved shapes inspired by the African Architecture. In the standard space, 5-3,5 meters, the solution for so many people is to emulate the adventure living: during the day there’s a community space but during the night it changes into a place for sleeeping beds. We can give the possibility to young groups to think about a cruise experience.

trasformability

DAY NIGHT

CABINA 4+4


LAYOUT



1



porta oggetti

zona living/notte

armadio

CABINA 4+4


LAYOUT



1



porta oggetti

zona living/notte

armadio

in out

4+4

YACHT DESIGN

9

G G



LAYOUT

1

a

CD4

3

5

2

toilets1

community area with modular furniture

2

hollow sofa for sleeping beds

3

wardrobe

To give the possibility to costumers to choose different texture cabins

external relax area

4

5

B

B shaved durmast

D

Dba c

glass-fabric

A aivory enamel painting

C rope furniture

MATERIALI

TEXTURE

CABINA 4+4


LAYOUT



1



porta oggetti

zona living/notte

armadio

B

10

This is a fluid space earned by the opening of frames which

divide inside from outside

4+4 people costa crociere

OSMOSIs

YACHT DESIGN

11

CABINA 4+4


LAYOUT



1



porta oggetti

zona living/notte

armadio

YATCH DESIGN

PROJECT: COSTA MAGICAYEAR: 2009PLACE: CRUISE SHIP

"LIGHT GREEN" restaurant

task. To introduce a new service inside the ship trying to change the idea of a common space

A new scenary has been thought inside the ship:eco-food. A meeting place where you can eat biologic fruits and vegetables in a food design mix. Down the shadow of steel trees, a service has been thought for healty people. The shapes and materials recall a public park (the architecture is composed of structu-ral trees). The light filtred through the roof creates organic geometries and eco materials are used inside the restaurant called “light green”.

12

RESEARCH OF A NEW FOOD CONCEPTCONSISTENT WITH ECOSOSTENIBILITY

IN ALL THE SERVICES

B

1

6

4

9

21

6

4

9

2

G G



the forest

section

layout

The restaurant has a structure made of trees pillars used to support the roof. Inside the space is composed of two parts: the down one is used like a restaurant, the upper one is used for break time moments.

The choise of materials is important to evoke the park atmosphere. Everything is selected thinking about lightness rules. Products like ETFE and Bencore are usually used for yatch projects.

CABINA 4+4


LAYOUT



1



porta oggetti

zona living/notte

armadio

G

A A’

G Pianta scala 1:100

G

YACHT DESIGN

13

8

3

5

78

3

5

7

steel roof, light is filtred making organic shapes

reticular dome supports the decorated roof

G G



G G



EFTE, covering material

roof materiali

1 2

3

Suwide,floor material4

Panelite, Bencore used for all the surfaces

5

Solidfloor, floor material6

7Mazy byAdrenalina 8

Patricia Urquiola for Moroso 9

Mr Impossible, Kartell

CABINA 4+4


LAYOUT



1



porta oggetti

zona living/notte

armadio

furniture

B

14

G G



CORPORATE IMAGE

+ +

The name “ Light Green” rises from the idea of a space where people can eat some light food in a natural place. The play on words refers to the food lightness and the great light inside the space. The font used gives an idea of semplicity, soraing and lightness.

logo

kit light

a

restaurant take awayfruit bar

e

fc

db

YACHT DESIGN

15

EXHIBITION

UNIVERSITY PROJECT: TEMPORARY EXHIBITIONYAER: 2009PLACE:BASE B, MILAN

trama

task. To design an exhibition starting from an argument and continuing to spaces and communication

The project consists on planning a temporary exhibition at Base B, an industrial space used for design events. The theme is the use of synthetic fabrics and their technical applications. The concept is “synthetic vs natural, an idea that under-lines the fabrics pecularity making a direct compa-rison with their opposite; natural fabrics. The substitution, the negation of the exhibition will increase the visitors curiosity about materials. They will live in a overturned world.

18

AN INVESTIGATION ABOUT MATERIALSAND ABOUT EXHIBITION SYSTEM

USED FOR THE RE-USE OF OLD BUILDINGS

19

EXHIBITION

5 4 2

13

COTTONNYLON2

OLEFINIC HEMP4

MIXED FABRICS LINO5

POLYESTER SILK3

LYCRA WOOL1

natural forest

natural materials interior exhibition exterior exhibition

scheme

synthetic materials

artificial forest

+

base b

base b area

section aa'

section bb'Base B is an ex-industrial building usually used for events. Inside of it there are some not used spaces that have to be reinvented.

20

C

The space has been transfor-med in an artificial forest through the use of materials which covered the surfaces. The idea of a overturned world creates a surreal setting. The visitors will explore one surprising place.

trama/NATURALLY SYNTHETIC

objects

21

EXHIBITION

system

milan

element

shape

information

exhibition 15-30/10

naturalmente sintetico

Base BBovisa (MI)

trama

printed communication

system communication

dandelion

idea/communication

the communications

The exhibition logo is a Dandelion, a natural flower whose elements spreads in the city. Starting from it, through a semplification

process of the elements geometries, i choose the final structure and how it contains the news about the event

tramasinteticamente naturale

22

C

printed

URBAN DESIGN

UNIVERSITY PROJECT: THE FUTURE CITYYEAR: 2010PLACE: BESANA ROTUNDA, MILAN

task. To think about a new way of living the city and its monuments through design experience

The leading question of the project is to think about the possible re-interpretaition of public spaces in the contemporary society. The urban design takes on more and more meaning, it’s a community space and an instrument of revaluta-tion of entire urban areas too. Specifically, the project involves a reinterpretation of a monumen-tal building: the Besana Rotunda. The contempora-ry baroque is re-read today with an anamorphic process.

24

A RESEARCH WORK BETWEEN ART ANDTHE CONTEMPORARY WAY OF LIVING.

THE APPROACH TO A MONUMENT

anamorphi c ity

25

point of view+

=

architecture

construction

concept

construction grids

To revalue the monument building geometries by an anamorphic process. From the bidimensional composition to a new three-dimensional de-composition.

URBAN DESIGN

26

The construction begins from a bidimensional draw. On the horizon-tal plane a grid has been drawn thinking about the necessary distance of the elements. It originates vertical planes. The elements are created by the intersection of the perspective planes with these vertical surfacese.

perspective construction

(From) the correct compo-sition of the elements the right point of view (to) their real de-composition

walking around them

composition

besana facade

horizontal grid

vertical grid

perspective planes

central construction

lateral construstion

D

27

Rotonda della Besana

anamorphi c ity

URBAN DESIGN

MUSEOGRAPHY-MARKETING

UNIVERSITY PROJECT: GRADUATION THESIS

VILLA BELGIOJOSO museum

task. To understand how today’s museums present themselves within the competitive cultural market

The thesis develops the theme of creating a new identity for an existing museum. The first part studies the world history of museolog y and museo-logical to frame the theme "museum" and its evolu-tion that spans over the design and marketing. The proposal for the renewal of the museum chosen involves the creation of a new identity that is connected to the content and services set up, as well as the inclusion of an interactive furniture, modular and mobile to allow a continuous change in the museum.

30

AN IMPORTANT AWARNESS ABOUT THE CONTEMPORARY MUSEUMS SYSTEM

LINKED WITH BRAND WORLD

YEAR: 2012POLITECNICO OF MILAN

31


RESEARCH

task. What’s a museum, which are its goals. It approaches more to the marketing world, but how it does it?

The museum today is increasingly a "place of recreation and leisure", a service that opens itself more and more to the community. Historically its identity reflected the concepts of nationalism, machine art, a place of storage, but in the modern world it embraces marke-ting logic that make it unique and competitive in the cultural market. The main objective is not only the visibility but the loyalty of its visitors and then the public attention through which it will find a number of projects as well as of services.

THE HISTORICAL AND CURRENT IDENTITY THROUGH INFORMATION

PROCESSING AND CRITICAL ANALYSIS

MUSEUM

UNIVERSITY PROJECT: GRADUATION THESISYEAR: 2012POLITECNICO OF MILAN

Source MiBAC, Sistan, 2009

funparks

monuments archaeological areas

16.528.632

7.116.952

11.230.650

usa europa

1archaeological circuit“colosseo,palatino,foro romano”

epcot

MOMA

louvre

4.655.203

9.400.000

6.500.000

8.300.000

british museum5.800.000

2 vaticano museums4.441.734

3 gardaland3.100.000

4 pompei excavations2.253.633

5 Mirabilandia1.600.000

6 uffizi gallery1.553.951

7 ducal palace, venice1.358.186

8 accademia gallery, florence1. 234.321

(Cattolica University, 2009)

Source: Dossier Musei 2009 del Touring Club Italiano

disneyland paris

14.721.00017.063.000

walt disney magic kingdom

WALT DISNEY PARKS

ATTRACTIONS AND VISITORS

ITALIA

museumsmuseum circuits

1

2

3

visitors

visitors

visitors

MUSEUMS FUN PARKS SYSTEMvs

32

E

a place of conservation and restoration

+10 %

+40 %

+20 %

+35 %

+30 %

a place of experience and emotions

place of study and reasearch

place of fun and leisure

meeting and entrateinment place

3 41 2

Utilizzando come proxy del merchandising museale (a) e del patrimonio artistico e culturale di un paese, il numero dei siti storico culturali Unesco (b), è stato calcolato un indice di ritorno economico sul patrimonio artistico e culturale come rapporto tra (a) e (b), ponen-do il dato italiano come

patrimonio culturale

RACstudents experts

++ +

families others

The main target group is composed by students of primary schools and high schools. This is consistent with the fact that one of the most important functions is the educational one. Other visit opportunities are also organized trips with schools, crucial step as useful to stimula-te interest in culture in young people because they will be the guests of the future

TARGET GROUP

Questionnaire sent to 545 managers museum, the responses received were 167 , the 30.64% of the contacts. The questionnaire consisted of 16 questions of various kinds in order to understand the current situation and which are the future changes.

The responses show that an evolution is taking place talking about the perception of the concept and the role of the museum. Today's main function is the “conservation of works” (about 80% of respondents gave a rating of 4 or 5 on the Likert scale). Asking respondents to project the responses in the future (5 years) some new trends have emerged: cultural institutions are increasingly seen like places where guests can live experiences and emotions, recreational centers.

i n c r e a s e in 5 years

the museum concept

public of a museum

Source: Renato Fiocca, Il museo fra cultura e management, Milano, 2006

1

2

3

4

5

museum the publicfor

33

MUSEUM

$u N S C OEcultural heritage figuresin u N S C OE $

The return of "commercial" on the cultural assets (RAC) of the U.S. is about sixteen times the Italian while the France and the United Kingdom ones are between 4 and 7 times the Italian one. Considering the richness of the Italian cultural heritage, with respect to foreign companies examined, there are growth opportunities not yet considered

World Heritage Site is the official designation of the areas recorded in the list of World Heritage, ie those sites that represent the characteristics of great importance from a cultural or natualistic point of view. The list is composed of a total of 936 sites (including 725 cultural, 183 naturalistic and 28 mixed) present in 153 nations of the world


RACUtilizzando come proxy del merchandising museale (a) e del patrimonio artistico e culturale di un paese, il numero dei siti storico culturali Unesco (b), è stato calcolato un indice di ritorno economico sul patrimonio artistico e culturale come rapporto tra (a) e (b), ponen-do il dato italiano come indice di riferimento pari a 100.

RAC

Source: Elaboration PwC SISTAN 2007

Considering the proxy of the museum merchandising and of the artistic and cultural heritage of a country (a), the number of historical and cultural sites Unesco (b), an index of economic return on the artistic and cultural heritage has been calculated, as the ratio of (a) and (b), conside-ring the Italian data as a benchmark of 100.

RAC

unesco sites proxy

ITALIA

FRANCIA

REGNO UNITO

STATI UNITI

6033

27

100 400 700 1600

IT fr uk usa

90

1

4

7

16

ITALy

FRANCe

united kingdom

united states

21

20

43

160

estimated normalized index of economic return on cultural assets

34

E

how to create an identity

Talking about what the organiza-tion does, owns and produces it has to project clearly legible idea of its nature and its objectives. The best way to achieve this transparency is to declare what is the organization and which are its products, its headquarters, its mode of communication and behavior

The museum is radically renewed inspired by the methods of marketing. It tries to increase its reputation through the image perceived by its own visitors.


RACRACbrand image

strategy

personality

soul

goal

history

conviction

fiducia

distinction

to captivatecustoms

to captivatesponsors

uniquenesspromise

valuesdifference

logo

visual identity

products

setting

The brand image is how the museum states thorugh the values it transmits through effective communication. It generates the image that is really perceived. If the strategy will be successful the image will coincide with the objectives that the institution is located

activities

facilities

future

Source: Renato Fiocca, Il museo fra cultura e management, Milano, 2006

congruency

consistency

marketingdesign

identity

the only one way in which an organization presents itself

social

true

holistic

1

2

+

35

MUSEUM

bonding

brand

73

ness Press, 1996, pagg. 65-81.), e in particolare: il logo; l’identità visiva; l’insieme delle attività e dei prodotti di un’organizzazione, ossia tutto quanto essa fa e dice, deliberatamente o meno, come risultato di una strategia sviluppata in

-municazione o progetto istituzionale, laddove l’identità comprende «gli elementi visivi di auto rappresentazione», insieme a «tutti gli altri modi in cui un’organizzazione comunica con i suoi interlocutori, sia internamente sia ester-

namente». Qualunque sia la modalità di comu-nicazione prescelta dall’organizzazione, essa dev’essere coerente con questi simboli, dalla carta intestata al materiale promozionale. E’ importante sottolineare come il potere dei sim-boli nel comunicare «la natura e la missione di un’organizzazione» e nell’infondere un senso di appartenenza a coloro che operano al suo inter-no rappresentando i sentimenti e le convinzioni di chi opera all’interno dell’organizzazione. Tut-tavia, il sempre più frequente ricorso ai simboli e al logo per indicare un mutamento di iden-tità e per suggerire una di�erenziazione tra

loyalty

VALORI DEL BRANDnotoriety

interpretationof information

securityabout the decision

usersatisfaction

of the institutionof the constumers

visitorfidelity

competitiveadvantage

activitieseffectiveness

brand values

associate values new resources

adjunct value

perceived qualityBRAND

the name implies therecognition

2.4

The brand is a name or a distinctive symbol (logo, brand, service and image) that is used to identify the goods or services and to differentia-te itself from its competitors, in fact it reports to the customer the origin and the history and the values of the product

The link between brand and museum is defined by the bond that is created with the public and future goals such as awareness and loyalty

The consumer reaches a level of brand loyalty that automati-cally excludes other brands from its baseline setting. Consumers who are linked to a brand are inclined to buy that brand 10 times longer than other brands

36

E

bonding

advantage

performance

rilevance

presenza

low

high

fidelityattitude

pyramidBrand Dynamics

metbritish museum

louvre

momaguggenheim

bondingadvantageperformance

rilevanza

presenzaLa presenza implica che il consumatore conosca qualcosa della promessa della marca: abbastanza da accettarla o ri�utarla

Per sessere una scelta accettabile il brand deve incontrare i criteri che il consumatore pensa che una marca debba avere. Se non corrispondono, allora quella marca resta a livello di presenza.

Per arrivare al livello di performance il brand deve essere, dal consu-matore: “usato”, “guida-to”, “visitato” nel rispet-to delle promesse fatte

Per durare nel tempo la marca deve trovare un vantaggio competitivo che non sia necessaria-mente legato al prodotto ma al bisogno emotivo del prodotto

Il consumatore raggiunge un livello di attaccamento alla marca tale che, automaticamente, esclude altri brand dal proprio scenario di riferimento. I consumatori che sono legati ad una marca sono portati ad acquistare quella marca 10 volte di più delle altre marche

bonding

advantage

performance

rilevanza

presenza

bass

aal

ta

attitudine alla fedelta’

piramide Brand Dynamics

metbritish museum

louvre

momaguggenheim

tate

museo del prado

uffizimuseo egiziomusei vaticaninational gallery

tate

museo del prado

uffizimuseo egiziomusei vaticaninational gallery

37


PROJECT

task. To create a new identity for the museum through the renewal of the settings and of the corporate image

After the study of the creation of a new museum identity, the focus falls on an existing museum in Milan. The Gallery of Modern Art, a museum about 800 Lombardy art whose collections are increasingly dispersed by the creation of more new museums. The museum is interpreted as a "Travel diary" , a place to explore the memories not only of art but also from a sociological point of view. Wars, charac-ters, scientific discoveries, in a dynamic and interacti-ve way, bringing to light the museum history.

A CURATORIAL WORKABOUT ART AND A STUDY

ABOUT MUSEOGRAPHY

UNIVERSITY PROJECT: GRADUATION THESISYEAR: 2012POLITECNICO OF MILAN

MUSEUM

museo di villa belgiojoso"esplorare le memorie dell' 800"

di guida al territorio, organizzando mostre, rac-

della Regione Lombardia di creare sinergie tra enti e istituzioni, la Rete vuole promuovere la ricerca e la cultura e diventare elemento di riferi-mento per il pubblico e per gli studiosi delle dis-cipline. La Galleria d’Arte Moderna di Milano si colloca all’interno del contesto museale otto-centesco. Attualmente, data la sua esposizione di sole opere d’arte vede come propri competi-

Queste ultime, rinnovate secondo il progetto

ampio progetto previsto per l’Expo 2015. Se in questi musei l’arte è il soggetto principale, Nei musei del costume e quello del Risorgimento, collocati rispettivamente all’interno di Palazzo Morando e Palazzo Moriggia, sono approfondi-ti alcuni ambiti socioculturali dell’800 in un ac-cenno di parallelismo con l’ambito artistico. La Galleria d’Arte Moderna, nel progetto di rinno-

museums Xixth

sociocultural

scope

art

PINACOTECA DI BRERA

museo del risorgimento

palazzo moriggia

palazzo di brera

gallerie di via manzoni

palazzo morandi

GALLERIA ARTE MODERNAgallerie d'italia

museo del costume

1

2

3

4

di guida al territorio, organizzando mostre, raccogliendo bibliogra�e ed esaudendo il desiderio della Regione Lombardia di creare sinergie tra enti e istituzioni, la Rete vuole promuovere la ricerca e la cultura e diventare elemento di riferimento per il pubblico e per gli studiosi delle discipline. La Galleria d’Arte Moderna di Milano si colloca all’interno del contesto museale ottocentesco. Attualmente, data la sua esposizione di sole opere d’arte vede come propri competitors la storica

museogra�co di Italo Rota fanno parte di un ampio progetto previsto per l’Expo 2015. Se in questi musei l’arte è il soggetto principale, Nei musei del costume e quello del Risorgi-mento, collocati rispettivamente all’interno di Palazzo Morando e Palazzo Moriggia, sono approfonditi alcuni ambiti socioculturali dell’800 in un accenno di parallelismo con l’ambito artistico. La Galleria d’Arte Moderna, nel progetto di rinnovo si collocherà come punto d’intersezione fra questi musei, dando

l’ottocento lombardo

percentages of milan

home museums 10%ecclesiastical 10%scientific 12%other museums 12%cultural institutions 21%private fundation 10%

"esplorare le memorie dell' 800"

contest analysis

art museums 25%

38

E

The setting is like a diary which tells stories about the sociocultural aspetcts connected to the oils shown in the exhibition

CONCEPT

travel diaryexploring memories

"museum"art/culture

timeroutecollectionexperiencestory

+

MILAN IN THE XIX CENTURY

A B C

cultural diary XIXth century traveler contemporaneous reader

experience

39

MUSEUM

mission LEVEL

to link objects and travel visions that are instruments to discover and live the past century

TAG-LINE IDENTITY

a moving machine between art and culture used to tell stories through experience

E X P L O R I N G MEMORIES

BONDING belgiojosomuseo di villa

NEW IDENTITY

98

Nuove Gallerie d’Italia di recente apertura. Queste ultime, rinnovate secondo il progetto

40

E

The project starts from the new reuse of the existing, picking up the collection of the 800 in a smooth path, following the shape of the existing architecture. The division of space leads to a simplification of the path for the user. The vistor identifies

himself in a 1800 traveler. He explores the history of the century, specifically in the city of Milan. The diagram shows the stages of travel that can be found in the path from the entrance to the end of the journey which is the crucial point.

from the concept to the experience

1 2 3 4 5 6

floor 0

33

D

E

F G

a bc

h

21 3 4 5 6

77a

7b

traveler

experience

customization

revisiting

retention

decisioninfluence

information

start

research

planningsharing

diary of a travel

iii

GAM

RESTAURO

floor -1

GAM

floor 0

GAM

floor 1

GAM

floor 2

the villa

40

MUSEUM

89101112

13

16

21

17

14

18

20

19

15

floor 1

12

13

1415

16

17

18

19

19a

20 21

M

N

O

P

I

L

0 5 10 m

12

13

16

14

15

freedom ofexpression

the industrialcity

photography

artist'sstudio

optical theories

21

17

18

20

19

the work

the end of the century

the poetry of everyday life

the escapefrom the city

the truthresearch

8

9

10

11

ACADEMY

BOURGEOISIE

FOLK

ACADEMY EXHIBITION

NATIONALISM

titanism

6

7

ENTRANCE

TICKET OFFICE

WARDROBE

A

B

C

ACCEPTANCE

THE VILLAD

IDENTITYE

PLANNINGF

THE TRAVELERG

INTRODUCTION

CHARACTERS

COLLECTING

grand tour

POLITICAL IDEALS

NEOCLASSICPAINTERS architeCTS

1

2

3

4

5

EXHIBITION

INTRODUZIONEINTRODUCTION

ACCEPTANCE

COLLETION 1 900

PASSAGGIOPASSAGE

PASSAGGIOFACILITIES

EXHIBITION

MUSEUM SETTING

FACILITIES

MEETING ROOM

MEDIATECA

CAFETERIA

BOOKSHOP

M

N

O

P

FROM neoclassicismTO romanticism

hh

FROM romanticismoTO divisionismo

i

FROM 1800 TO 1900l

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SALA

la borghesia

5

display abacus

The exhibition of the Museum of Villa Belgiojoso (Gam) consiste in the insertion of elements designed according to an abacus. All the pieces are designed in accordance with certain principles: mobility, versatility and assembly. Some of them, in fact, can be combine to create larger structures, in accordance with the spatial differences of the rooms.

multimedia table seats

display table

3

5

4

7

big graphic communicative panel

big MONITOR VIDEO LOOP

sound tower

2

1

communicative panel

interactive totem

interactive multimedia station +VIDEO LOOP display

multimedia stationVIDEO LOOP

singletheca

medium sizetheca

big sizetheca

7 8 9

1011

1212

+

13

98

multimedia station+VIDEO LOOP display + big theca

display of little objects + multimedia station

display of medium objects +multimedia station

graphic communicative panel + little theca +big size theca

14 15

16 17

+ 1210

+ 119+ 109

1

3

4

2

1 ingresso principale

2 catalogo del museo

3 fidelity card

4 merchandising

42

MUSEUM

SALA

la borghesia

5bourgeoisie room

the traveler visitsthe private rooms

the bourgeoisie richness is represented by the luxurious dresses and jewelery

opened drawercontaining jewelery

display supportfor dresses

theca for little objects (50 x 50)

removable panels with fabrics and drawings

1

3

4

2



3 fidelity card

4 merchandising

43

E

collecting room

academy room

SALA

il collezionismo

3

1

3

4

2



3 fidelity card

4 merchandising

1

3

4

2



3 fidelity card

4 merchandising

SALA

l'accademia

2

TAVOLA 13TAVOLA 3

sezione aa’

pianta

SALA 6

0 0,5 1 M

a

a’

TAVOLA 13TAVOLA 4

TAVOLA 13TAVOLA 2

sezione aa’

pianta

a

a’

SALA 3

0 0,5 1 M

44

MUSEUM

corporate image

The choice of the name is aimed at the re-evaluation not only of the museum institution but also of the historical monument. The logo has been designed using the initial of the count of Belgiojoso. It has been modified to get the final logo: it’s made-up of two sections: art and culture.

museo di villa

elgiojoso

museo di villa

belgiojoso

museo di villa

elgiojoso

the characters tell their stories

logo

1

3

4

2



3 fidelity card

4 merchandising

1

3

4

2



3 fidelity card

4 merchandising

1

3

4

2



3 fidelity card

4 merchandising

elgiojosoesplorare le memorie

museo di villa

aticket card

merchandising

exhibition book

b

C

45

E

CONTEST

CONTEST: EPIDERMIC HAPPINESSYEAR: 2012PLACE: FAVARA (AG), ITALY

bob system

task. To create street furniture thinking about happiness in a city in the South of Italy: Favara

BOB is an urban design system which draws inspiration from the soap’s bubbles. These playful elements spreads as a happy wake in the city, they infect people, objects and buildings. The system is constituted from three indipendent parts, all of these have a different function: seat, green and light. The planning important thing is that these elements are light so they can spread in the space and occupy not only the horizontal surfaces but the vertical surfaces too. The study of the shape permit to turn and hang them creating new pubblic spaces. Favara will be enriched with light, flowers and seats and you will admire it from a new point of view: the air.

46

A PROJECT ABOUT A CONCEPT, A BUDGETAND A CITY WHICH HAS TO BE CHANGED

USING THE DESIGN METHOD

epidermic bubbles

b bo

i think that nobody in this room has ever done a common soap bubble and that, admiring the perfect shape and the unbelievable brightness of the colours, has never ask himself how it could be possible to do a similar amazing object in a so easy way.

Charles V. Boys, Le bolle di sapone e le forze che le modellano, Zanichelli, 1974

47

light

play

b b

CONTEST

All the elements have cutted sphere shape, like fallen bubbles on the floor. The seating one has a dimension which is thought for two people. It has a curve inside which permits a comfortable seat both in the horizontal and vertical versions. Around it there’s a metal tube used to fix the elastic net to the structure: the sitting will be soft. The other two elements are similar but one is hollow to contain the grass, the other one is a lamp.

b b

180

9045

30

70

140

lateral viewtop view

pubblic wall

pubblic partecipation

new pubblic spaces

wallhook

TECHNICAL INFORMATION AND MATERIALS

parassita

materiali

system

90°

48

The elastic net permits to give feel the seat like a soft bubble

The light structure is made of thermoformed white plastic

The green bubble is full of earth to give the possibility of growing plants

GREEN plasticELASTIC NET

F

a

49

CONTEST

DESIGN

PROJECTSYEAR: 2010-2012MADE

task. Everything that improve my know-ledge about design, from communication to product

The design comes from the passions grown day by day, by the need or desire for excellence. A designer wants to rediscover itself. The client is always different, the applications range from communications to photography to interior. the designers face a new challenge to get the best result. This is due to the multidisciplinarity, commitment and experience, never forgetting the creativity that characterizes it.

52

RESEARCH, PASSION, MULTIDISCIPLINARYMADE UP THE PROFESSION

OF AN INDIVIDUAL

others

DESIGN

53

PROTOTYPING

PROJECT: LAMP MACHINEYEAR: 2012AUTO-PRODUCTION

LIGHT AND SHADOW

task. A piece of furniture, which is based on light and shadow, how it can transform the space and become even more?

The research on Japanese architecture, the dynami-sm of the buildings and their fusion of innovative materials and themes related to nature, leds to experimentation in creating a system that would lead to the creation of successful new architectures. A regular cage exceeds its rigidity meeting of his shadow of the rotating central structure made of a complex curve. This is a machine that generates new spaces.

PROTOTYPE OF AN ELECTRICAL WIRING,

TESTING IN WOOD PROCESSING

OTHERS

ARCHITECTURE OF LIGHT AND SHADOW.

54

PROTOTYPING

G

55

GRAPHIC

PROJECT: COMMUNICATIONYEAR: 2012PLACE:MONSELICE (PD), ITALY

FORMA MENTIS LOGO

task. To think about a logo that could represents a youth organization, a system of communication

Forma Mentis is a cultural association from the province of Padua. The client needs a logo to repre-sent the mental philosophy of the association, the proactiveness of young minds thinking together in a community. The logo represents the ideas, the building blocks of a future culture. The collaboration is continuing to improve the printed communication and the creation of a web site.

IMPORTANT ADVICE WORK:A REQUEST, THE PROBLEM SOLVING

AND A FINAL PRESENTATION

OTHERS

comunity

+ +

YOUNG PEOPLE

EXPERTS FAMILIES

EM NR TO IF SMA

www.formamentis.name

risvegliamo le coscienze

Presentation of the new project for the meme-bers of the group

Meeting the m a g i s t r a t e Ingroia,Old C h u r c h , Monselice

task.

solution

presentation

printed version

?

56

GRAPHIC

G

english portfolio

Documents

faculty of design

faculty of interior

design support

use of nuclear

politecnico of milanevaluation

politecnico of milan2011

private residential

private clients042010