Science by designers

Transcription

Matteo Astolfi Studio | Portfolio breve 2013
Science by designers - StudioSpace / Editoria, infografica
Progetto grafico e impaginazione per Science by
designers e StudioSpace, libri per SHS Publishing,
Berlino. www.shspublishing.com
Matteo Astolfi | Studio
SHS Publishing
Science by designers / Editoria - Infografica
Progetto grafico, impaginazione e infografiche per
Science by Designers, libro scientifico-infografico per
SHS Publishing, Berlino. www.shspublishing.com
SHS Publishing
black
25%
high
40%
species
75%
eucaryote
80%
Science by Designers
medium
30%
160 species
procaryote
80%
low
45%
Index
vivipary
40%
20 america
10 australia
15 europe
45 islands
SHS Publishing
ovipary
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ovovivipary
85%
1
300 grams
width
50%
north
50%
south
10%
2
Graphic design
meiosis
10.000
science
40%
atoms
135
Math
Astronomy
Physics
Biology
Geology
Publishers
molecules
design
50%
Matteo Astolfi
Gianluca Balzerano
Pietro Buffa
3
SHS Publishing
4
lot
supernova
50%
human
humanoid 20%
robot 50%
cyborg 30%
43
57
69
77
Radio
40%
mitosis
329
fission
80%
Fire and Earth
The Earth’s Internal Structure
Plate Tectonics
Volcanoes
Earthquakes
Science Through the Eyes of Information Designers
neutron star
50%
Copyright 2010
Wind
Universe
The Solar System
Climate
85
93
107
Water
Water Cycle
Depths
Marine Circulationt
111
125
139
graphics
85%
Copertina e indice del libro
amphibians
100%
3
11
19
27
35
The
explosion
were
so violent
that they
were
heard
depth
50%
Life
Building Blocks of Life
The Cell
Plants & Photosynthesis
Evolution
Gaya Theory
Pagina d’apertura macro
sezione, pagine di testo,
apertura di sezione e doppia pagina infografica.
Chapter 2
Fire and Earth
black
25%
h.ours
of work
135
brain
work
lot
cyan
75%
london
50%
Introduction
paper
80%
The most common perception
of a volcano is of a conical
mountain, spewing lava and
poisonous gases from a crater
at its summit. This describes just
one of many types of volcano,
and the features of volcanoes
are much more complicated.
The structure and behavior of
volcanoes depends on a number
of factors. Some volcanoes have
rugged peaks formed by lava
domes rather than a summit
crater, whereas others present
landscape features such as
massive plateaus. Vents that
issue volcanic material (lava,
which is what magma is called
once it has escaped to the
surface, and ash) and gases
(mainly steam and magmatic
milan
40%
1
W.H. Smith
Distribution: divergent plate
boundaries
hot spots, convergent plate
boundaries; komatiite and
other ultramafic lavas are
mostly Archea.
accurancy
100%
photoshop
50%
300 grams
milan
40%
london
50%
barcelona
85%
h.ours
of work
135
photoshop
50%
brain
work
lot
free time
few
hours
of work
135
gases) can be located anywhere
on the landform. Many of these
vents give rise to smaller cones
such as Pu’u ‘Ō’ō on a flank of
Hawaii’s Kīlauea.
Other types of volcano
include cryovolcanoes (or ice
volcanoes), particularly on some
moons of Jupiter, Saturn and
Neptune; and mud volcanoes,
which are formations often not
associated with known magmatic
activity. Active mud volcanoes
tend to involve temperatures
much lower than those of
igneous volcanoes, except when
a mud volcano is actually a vent
of an igneous volcano.
3
work
lot
science
40%
talent
40%
< 2%
> 40%
Anak Krakatau, the island
formed after the destruction of
Krakatoa in 1883, has grown
at an average rate of five
inches (13 cm) per week since
the 1950s. This equates to an
average growth of 6.8 metres
per year.
design
50%
graphic
85%
Chapter 2
Chapter 2
Fire and Earth
Fire and Earth
The volcano
world map
The biggest
and most
dangerous
volcanoes on
the planet
LEGEND
active volcano
Volcanoes
cubic kilometers of ejecta
tectonic plate fault lines
92
Eyjafjallajokull
(Iceland)
tectonic plate velocity (mm/y)
18
25
A volcano is an opening, or
rupture, in a planet’s surface or
crust, which allows hot magma,
ash and gases to escape from
below the surface. Volcanoes
are generally found where
tectonic plates are diverging or
converging.
8
16
69
92
Yellowstone
Caldera
(U.S.)
Mt. St. Helens
(U.S.)
Vesuvius
(Italy)
6
18
34
22
24
96
96
100
62
61
61
13
By contrast, volcanoes are usually not created where two
tectonic plates slide past one another.
31
26
66
14
CHARACTERISTICS OF SEVERAL DIFFERENT MAGMA TYPES
ULTRAMAFIC (PICRITIC)
8%
Fe
Chapter 2
50%
SiO2
Tmp
INFO
INTERMEDIATE (ANDESITIC)
10%
MgO
1,500ºC
Viscosity: Low
Eruptive behavior: gentle
boundaries, hot spots,
convergent plate boundaries
45
MAFIC (BASALTIC)
45%
SiO2
32%
MgO
Tmp
HIGHEST VOLCANO
6,893 m
Ojos del Salado
(Chile)
78
10
13
34
53
Lake Taupo
(New Zealand)
70
Subduction zones are places
where two plates, usually an
oceanic plate and a continental plate, collide. In this case,
the oceanic plate subducts,
or submerges under the continental plate forming a deep
ocean trench just offshore.
Water released from the subducting plate lowers the melting temperature of the overlying mantle wedge, creating
magma. This magma tends to
be very viscous due to its high
silica content, so often does
not reach the surface and
cools at depth. When it does
reach the surface, a volcano
is formed.
32
103
13
These so-called hotspots, for example at Hawaii, can occur
far from plate boundaries. Hotspot volcanoes are also
found elsewhere in the solar system, especially on rocky
planets and moons.
40
Tambora
(Indonesia)
Krakatau
(Indonesia)
Volcanoes can also form where there is stretching and
thinning of the Earth’s crust (called non-hotspot intraplate
volcanism), such as in the East African Rift, the Wells
Gray-Clearwater volcanic field and the Rio Grande Rift
in North America. Volcanoes can be caused by mantle
plumes.
Map showing the divergent
plate boundaries (OSR –
Oceanic Spreading Ridges)
and recent sub aerial volcanoes.
27
67
PACIFIC OCEAN
Lake Toba
(Indonesia)
26
by Pietro Buffa
www.oblomov.com
ATLANTIC OCEAN
11
102
Pinatubo
(Philippines)
A mid-oceanic ridge, for example the Mid-Atlantic Ridge,
has examples of volcanoes caused by divergent tectonic
plates pulling apart; the Pacific Ring of Fire has examples
of volcanoes caused by convergent tectonic plates coming
together.
45
60%
SiO2
3%
MgO
1,300ºC
Viscosity: Very Low
Eruptive behavior: gentle or
very explosive (kimberilites)
boundaries, hot spots,
convergent plate boundaries
Tmp
1,000ºC
Viscosity: Intermediate
Eruptive behavior:
explosive or effusive
Distribution: convergent
plate boundaries, island arcs
80%
FELSIC (RHYOLITIC)
2%
MgO
Tmp
70%
SiO2
900ºC
Viscosity: High
Eruptive behavior:
explosive or effusive
Distribution: hot spots in
continental crust
(Yellowstone National Park)
Fire and Earth
of Earth’s mass
is of volcanic origin
PLANES OR VOLCANO?
European aviation industry
344,109 tons
Volcano
Eyjafjallajokull
150,000 tons
75%
of volcanic eruptions
happens underwater
5%
of Earth’s volcanos
are currently erupting
Co2 saved by 60% cancelled flights
206,465 tons
Typical examples for this kind
of volcano are Mount Etna
and the volcanoes in the
Pacific Ring of Fire. Hotspots
are not usually located on the
ridges of tectonic plates, but
above mantle plumes, where
the crust tends to be thinner.
The temperature of the plume
causes the crust to melt and
form pipes, which can vent
magma.
Sources:
www.volcano.org
www.densitydesign.org
www.mirelles.com
45
barcelona
85%
Chapter 1
Life
Aperture di sezione e doppia
pagina di infografica.
Chapter 2
Fire and Earth
The Cell
Earthquakes
The cell is the functional basic
unit of life. It is the smallest unit
of life that is classified as a living
thing, and is often called the
building block of life.
An earthquake (also known as
a quake, tremor or temblor) is
the result of a sudden release of
energy in the Earth’s crust that
creates seismic waves.
It was discovered by Robert Hooke and is the functional unit of all
known living organisms. Some organisms, such as most bacteria,
are unicellular (consist of a single cell).
At the Earth’s surface, earthquakes manifest themselves by
shaking and sometimes displacing the ground. When a large
earthquake epicenter is located offshore, the seabed sometimes
suffers sufficient displacement to cause a tsunami. The shaking in
earthquakes can also trigger landslides and occasionally volcanic
activity.
Other organisms, such as humans, are multicellular. Humans have
about 100 trillion or 1014 cells; a typical cell size is 10 µm and a
typical cell mass is 1 nanogram.
In its most generic sense, the word earthquake is used to
describe any seismic event—whether a natural phenomenon
or an event caused by humans—that generates seismic waves.
Earthquakes are caused mostly by rupture of geological faults,
but also by volcanic activity, landslides, mine blasts, and nuclear
experiments. An earthquake’s point of initial rupture is called its
focus or hypocenter. The term epicenter refers to the point at
ground level directly above the hypocenter.
The largest cells are about 135 µm in the anterior horn in the
spinal cord while granule cells in the cerebellum, the smallest, can
be some 4 µm and the longest cell can reach from the toe to the
lower brain stem (Pseudounipolar cells). The largest known cells
are unfertilised ostrich egg cells which weigh 3.3 pounds.[3][4]
In 1835, before the final cell theory was developed, Jan
Evangelista Purkyně observed small “granules” while looking
at the plant tissue through a microscope. The cell theory, first
developed in 1839 by Matthias Jakob Schleiden and Theodor
Schwann, states that all organisms are composed of one or more
cells, that all cells come from preexisting cells, that vital functions
of an organism occur within cells, and that all cells contain the
hereditary information necessary for regulating cell functions and
for transmitting information to the next generation of cells.
45
The deadliest
volcanos
eruptions
Historical
timeline of
the tragedies
Chapter 2
Fire and Earth
The Earth’s
internal
structure
The Earth has an outer silicate
solid crust, a highly viscous
mantle, a liquid outer core that
is much less viscous than the
mantle, and a solid inner core.
There are three different
metatypes of eruptions. The
most well-observed are magmatic eruptions, which involve
the decompression of gas
within magma that propels
it forward. Phreatomagmatic
eruptions are another type of
volcanic eruption, driven by a
the compression of gas within
magma, the direct opposite of
the process powering magmatic activity. The last eruptive
metatype is the Phreatic
eruption, which is driven by
the superheating of steam via
contact with magma; these
eruptive types often exhibit
no magmatic release, instead
causing the granulation of
existing rock.
The interior structure of the Earth, similar to the outer, is layered.
These layers can be defined by either their chemical or their
rheological properties.
Scientific understanding of Earth’s internal structure is based on
observations of topography and bathymetry, observations of rock
in outcrop, samples brought to the surface from greater depths by
volcanic activity, analysis of the seismic waves that pass through
the Earth, measurements of the gravity field of the Earth, and
experiments with crystalline solids at pressures and temperatures
characteristic of the Earth’s deep interior.
Sources:
www.volcano.org
www.densitydesign.org
www.mirelles.com
LEGEND
death toll
The eruption was
equivalent to 13,000
times the nuclear yield
of the nuclear bomb that
devastated Hiroshima
Volcano
(Country)
YEAR
71,000
killed
YEAR WITHOUT
A SUMMER 36,000
by Pietro Buffa
www.oblomov.com
During a volcanic eruption,
lava, tephra (ash, lapilli, volcanic bombs and blocks), and
various gases are expelled
from a volcanic vent or fissure.
Several types of volcanic
eruptions have been distinguished by volcanologists.
These are often named after
famous volcanoes where that
type of behavior has been
observed. Some volcanoes
may exhibit only one characteristic type of eruption during
a period of activity, while
others may display an entire
sequence of types all in one
eruptive series.
45
Chapter 2
45
THE SUMMER
OF ACID RAIN
POMPEII
BURIED
10,000
3,360
15,000
9,350
18,000
2,000
4,000
1,151
Vesuvius
(Italy)
Mt. Kelut
(Indonesia)
Vesuvius
(Italy)
Tseax Cone
(Canada)
Laki
(Iceland)
Mt. Asama
(Japan)
Mt. Unzen
(Japan)
Mt. Tambora
(Indonesia)
Mt. Galunggung
(Indonesia)
Krakatoa
(Indonesia)
79 BC
1586
1631
1775
1783
1783
1792
1815
1822
1883
The area devastated by the
pyroclastic cloud covered
about 8 square miles, with
the city of Saint-Pierre
taking its brunt
VOLCANO ASH
FOUND IN ANTARCTICA
The loss of life during the 1985
eruption was due partly to the
fact that scientists did not know
precisely when the eruption
would occur, and the authorities
would not take costly preventative
measures without clear warnings
of imminent danger
People were killed mostly
through hot mudflows (also
known as "lahars")
33,000
6,000
250 homes,
47 bridges,
15 mi. of railways,
185 mi. of highway
were destroyed
1,000
1,355
3,500
23,000
Mt. Tarawera
(New Zealand)
Cotopaxi
(Ecuador)
Mt. Mayon
(Philippines)
Mt. Pelée
(Martinique)
Santa Maria
(Guatemala)
Mt. Kelut
(Indonesia)
Mt. Merapi
(Indonesia)
Mt. Lamington
(Papua)
Mt. Ruapehu
(New Zealand)
El Chichón
(Mexico)
Nevado del Ruiz
(Colombia)
Mt. Pinatubo
(Philippines)
1886
1887
1897
1902
1902
1912
1930
1951
1953
1982
1985
1991
120
5,115
1,369
Fire and Earth
2,942
152
700
45
At the Earth’s surface, earthquakes manifest themselves by
shaking and sometimes displacing the ground. When a large
earthquake epicenter is located offshore, the seabed sometimes
suffers sufficient displacement to cause a tsunami. The shaking in
earthquakes can also trigger landslides and occasionally volcanic
activity.
Studio Space / Editoria
SHS Publishing
Progetto grafico e impaginazione per
StudioSpace, libro proposto di architettura per
SHS Publishing, Berlino. www.shspublishing.com
Indice geografico /
infografico e doppie pagine
di apertura di sezione
Studio Gang
ChAPTeR ONe
North America
Studio Space
Geographical Index
Circle diameter shows studio's size
Group A
Rotterdam, NL
p. 5
We Are You
Oslo , Norway
p. 12
2012 Architecten
Rotterdam, NL
p. 21
Phillip Beesley Architect Inc.
Toronto, Canada
p. 54
Department of Unusual Certainties
Toronto, Canada
p. 58
Vision Division
Stockholm, Sweden
p. 49
Zus
Rotterdam, NL
p. 28
North America 53
Philippe Rahm
architectes
Paris, France
p. 36
Payette
Boston, USA
p. 67
feld72
Vienna, Austria
p. 56
Europe 3
NArchitekTURA
Krakow, Poland
p. 71
OBRA architects
New York City, USA
p. 80
Ecosistema Urbano
Madrid, Spain
p. 43
Interboro Partners
New York City, USA
p. 93
Atelier Bow-Wow
Tokyo, Japan
p. 202
Yasutaka Yoshimura
Architects
Tokyo, Japan
p. 240
stARTT
Rome, Italy
p. 81
Map Office
Hong Kong, Hong Kong
p. 255
Rojkind Arquitectos
Mexico City, Mexico
p.106
Payette
Boston, USA
p. 67
Asia / Oceania 201
Latin America 105
Phillip Beesley Architect Inc.
Toronto, Canada
p. 54
Department of Unusual Certainties
Toronto, Canada
p. 58
Africa 159
OBRA architects
New York City, USA
p. 80
Interboro Partners
New York City, USA
p. 93
UNA Arquitetos
Sao Paulo, Brazil
p. 125
StudioMAS
Johannesburg, South Africa
p. 160
Max Zolkwer /
Supersudaca
Buenos Aires,
Argentina
p. 140
Interboro Partner, New York City
54
OBRA architects, New York City
62
Payette, Boston
73
Phillip Beesley Architect Inc., Toronto
88
Department of Unusual Certainties, Toronto
96
1
1
2 | StudioSpace | Europe | Group A
2
ChAPTER oNE
ChApter three
Europe
Asia / Oceania
Atelier Bow-Wow
tokyo, Japan
p. 202
Yasutaka Yoshimura
Architects
tokyo, Japan
p. 240
We Are You
oslo , Norway
p. 12
Vision Division
Stockholm, Sweden
p. 49
Group A
Rotterdam, NL
p. 5
Map Office
hong Kong, hong Kong
p. 255
Zus
Rotterdam, NL
p. 28
NArchitekTURA
Krakow, Poland
p. 71
Philippe Rahm
architectes
Paris, France
p. 36
feld72
Vienna, Austria
p. 56
Ecosistema Urbano
Madrid, Spain
p. 43
Ecosistema Urba, Madrid
54
feld72, Vienna
62
Group A, Rotterdam
73
2012 Architecten, Rotterdam
NArchitekTURA, Krakow
5
88
96
Philippe Rahm architectes, Paris
120
Atelier Bow-Wow, Tokyo
132
stARTT, Rome
132
Map Office, Hong Kong
144
Vision Division, Stockholm
144
Yasutaka Yoshimura Architects, Tokyo
156
ZUS, Rotterdam
156
3
stARTT
Rome, Italy
p. 81
2012 Architecten
Rotterdam, NL
p. 21
Apertura di sezione (Europa) e pagine
d’apertura dello studio “Group A”, più
doppia pagina con i progetti
ChAPTER oNE
Europe
We Are You
oslo , Norway
p. 12
Vision Division
Stockholm, Sweden
p. 49
Group A
Rotterdam, NL
p. 5
2012 Architecten
Rotterdam, NL
p. 21
Zus
Rotterdam, NL
p. 28
NArchitekTURA
Krakow, Poland
p. 71
Philippe Rahm
architectes
Paris, France
p. 36
feld72
Vienna, Austria
p. 56
Ecosistema Urbano
Madrid, Spain
p. 43
Ecosistema Urba, Madrid
54
feld72, Vienna
62
Group A, Rotterdam
73
2012 Architecten, Rotterdam
88
NArchitekTURA, Krakow
96
Philippe Rahm architectes, Paris
120
stARTT, Rome
132
Vision Division, Stockholm
144
ZUS, Rotterdam
156
3
Group A are a medium-sized
architecture and urbanism office
based in Rotterdam. In many
ways they represent the Dutch
architectural practice at its best
– a strong international staff and
an open concept non-hierarchical
workspace. They even hire a chef to
cook up meals for their communal
lunch hour. Showing a great respect
for the architectural legacy of
Rotterdam, they have resurrected
and redeveloped a heritage site in
the port, the Diepeveen, to call their
office home.
employees
4
address
I dunno street, 23
3049405
Rotterdam
web
www.groupa.nl
Group A
Projects
Blok 1 Presikhaaf, Arnhem,
NL - A student housing tower
designed as a part of a larger
redevelopment scheme for the
Presikhaaf area.
Blok 1 Presikhaaf, Arnhem, NL - A student housing tower designed
as a part of a larger redevelopment scheme for the Presikhaaf area.
Presikhaaf area.
Presikhaaf area.
1
3
name
Group A
founded by
Bartosz Haduch
founded in
1997
physical office size
90m2
stARTT
Rome, Italy
p. 81
The meeting room
Group A
Interview
function, other
than advertising
the company
name to passing
ships
”
Ground floor
How did you find your current studio space and what were
the deciding factors that ultimately led you to choose it as
a space to run your practice out of?
Esempio pagine per la
sezione relativa agli studi
e ai loro progetti.
In terms of representation, how do you fashion your studio
to convey the right message to your clients when they
visit?
— 15 years ago we were looking for an office space. We ended up at
the Diepeveen building, a national monument. The building, formerly the premises of ironware company Diepeveen, was designed
in 1929 by architect W. Kromhout. The prominent tower has a spiralling staircase, which had no function other than advertising the
company name to ships passing on the river and harbours nearby.
The neighbourhood, situated on the outskirts of the city next to
the harbour, is a bit shabby and rough, but it is also an inspiring
place, full of energy, venture and change. This characterizes Rotterdam, as a trade and business city. We like this atmosphere.
— It’s renewing, fresh and light, as the character of GROUP A.
There is a good balance between the monumental character of
the building and the modern refurbishment. This is the message
we radiate to our clients.
In what way do you interact with your surrounding neighbourhood, and are there locational advantages to being in
the neighbourhood you’re in?
— The boldness and intensity of our neighbourhood inspire us
to create more beautiful architecture. In addition, there is an
abundance of ventures in the local area, mostly small cultural
businesses: we are in the middle of inspirational people. For
some projects we like to team up with other enterprises. For example a copywriter next door is working with us on a book at
this moment.
What is your general work method and approach to architecture?
— We have always been motivated by a desire to learn. Working
on different architectural typologies and collaborations with new
clients has always given us the opportunity to develop our skills.
This dialogue, the challenge of the new and the learning process,
which are related, support us to continually make further progress
in our work. Progress and change are at the core of our existence
as architects: nothing is to be considered as static, as an inescapable fact. Our approach of dialogue and exchange of knowledge is
the principle mindset for our office and provides us with the opportunity to approach each design project as a fresh and dynamic
process. The way people live, work, relax is dynamic, which requires an open mind. Because of this attitude GROUP A is able to
think laterally without being restricted. This enables us to clearly
think out of the box and arrive at fresh and unexpected design
solutions that define and expose the essence of the commission.
In what way does the city in which you practice effect
the day-to-day work of the studio and the work that you
produce?
Nothing is to be
“considered
static,
as an inescapable
fact
”
— Rotterdam has a profoundly modern architectural tradition,
mainly because the city centre had to be completely rebuilt after
being destroyed during the Second World War. This also meant a
chance for architects and urban planners to create something altogether new and different. This culture has remained dominant
ever since. Rotterdam is a city that is perpetually changing, in
permanent motion, which is, of course, also at the heart of the
culture of GROUP A.
In terms of functionalism, how do you fashion your studio
to meet the demands of your own particular work method?
How has communication technology changed the way your
studio operates?
— We consider our office space as a manifestation of our approach
and culture: it’s an open space, light and airy. The team effort is
central to GROUP A and the design of this studio. It is an inviting
space, which inspires people to improve their own specific talents,
to develop themselves and the office as a whole. The complete
ovearhaul of the interior is exemplary of the ‘hands-on’ approach
we hold dear: we managed everything - from design straight
through to the execution of the whole project. The end result is
an office with an inspiring atmosphere, in which our colleagues
enjoy their work, can relax, and even cook up a meal together.
— We have always been interested in the progression of communication technology. Besides our website, that shows what we do,
we have our Blog, GROUP A LIVE, that shows the social and
cultural aspects of our studio. Everybody in our office is welcome
to post articles on it, to spread ideas and to share knowledge
and experience. Further more, we make use of the most advanced
drawing software including a home-built database system, developed by one of our partners. With this system we can work fast
and efficient, because it’s fine-tuned to our wishes.
5
9
“The complete overhaul of
the interior is exemplary
of the ‘hands-on’ approach
that we hold dear”
Group A
Inspiration/Influence
Inspiration
is a city
“thatrotterdam
is perpetually
Client
Institution
changing, in
permanent motion
23 km
3.1 km
Bp Refinery
Stadshuis
Architecture
Institute Rotterdam
Netherlands Architecture
Institute Museumpark
Blaak 8
3.5 km
Blauwhoed
6.8 km
Cube Houses
List five buildings/places in the city that you seek inspiration from.
3.3 km
Rotterdam itself inspires us. Not any buildings in particular, although there is an abundance of beautiful and interesting places.
It’s the city as a whole, consisting of a rich array of different styles.
Social housing from the seventies, next to modern day skyscrapers with expensive penthouses on top, old monumental buildings
next to modern architecture. This collage city, with the river Maas
running through it, with it’s the immense harbour, is an exhilarating and inspiring habitat.
1.7 km
Kunstal
Group A
List the institutions/organizations/clients in the city that
have helped you develop your practice and thoughts on
architecture.
Montevideo
2.6 km
Rotterdam as a typical “architectural minded city” has many developers. We are in frequent contact with Rotterdam based institutes
like the NAI (National Architectural Institute) and AIR (Architecture Institute Rotterdam). Amongst other things, AIR organizes
architectural tours, which give people a chance to see buildings
in a different way, and gives us a chance to show our work to the
public.
We have been asked by one of our clients, BP Refinery, to design a
new head office at the refinery terrain in the harbour of Rotterdam.
We had to design a building that was “blast proof”, in itself an interesting challenge. In addition we are thrilled to have a chance to
build in the harbour district, the quintessence of Rotterdam.
At the moment we are realising an office building in the historic
city centre: Blaak 8, commissioned by the developer Blauwhoed.
We are very proud to see our own creation in the middle of the city,
making a change in the skyline of Rotterdam.
Mass River
11
”
15
The prominent
“tower
had no
Coffee corner
Esempio pagine per la
sezione “Essays”
BECHARA HELAL
In 2001, the educational curriculum for the students of the School of Architecture at the Université de Montréal was transformed as a Professional Master’s Program in Architecture (M.Arch., 3
semesters, 45 credits) was introduced in addition
to the existing undergraduate Bachelor Program
in Architecture (B.Arch., 6 semesters, 95 credits). In the context of this new graduate program,
which is compulsory to gain membership to the local professional association, the students have to
choose a specialization between six different orientations: Explorations in Architectural Design,
Conservation of the Built Environment, Project
Management, Computer-Aided Design, Urban Architecture, and Building Systems. Following the
pedagogical model of the undergraduate B.Arch.
program, each of these orientations is organized
around a series of teaching studios. It is in this
context that Professor Jean-Pierre Chupin, teacher in charge of the Explorations in Architectural
Design specialization, set up the Ouvroir de Projets Potentiels (OUPROPO), the main teaching
studio for this specialization and the last studio
before the Final Thesis Project which concludes
the academic education for the future professional architects.
However, visiting the OUPROPO and witnessing the uncanny operations of its students, one
would be hard pressed to recognize in this learning space administratively labelled as a studio any
of the usual characteristics or dynamics of the
traditional architectural pedagogical model. Because, as is implied by its name, the OUPROPO is
not studio: it is an ouvroir.
Vollor repedi qui il in consequi
occulle ssimusc idundeb
itinctem. Num, ventium, accus
repuda nonecaborum quat
quis dolupta turempedi officte
ndipsam ut fuga.
9
Bechara Helal is a doctoral
student in Architecture at the
Université de Montréal. He
graduated in engineering at
the École Polytetchnique and
holds a Masters in architectural
design. He has worked for
prominent architectural firms
such as Saucier + Perrotte
and is regularly involved in
teaching in graduate studios
in architecture, such as the
OUPROPO studio directed by
Prof. Jean-Pierre Chupin. The
research thesis he currently
works on within the framework
of the L.E.A.P (Laboratoire
d’Étude de l’Architecture
Potentielle) deals with the
notions of experimentation
and the laboratory as mental
and physical spaces for the
production of architectural
knowledge.
Workshops, Studios and Pedagogical Process
The OUPROPO, which can be roughly translated
as Workshop of Potential Projects, is a clear and
direct reference to the OULIPO (Ouvroir de Littérature Potentielle), a sub-committee of the Collège de Pataphysique cofounded in 1960 by writer
and poet Raymond Queneau and engineer and
mathematician François Le Lionnais. The word
“ouvroir” in the naming of this experimental literary group is used in the original sense of the
term, namely a “place where many persons work
together, in particular in a military arsenal.” This
definition implies two main characteristics for
this workspace: first, a type of work related to the
manufacture of objects, and second, a structure
of work based on collaboration. In this sense, the
best translation in English of “ouvroir” would be
“workshop” for which the Oxford English Dictionary gives two definitions: “a meeting for discussion, study, experiment, etc., originally in education or the arts, but now in any field” and “a
room or building in which manual or industrial
work is carried on.”
By contrast, a studio is traditionally defined as
“the work-room of a sculptor, a painter or a photographer” (Oxford English Dictionary) or as “a
place for the study of an art” (Merriam-Webster
Collegiate Dictionary). It is a place directly linked
to the artistic field.
Both the workshop and the studio are places of
production and learning, but by comparing them,
one can highlight two major differences.
The first difference touches on the type of work
carried out. The activity in the studio can be seen
ndipsam ut fuga.
as focused on the production of a unique artistic
object seen as an end-result. This is in contrast
with the activity that takes place in the workshop, which is concerned less with the result of
the production process than with the industrial
structures that will make possible the production
and manufacture of goods and objects in larger
quantities. In other words, work in the studio
can be best described by the resulting product
whereas work in the workshop is better defined
by the production processes structuring product
manufacturing.
The second difference addresses the relationship between the actors working within the spaces. The studio is where the artist creates in solitary
confinement. If more people work in the studio, it
usually is as part of a hierarchical structure dominated by the central figure of the master who dictates his intentions to his assistants and disciples.
In stark contrast with this “pre-determined vertical chain of authority that works from the top
down” as experimental architect Lebbeus Woods
defines hierarchy, the internal structure of the
10 | StudioSpace | Training Architects
11
DEREK PIGRUM & MARCUS KOERNE
The Architects’ Studio
as ‘Switchboard’ between
the Inner and Outer World
INFORMATIONAL
OBJECTS
books
professional journals
catalogues
This essay has its origins in conversations between creativity researcher, author and practicing artist Derek Pigrum and the interior architect and designer Marcus Koerner, in the
ambiance of a traditional Viennese café- a place
that in itself has played a role in the creativity of
artists, writers and architects past and present.
The quotations from Koerner are from his written account that Pigrum has translated from
German. In addition to this are excerpts from
recent interview notes with Koerner.
The reason why so little attention has been
paid to the role of the studio as the site of architectural practice is that, like all such places, it
has the quality of a second nature, of ingrained
habits and an intimate familiarity. We tend to
overlook the role it plays in the extraordinary
creative activity that produces much of our built
environment. The role of the studio space in the
creativity of architects reveals a dependency on
the nature of the place of the studio as an intermediate area, as what Koerner describes as
a ‘switchboard’ between the inner and the outer that promotes the generation, modification
and development of ideas (see Pigrum 2001 and
2009).
The way the architect orders the studio determines the world of things encountered every
day - things ‘readily available’ and ‘ready-tohand’. This essay attempts to show that the studio is a third place between the subjective inner
world and objective external reality. The things
StudioSpace
REPRESENTATIONAL
OBJECTS/IMAGES
photographs
journal cuttings
sketches
plans
models
DOCUMENTARY
OBJECTS/IMAGES
prototypes
visualizations
development models
artistic work
Dr. Derek Pigrum is a research
fellow at the University of
Bath,UK. He has
published numerous papers
on creativity and is ‘an
international leader in the field
of creativity research’. His book
‘Teaching Creativity: Transitional
Multi-Mode Practices’ published
by continuum in 2002 will come
out in paper back in the USA and
UK before the end of 2011.
Marcus Körner is a Designer
born in Vienna in 1971 where
he lives and works. In 2001 he
launched his own studio there.
For the last 20 years he has
been involved in architectural
and design processes. That’s
why his M.A. thesis investigated
the uses of architectural
sketching. His particular interest
is the sketching process in art,
design and architecture.
INSPIRATIONAL
OBJECTS
previous work
artistic work
found objects
material samples
TOOLS
drawing instruments
model building utensils
paper, card
cameras
computer
UNFOCUSED
INSPIRATION
music
TV
all objects
19
workshop can be best described as “a spontaneous lateral network of autonomous individuals”,
in other words, a heterarchy.
The design studio that is found at the core of
architectural education can be traced back to the
French Beaux-Arts tradition and is closely related to the artistic studio model. In the context
of the architectural design studio, the student is
faced with a design problem – usually consisting
of a site and a program. He will work towards the
formulation of an adequate solution to this problem under the guidance of the studio instructor.
Following the hierarchical structure of the artistic studio, the master/teacher is at the centre
of the process and the disciple/student acquires
knowledge by being in contact with this holder of
professional expertise through some kind of osmosis. As Dana Cuff writes, “the studio instructor
will be [the students’] semester-long guide into
the mysteries of design.” Traditional architectural education is largely a repetition of this process of assisted problem-solving, with the student
left alone to build a personal method for solving
in the studio, the instruments, paper, equipment, tools, materials, drawings and resources,
are at some level of consciousness continually
taken into account. The ‘round-about-us’ of the
studio involves a continual acquaintance and
a preference for certain schemas that enhance
creative possibilities and solutions.
The architect Steven Holl states, ‘My office is
as messy as an artist’s studio but in the mess
I see something that will become a part of my
creative process’ (Krasny, 2009, p.70). The architect Yona Friedman has an ever-expanding
collection of bricole that stretches across the
walls and ceiling of his work space (see Krasny,
2008, pp. 52-57). Bricolage activity in the studio often takes the form of a kind of aside or
displacement activity, a polar relation between
intense activity and the repose necessary to the
architect’s idea generation and development.
Thus, in a sense, bricolage leads the architect
away and then back to his immediate concern.
Pigrum has written about this phenomena and
the relation of gathering and thinking in the
studios and workspaces of writers, composers
and artists (See Pigrum, 2011).
Koerner’s prefers to call his studio his ‘workshop,’ and classifies the objects and images it
contains as follows:
• ‘objects of an informational character
• objects that aid inspiration
• objects that involve representations of
•
•
•
different kinds from photos to sketches
objects that aid unfocused inspiration
objects of a documentary character
objects that serve as tools.
Koerner goes on to state that ‘the overlap between these various objects determines the studio space’. Koerner drew the diagram below to
show the relation of these objects within the
studio.
Koerner states that:
‘at the beginning of a project I gather
information on the one hand in books,
journals, catalogues and so on, and on
the other hand, material directly related to the project such as plans, photos
etc. In this phase of seeking inspiration
the focus is widened to include previous projects, material samples and
found objects as well as autonomous
artistic works’.
These artistic works are most often related to
the theme of time and with a clear compositional character, and according to Koerner, ‘act as
a kind of bridge or coupling device to his idea
generation and development’. On one occasion
quite recently, he brought a small stone to our
meeting stating ‘that it usually lies within view
on his shelf, and acts as a source of inspiration, and, on the rare occasion when I pick it
up, it acts as a kind of coupling in that part of
the process that concerns formal and material
questions’. Whatever way the stone is turned it
has a schematic resemblance to something; now
a crocodile, now a bird.
Koerner states
‘in some ways this stone works like
Freud’s collection of ancient figurines
that he kept in view on his desk. It
leads to a solution without providing
one itself but simply as a means to conduct a first search and to ascertain their
relevance to my present concerns’.
Koerner went on to state that
‘the process of representation leads
to a change in the physical appearance of the studio itself, because now
the relevant photos, newspaper cuttings, sketches, plans and models are
placed in a collage- like arrangement
on panels’. The architect Jon Jerda
adopts much the same procedure when
he states, ‘the colored print-outs that
show local characteristics hang beside
each other, indeed sometimes over each
other, so as to develop solutions to
problems by means of visual clusters of
themes’ (Krasny, 2009, p.75).
architectural problems after having been exposed
to the sometimes similar but often different and
even opposing methods, theories and ideologies
of a multitude of studio instructors.
As Jean-Pierre Chupin notes, this is “a system
that tries to teach architecture but sometimes
forgets to train architects.” It is with this major
limitation of the studio model in mind that Professor Chupin set up the OUPROPO, in 2001 by
exporting the model of the OULIPO in architectural education.
The OUPROPO is not a studio because there is
no architectural problem to solve and therefore
no formal solution to find. As Marcel Duchamp
– himself an OULIPO member – famously stated:
“There is no solution, because there is no problem.” Instead of being confronted by an elaborate program and a physical site, the OUPROPO
student is only given a general theme. Over the
years, the themes have greatly varied, from the
more specific (“The swimming pool as a place of
the body in Montreal” in 2001) to the more general (“The future in three moments: 2027, 2047,
Lefebvre states:
In Koerner’s studio almost all the furniture
and containers are mobile and easily moved
from one place to another such that, according
to his needs, things can be arranged in ways
that facilitate the study and development of the
project. In the sketch he made below only the
table on the left is a permanent fixture.
Koerner states:
‘the surface of my vintage “drawing
machine” can be tilted horizontally;
an aeroplane trolley is used for storage purposes; a serving trolley where
project information and models are
placed; the prototype of a table I designed that is easily assembled serves
to put things on that are not in immediate use. From my desk in my direct line
of vision I have a panel with magnets to
which I can attach pictures, clippings
and other material’
‘Space is continually produced and
reproduced, and as such is to be understood as active: the analysis of the
production of space does not concern
the ordering of material objects and artifacts, but rather the practical, mental
and symbolic in their relation to these
objects’ (in Schmid, 2010, p.321).
As Koerner states ‘the architect’s studio is not
a “frozen’ space” but rather one where every
change within it produces a new configuration
of possibilities and potentialities that presents
us with a range of metaphorical meanings’, a
space permeated by ambiguity, that in its indeterminacy constitutes a space of possibilities
and potentiality and the move from potentiality
to actualization.
Koerner states that, ‘after the transformation
of the studio there usually follows a phase of unfocused seeking for inspiration during which he
listens to music, looks through books and journals, thumbs through magazines, and sometimes watches TV.’ He is particularly interested
in the way the architect Gary Chang conceives
of film because ‘it lets you connect all the key issues you are thinking of, you find the references
much more quickly’, (Krasny, 2009, p.50).
Koerner states:
The philosopher Martin Heidegger (1962) suggests that every entity that is at hand has different conditions of closeness: the ‘present-athand’ where things are not proximally given,
(Heidegger, 1962, p. 135) and the ‘ready-tohand’ where the thing and our immediate concerns converge, (see Pigrum, 2011). Very often
the ready-to–hand of note-paper, newsprint, envelopes or the reverse side of printed matter, is
not only reliably available in the work environment but is something that can be left around,
re-found, recovered or destroyed (see Pigrum,
2009, 2011). These are ways of working based
on an immediate sensory and imaginative
21
ndipsam ut fuga.
produce links to the experimental stage of the
project, of formal and material relations where
I begin to see something in these objects as
something else’. The studio as a ‘switchboard’
between what is put there and what we need for
our creative concerns, between the inner and
outer world is based on an understanding of the
studio as a variation on what Donald Winnicott
(1971) termed ‘potential space’.
The term ‘potential space’ was coined in the
post-Freudian psychoanalytic theory of Winnicott (1971) on early child development as
having the explanatory power to identify the
roots of human creativity. Winnicott’s theory
has gained adherents from a broad spectrum of
people involved in creative activity (see Pigrum
2009, Nussbaum, 2001 , Giddens, 1991, Rudnynsky 1993, Agamben, 1993). While it is beyond the scope of this essay to address this
theme in any detail, it is of great interest that
Winnicott’s ‘potential space’ is closely linked
to the ‘readily available’, ‘transitional object’,
and dependent on a physical and emotional environment conducive to the mediation between
the inner and outer world that is characteristic
of the architect’s studio. The architect’s studio
is a ‘potential space’ for things that are the intermediate products of creative activity: sketches, concepts, models, reproductions, montages
and other inspirational objects and tools that
serve as discursive media that enrich the information at the disposal of the drafting process.
Nienihic itibero
“riatatusam
faciam
encounter with the concrete given of the scrap
of paper, or the object.
Lefebvre(1991) developed ideas on space eminently applicable to the architect’s studio. The
architect develops the ability to locate the body
in its immediate surroundings producing over
time a ‘practico-sensory realm’; a dense network of ever-changing relations between the inner and outer that exceeds the Cartesian model of space, divorced from experience, where
things are isolated, static and arranged on lifeless co-ordinates, but rather as a ‘lived space’
that houses objects imbued with meaning, that
makes possible the perception of links and interactions between things, of the wresting of
ideas.
2107” in 2007) or the more technical (“Research
laboratories on the architecture of life” in 2011).
The OUPROPO theme is a general context with
minimum limitations that is seen as a simple pretext for the student to develop a personal understanding of the processes of architecture. This is
done through two successive sets of operations.
Instead of being asked to propose a final formal
solution to a design problem, the student must,
in the first phase, through a series of divergent
explorations, identify a specific research question
based on the proposed theme that will allow him
to build a personal architectural problem. During
the second phase, through a series of convergent
explorations, the student designs the principles
that will structure and frame potential architectural projects in relation with the problem he previously set up. In a way, the OUPROPO students
are similar to the OULIPO authors which Raymond Queneau likened to “rats who build the labyrinth from which they plan to escape”.
By refocusing the attention of the students
away from the dynamics of problem-solving and
‘I do not consider this to be work but
am aware that all the time I keep the
first phases of idea development in
view. This was also the time in which I
think of the project as ‘transportable’,
because it is uppermost in my mind and
can be carried around as a tangible representation. In this phase I also talk to
other people, not architects, about the
project. Conversations that involve the
‘sketch on a serviette’ where, as I talk
and draw, new ideas come to mind’.
A colleague of Alvaro Aalto reported that he,
‘considered these “napkin sketches”, as having,
‘just as important a role as the ones made on
the plain backs of the packages of his favorite
cigarettes’ (ibid, 2009, p.17).
During this phase Koerner states, ‘that other
objects related to my personal history take on
a renewed significance because these objects
faciand isciducium
voluptae. Sae
offictur rem.
Ugiam, eaqbus.
”
Koerner states:
‘I use prototypes and developmental
models, visualizations, project information from past commissions and
pieces of art to document my work.
These can serve as information and
inspiration for future projects or as
the basis for the further development
of ideas that were never realized, or
only partially completed, but are also a
mode of introspective exploration’.
Denis Scott Brown talks about ‘the long history of the office in the form of sketches, plans,
models, slides, collected objects and publications’ (Krasny, 2009, p.127) or ‘the interaction
of the existing and its potential’ (ibid). In Koerner’s view ‘this gives rise to a kind of museum of one’s own production in the real sense
of communication. The knowledge gained from
this documentary research activity flows into
new tasks providing a foothold for further work’
Koerner states that, in his studio:
Training Architects:
The Uncanny Pedagogical
Laboratory of the OUPROPO
Enric Rosich / Packaging
Grafica per il packaging del prodotto dello chef Spagnolo
Enric Rosich, realizzato per Solegraells presso Cosmic,
Barcelona (Spagna). www.cosmic.es
Solegraells
Enric Rosich / Packaging
presso Cosmic — Barcelona
I tre diversi packaging andati in produzione
Solegraells
Rosalba Piccinni / Music
Art direction, concept, fotografie, grafica
per l’album d’esordio di Rosalba Piccinni
Rosalba Piccinni
Interno del packaging
ARRIVI
ROSALBA PICCINNI ARRIVI
Arrivi da luoghi che si vedono poco /
con passo che si incontra di rado / ma
gli occhi non dimentico mai / La vedi
quella ferita sulla terra / che prima
s’apre e prima ci osserva / è un occhio
grande su di noi / Sanno di te le nubi
basse d’africa / sanno di noi le panchine
il cane / il fuoco dei silenzi miei / Tu
scegli e il vento si curva sulla faccia /
la polvere si aggrappa forte / al cuore
bruno della luna / E si vede ora che
crescono le onde / si difende la tua
bocca / figlia della gioventù / Sanno di
te le nubi basse d’africa / sanno di noi
le panchine il cane / il fuoco dei silenzi
miei / Appoggi il fieno bianco dei ricordi
/ superata la tempesta / cosa pensa il
gatto sale / nero sulla tavola le prugne /
fonde la candela cede / in silenzio ci si
bacia / Sanno di te le nubi basse d’africa
/ sanno di noi le panchine il cane / il
fuoco dei silenzi miei
Musica: Simone Pirovano
Parole: S. Pirovano, Moreno Pirovano
Simone Pirovano: pianoforte, basso,
chitarra elettrica, acustica e classica
Vittorio Marinoni: batteria, percussioni
Tino Tracanna: sax
Lorenzo Caperchi: loop, elettronica
TUA
Musica: Walter Malgoni
Parole: Bruno Pallesi
Dario Faiella: chitarra elettrica
Riccardo Fioravanti: contrabbasso
Libretto interno
Ho creduto di sognare / e invece no /
son proprio tua / Tua tra le braccia tue
/ solamente tua così / Tua sulla bocca
tua / dolcemente mia così / per sempre
tua / mi pareva impossibile / ma fu
poi tanto facile / legarti a me amore /
Tua fra le braccia tue / per sognare in
due / per morir così / finalmente tua
così / Per sempre tua / mi sembrava
impossibile / ma fu poi così facile /
legarti a me amore / Tua fra le braccia
tue / per sognare in due / per morir così
/ finalmente tua così
Quaderns d’audio / Editoria
Progetto grafico del sistema di copertine per i “quaderns d’audio”
del MACBA, Museo d’arte Contemporanea di Barcelona.
Realizzato presso Cosmic, Barcelona (Spagna). www.cosmic.es
MACBA, Museo d’arte Contemporanea Barcelona
Copine / Immagine coordinata - art direction
Art direction, concept, fotografie, grafica per una linea di moda
indipendente. Il concetto generale segue la linea che Copine
rappresenta, tra sartorialità e design con capi a edizione limitata.
Ilaria Cislaghi
COPINE
C OPINE
MADE IN ITALY
|
data:
|
nome:
MOD. 1
A
MOD. 2
B
abito
C
fodera
abito
fodera
camicia
gonna
MOD. 3
dett.
sopra
sotto
MOD. 4
vestitio
dett.
MOD. 5
dentro
MOD. 6
fuori
SETA
raso stampa batik
twill stampa optical
SETA
stampa pallini
seta lavata
blu lavorato a telaio
acqua marina
champagne
sale e pepe grezzo
CREPE DE ChINE
zucca
fragola
menta
nudo
nero
blu
pois rosa
/ malva
pois latte
/ menta
COPINE
vOILLE
malva
|
malva scuro
arancio
blu
seta
1
lana
2
3
4
5
cotone organza
Data
COPINE
crema stelle cipria
nero
LANA
microfantasia
nero
MISTO PESANTE
petrolio
Nome
Milano — Italy
+39 392 36 99 616
www.copine.it
[email protected]
6
tortora
grigio
|
MISTO LEGGERO
grigio perla
malva
ORGANZA
Milano — Italy
+39 392 36.99.616
[email protected]
@
www.copine.it
nudo
nero
pavone
MOD.
GIORGETTE
latte
L’artigianalità della grafica di Copine segue il concetto sul quale la linea
stessa è stata pensata: creazioni a edizione limitata tra sartorialità e
design. Il logo è funzionale alla compilazione del numero del capo sulla
tiratura; il cartellino e il foglio con i modelli vanno a rappresentare un
documento di autenticità e di unicità di ogni capo.
Projecto
Projecto
Dieci Editoria
Dieci /Editoria
Editoria e infografica
Dieci
Donati Editore
Progettazione della testata,
Progetto grafico del giornale,
Progetto infografico di Dieci
Progetto grafico, infografico e
impaginazione del quotidiano sportivo
Dieci. Realizzato insieme a Leftloft, Milano.
Prima pagina
Ideazione e realizzazione del progetto del quotidiano sportivo
Dieci, a partire dalla realizzazione della testata con tipografia
originale di Leftloft e declinazione nelle testatine interne, progetto
delle gabbie editoriali, scelta della palette tipografica e cromatica
e progetto infografico compresivo di manuale d’uso e formazione
della redazione.
Dieci / Editoria e infografica
Projecto
Dieci Editoria
ecto
eci Editoria
Projecto
Dieci Editoria
CHeRMa
Testatine dei vari sfogli intern.
SCHeRMa
eLa
e interne
VeLa
Testate interne
Infoografie
Infoografie
Dizionario
Dizionario
di Vela
di Vela
Albero
Albero
Stecca dellaStecca
randa della randa
Crocetta
Crocetta
Spinnaker Spinnaker
Volanti
Volanti
Penna dello Penna
spinnaker
dello spinnaker
Sacco dello spinnaker
Sacco dello spinnaker
Randa
Randa
Stecca del genoa
Stecca del genoa
Mura del genoa
Mura del genoa
Mura della randa
Mura della randa
Carrello del tangone
Carrello del tangone
Bugna dellaBugna
randa della randa
Boma
Boma
Opera viva
Poppa
Opera morta Opera morta
Projecto
Dieci Editoria
Poppa
Timone
Winch
Timone
Deriva
Bulbo
Classe IACC
Classe IACC
Bugna del genoa
Bugna del genoa
Prua
Prua
Winch
Deriva
Sartia
Sartia
Trozza del boma
Trozza del boma
Bulbo
Mura a Mura
drittaa dritta
Bompresso
Bompresso
(International
(International
America’sAmerica’s
Cup Class)
Cup Class)
Ricevere il vento
Ricevere
sul lato
il vento
destrosul
dello
latoscafo
destro
e dello scafo
Prolungamento
e
Prolungamento
della prua sul della
qualeprua
è possibile
sul quale è possibile
per questo avere
per diritto
questodiavere
rottadiritto
nei confronti
di rotta di
nei confronti
fissandoci
di opportunamente
fissandoci opportunamente
le vele, migliorare
le vele, migliorare
PESO:
PESO:
chi riceve il vento
chi riceve
sul lato
il vento
sinistro.
sulAttenzione:
lato sinistro. Attenzione:
le prestazioni le
della
prestazioni
barca con
della
il vento
barcaalcon
granil vento al gran
�� t zavorra in
��chiglia
t zavorra in chiglia
questa definizione
questa
è ladefinizione
più usata,èma
la più
nonusata, ma non
lasco. Per la tecnica,
lasco. Per
nella��
tecnica,
usato
nelda��
Newusato da New
funziona
in poppa,
col vento
quando
in poppa,
non c'è,
quando
di non
Zealand
c'è, di e simile
Zealand
a profilo
e simile
alare.a profilo alare.
SUPERFICIE VELICA: funziona col vento
MAX SUPERFICIE
MAX VELICA:
"colpito"
un prima
lato "colpito"
dal vento.
prima
Perdal vento. Per
�� m �� m²
��ronda
m ��
+genoa�
m² �ronda +genoa�fatto, un lato fatto,
questo la definizione
questo la
universale
definizione
è: una
universale
barca ha
è: una barca ha
mure oppostemure
al latoopposte
dove sta
al illato
boma.
doveSesta
il il boma. Se il
EQUIPAGGIO:EQUIPAGGIO:
boma, guardando
boma,
a prua,
guardando
sta a sinistra,
a prua, sta
la barca
a sinistra, la barca
max �� persone
max �� persone
ha mure a dritta.
ha mure a dritta.
��/�� m
��/�� m
Infografiche per l’America’s Cup
Opera viva
Punta del tangone
Punta del tangone
Tangone Tangone
Newton magazine / Infografica
Progetto infografico e realizzazione delle
infografiche per il magazine Newton
Donati editore
Hubble e i suoi fratelli
1
HUBBLE SPACE TELESCOPE
Portello
d’entrata
Antenna radio
Hubble Space Telescope
Il telescopio Hubble, nato dalla
collaborazione tra la NASA e
l'Agenzia Spaziale Europea, dopo
numerose scoperte, riparazioni e
aggiornamenti verrà definitivamente
dismesso nel 2014.
Data di lancio: 24 aprile 1990
Altezza dell'orbita: 569 km
Periodo orbitale: 97 minuti
Lunghezza d'onda: Ottico, UV
Lunghezza focale: 57,6 m
Diametro dello specchio: 2,4 m
L’ORBITA
Webb
L2
In circa 30 giorni
di viaggio, Webb
raggiungerà la sua
posizione orbitale
nel cosiddetto
punto lagrangiano
L4
L2 a 1,5 milioni di
km dalla Terra.
Scudo termico
2
Pannello fotovoltaico
secondario
LENTI A CONFRONTO
L5
JAMES WEBB
6.5 m
Terra
L1
HUBBLE
La superficie
dello specchio
di J. Webb è
più di 7 volte
maggiore.
2.4 m
Sole
JAMES WEBB SPACE TELESCOPE
Opererà nella lunghezza d'onda
infrarossa per riuscire a scrutare
oggetti molto distanti, al di fuori delle
capacità di osservazione di Hubble.
Verrà lanciato a bordo di un razzo
Ariane 5 dalla Guyana francese, per
una missione della durata di 10 anni.
Pannelli fotovoltaici
primari
Pannelli
solari
Specchio primario
Peso totale: 11 t
L3
Specchio primario
Specchio
secondario
Data di lancio: 2014
Altezza dell'orbita: 1,5 milioni di km
Schermo
solare
Periodo orbitale: 1 anno
Antenna ad alto
guadagno
Lunghezza d'onda: Infrarosso
Lunghezza focale: 131,4 m
Diametro dello specchio: 6,5 m
LE DIMENSIONI
SCUDO TERMICO
d: 2.8 m
3
ATLAST
CONCEPT
Ancora in fase di studio, l'Advanced
Technology Large-Aperture Telescope
sarà in grado di offrire un’alta risoluzione
Data di lancio: 2025-2035
Illustrazioni per la sezione
dedicata alla scienza e tecnologia
Pannelli fotovoltaici primari
Diametro dello specchio: 8 -16,8 m
Lunghezza d'onda: UV, ottico, infrarosso
1
Ottica
2
Forma
Campi di
contenimento
Peso totale: 6,2 t
Come funziona l’iPhone
Schermo a capacitanza reciproca
rivestimento
protettivo antiriflesso
linea
di sensori
A
linee guida
1
2
Perchè l'Air Bag esplode
Volante
4
Posizione
normale
Air Bag ripiegato
Illustrazioni /infografiche per la
sezione dedicata alle tecnologie
linee guida
6
Schermo
LCD
B
Sensore d’urto
Azoto
Auto
5
linea
di sensori
Capsula
esplosiva
Impatto
strato di
incollaggio
Posizione
post-urto
Schermo ad auto capacitanza
B
strato elettrodi
trasparente
Sistema
di gonfiaggio
4
Sensore
d’urto
5
substrato
in vetro
A
3
strato
protettivo
Come si testano i
terremoti
1.
LA TAVOLA VIBRANTE
A.
Tavola vibrante
Slitta superiore
Ogni tavola misura 24 metri
quadrati. La caratteristica
principale è quella di riuscire a
lavorare con le 4 tavole separate
(due coppie di 70 e 30 ton) per
testare strutture come ponti e
strade. In ogni caso possono
unirsi formando un unica tavola
vibrante dalla capacità di 200 t
Ogni slitta scorre su quella
immediatamente inferiore in virtù di
un sistema di sostentamento
idraulico.
c.
b.
Base Fissa
Slitta intermedia
2.
La mappa dei terremoti
Il sistema di tavole vibranti è
caratterizzato da 2 tavole a pianta
quadrata con lato 3 m del peso di 63
ton l’una, spostabili sul piastrone in
modo da simulare effetti di
asincronismo dell’azione sismica PLACCA
alla base di strutture di grande luce.
NORD AMERICANA
1
SCALA DELL’INTENSITÅ
0
Haiti
600
Repubblica
Dominicana
km
Cuba
2
Nicaragua
Oceano Pacifico
3
PLACCA
DELL’ISOLA DI COCOS
Porto Rico
Guatemala
Haiti
PLACCA
DI COCOS
Colombia
4
Venezuela
PLACCA SUD AMERICANA
PLACCA
PACIFICA
Jamaica
PLACCA
SUD AMERICANA
Nicaragua
Oceano Pacifico
3
PLACCA
DELL’ISOLA DI COCOS
Porto Rico
LE PLACCHE
EPICENTRO DEL
TERREMOTO
PLACCA CARAIBICA
El Salvador
PLACCA
AFRICANA
Haiti
2
Honduras
PLACCA
CARAIBICA
100
km
DEBOLE
PLACCA
NORD AMERICANA
Mar dei Caraibi
Panama
Port-au-Prin
Repubblica
Dominicana
0
FORTE
LE PLACCHE
EPICENTRO DEL
TERREMOTO
Costa Rica
Oceano Atlantico
Messico
PLACCA CARAIBICA
El Salvador
Illustrazione /infografica per la sezione
dedicata ai fenomeni naturali e alla tecnologia
Haiti
Cuba
100
km
Haiti
600
km
Santo
Domingo
0
Jamaica
SCALA DELL’INTENS
0
PLACCA
NORD AMERICANA
Port-au-Prince
Messico
Honduras
1
Oceano Atlantico
Repubblica
Dominicana
Guatemala
La mappa dei terremoti
Mar dei Caraibi
Tavola vibrante
PLACCA
NORD AM
PLACCA
DI COCOS
Costa Rica
Panama
Colombia
4
Venezuela
PLACCA SUD AMERICANA
PLACCA
PACIFICA
Tekneco / Editoria
Progetto grafico per la rivista Tekneco di Edire
editore, Lecce. Rivista sfogliabile online su
Issuu: http://issuu.com/tekneco
Edire edizioni
Tekneco / Editoria
Tekneco / Editoria
Tekneco / Editoria
Icone di servizio
¿ N M
Metallo bianco bucato + serigrafia
Segnaletica / Way finding
Seminario Vescovile di Forlì
a
a
b
CIRCOLARE
ORARI RICEVIMENTO
LUN.
MAR.
MER.
GIO.
VEN.
SAB.
DOM.
10-12
17-19
10-12
17-19
10-12
17-19
10-12
17-19
/
17-19
10-12
/
/
/
10-12
17-19
10-12
17-19
10-12
17-19
10-12
17-19
10-12
17-19
10-12
17-19
/
/
10-12
17-19
10-12
17-19
/
17-19
10-12
17-19
10-12
17-19
10-12
17-19
/
/
10-12
17-19
10-12
17-19
10-12
/
10-12
17-19
/
17-19
10-12
17-19
/
/
10-12
17-19
10-12
17-19
10-12
17-19
10-12
17-19
10-12
17-19
10-12
17-19
/
/
10-12
17-19
10-12
17-19
10-12
17-19
10-12
17-19
10-12
17-19
10-12
17-19
/
/
MONSIGNOR DINO ZATTINI
ORARI RICEVIMENTO
PER APPUNTAMENTO RIVOLGERSI IN SEGRETERIA
LUN.
MAR.
MER.
GIO.
VEN.
SAB.
DOM.
10-12
17-19
10-12
17-19
10-12
17-19
10-12
17-19
/
17-19
10-12
/
/
/
Targa tipo 1 - AULE
Targa tipo 2 - SEGRETERIA E DIREZIONE
CIRCOLARE
Studio e realizzazione segnaletica per l’Istituto S. Apollinare del Seminario
Vescovile di Forlì. Targhe aule, segnaletica esterna ed interna, grafica
interna, progettazione e concept pareti funzionali.
Targhe aule e soluzione con vernice
magnetica per affiggere tramite calamite
avvisi e circolari
Verni
AVVISO
Matteo Astolfi — Studio
a
a
ORARI RICEVIMENTO
LUN.
MAR.
MER.
GIO.
VEN.
SAB.
DOM.
10-12
17-19
10-12
17-19
10-12
17-19
10-12
17-19
/
17-19
10-12
/
/
/
10-12
17-19
10-12
17-19
10-12
17-19
10-12
17-19
10-12
17-19
10-12
17-19
/
/
10-12
17-19
10-12
17-19
/
17-19
10-12
17-19
10-12
17-19
10-12
17-19
/
/
10-12
17-19
10-12
17-19
10-12
/
10-12
17-19
/
17-19
10-12
17-19
/
/
10-12
17-19
10-12
17-19
10-12
17-19
10-12
17-19
10-12
17-19
10-12
17-19
/
/
10-12
17-19
10-12
17-19
10-12
17-19
10-12
17-19
10-12
17-19
10-12
17-19
/
/
Una lastra di ferro bucata e serigrafata. La parte di
sinistra ospita uno spazio in formato A5 in cui inserire
gli orari delle lezioni. I fogli vengono stampati dalla
segreteria e inseriti ogni qualvolta vi sia la necessità
di cambiare le informazioni.
Prespaziato realizzato su parete color oro
In fase di posa
Prespaziati ingresso, biblioteca e ingresso con parete funzionale in sughero
UVA Wine Fest / Identità visiva
UVA
RIMINI
WINE FEST
Festival del vino di Rimini - Evento
L’Equilibrista / Logotipo
Associazione Culturale L’Equilibrista
#3
L’E
QUI
LI
BRI
STA
7-8 dicembre 2013
associazione
culturale
Un evento a cura dell’associazione
culturale L’Equilibrista
sabato e domenica 11 - 21
ingresso gratuito
Logotipo per l’associazione culturale “L’Equilibrista”
e manifesto per una serie di eventi da questa
organizzati a Rimini.
Con il supporto di:
Sponsor:
[email protected]
Ala moderna Museo della Città
(cantiere ospedale vecchio)
Via Tonini — Piazza Ducale
Fuori Salone Matrioska
sabato 7 dicembre ore 21
Sala Pamphili
Via Cairoli, 42 - Rimini
Uno spazio espositivo poliedrico che, come la bambola russa, racchiude
tante incognite, legate dal tema della creatività, dell'arte, della ricerca
e dell'artigianalità
Uno spazio espositivo poliedrico che, come la
bambola russa, racchiude tante incognite,
legate dal tema della creatività, dell'arte, della
ricerca e dell'artigianalità.
PROGETTO GRAFICO: TEOASTO.IT
1 - 2 GIUGNO 2012
Sabato e Domenica ore 11 - 23
facebook: Matrioska LabStore
instagram: #matrioskalabstore
Rocca Malatestiana
(Castel Sismondo)
Piazza Malatesta - Rimini
Motus / Web
f=b a=a ()
D9= D == == ()
=
=
VU
= cd = [] = [] []
f=bf=ba=aa=a()=()== =D9D=9=D D========()VU()VU
==cdcd==[][] == [][] [][]
f=b a=a ()
D9= D == == ()
=
=
VU
= cd = [] = [] []
f=bf=ba=aa=a()=()== =D9D=9=D D========()VU()VU
==cdcd==[][] == [][] [][]
f=b a=a () {CH C = = ()
= gh = [] [B [] p
[]
f=bf a=aa () {CH C = = ()
= gh = [] [B [] p
[]
f=b a=a () {CH C = = ()
= gh = [] [B [] p
[]
f=bf a=aa () {CH C = = ()
= gh = [] [B [] p
[]
Concept del sito, e progetto grafico, incluso logotipo. Motus
è una compagnia teatrale di fama internazionale con sede
in Italia. www.motusonline.com
Il lavoro è stato selezionato tra i migliori progetti di grafica per
il teatro in una pubblicazione di Electa, Mondadori.
Compagnia teatrale Motus
Motus / Web
Motus / Web
Compagnia teatrale Motus
Motus / Web
Matteo Astolfi | Milano / Barcelona
web: www.teoasto.it
e-mail: [email protected]
ITA +39 349.21 25 307
ESP +34 654 700 712

Science by designers

Transcription

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