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marcelodella

giustina . portfolio

Marcelo Della Giustinamarcelo.dellagiustina@gmail.comMunich - Germany+49 176 89012873Date and place of birth: 13.11.1985, BrazilNationality: Brazilian and Italian

I try to think about theory and practice as a mutual complementation and this is reflected in my work experience. After getting a Bachelor Degree in Architecture and Urbanism I decided to work and also complete my studies taking a Masters in History and Theory of Architecture. Keeping that in mind, I found the opportunity to design Housing and Commercial Buildings as one of the main architects at Arquitetura Nacional. Meanwhile I researched about Housing developed by architects in big Latin American cities, in an independent way, which means without developers. That was the main topic of my Master Dissertation entitled Distinct Homes: Housing in Latin American Metropolis.

As a visual enthusiast, I have interest in Art, Photography, Architecture, and Design. I had experience in working with product design and also collaborated with the Brazilian internationally warded brand Faro Design. As a student, I worked at ARQTEXTO magazine as a editorial designer collaborator in graphic design and photography.

about

REsEARCHER at CNPQHistory, Theory and Criticism of Architecture http://www.lume.ufrgs.br/handle/10183/42306 - Porto Alegre, Brazil

ARCHITECTURE TRAINEE at studio Prudencio Building Documentation for Cultural Institutions Projectswww.studioprudencio.com.br - Porto Alegre, Brazil

2009-2010

2009-2010

EDITORIAL DEsIGNER at ARQTEXTO Magazine Bilingual Architecture Academic Publicationwww.ufrgs.br/propar/arqtexto/index.htm - Porto Alegre, Brasil

PRODUCT DEsIGNER COLLABORATOR at FARO DEsIGNConcept, models and detailed drawing documentation for design productswww.farodesign.com.br/ - Porto Alegre, Brasil

REsEARCHER at FAURGs simmLab: simulation and Modelling in Architecture and Urbanism Laboratorywww.ufrgs.br/simmlab/ - Porto Alegre , Brazil

2008 - 2009

2007 - 2008

2006 - 2007

2007- 2008 EXHIBITION DEsIGNER Júlio de Castilhos school´s 50th Anniversary ExhibitionConcept, design and execution of the exhibition.Porto Alegre, Brasil

Education

Practice

Work2011- 2015

2004 -2010

M.Arch. MAsTER IN ARCHITECTURE - HIsTORy THEORy AND CRITICIsM Distinct Homes: Housing in Latin American Metropolissupervisor Prof. Dr. Carlos Eduardo Dias ComasArchitecture Research and Post Graduation Program - Porto Alegre, Brazil

B. Arch BACHELOR OF ARCHITECTURE AND URBAN DEsIGNGraduation Project: Qualification of residual urban spaces in Porto Alegre Honorable Prize for Best Graduation Project at Architecture - UFRGs 2010/01Federal University of Rio Grande do sul - Porto Alegre, Brazil

Architecture Design (HAOI 1-6)Architecture Project ManagementAcademic Research and InvestigationProduct and Editorial Design WritingPhotography

ARCHITECT at Arquitetura Nacional Housing, Commercial Industrial Architectural Projects Enginering Projects Management, Marketing Managementwww.arquiteturanacional.com.br – Porto Alegre, Brazil

English (Fluent) Portuguese (Native)spanish (Good)German (B1.1 study in Progress)

Language

curriculum vitae

2011- 2015

Skills

AutoCAD (Advanced)sketchUp (Advanced)Adobe Indesign (Advanced)Adobe Photoshop (Advanced)ArchiCadAdobe IllustratorCss and HTML

at arquitetura nacionalresidential buildings

le bistrotindustrial catering

residual urban space qualification

architecture

Arquitetura Nacional is a creative Architecture office where I worked for more than four years and at this time I could get in contact with different projects as one of the main architects in charge. It is a highly creative enviroment where I have participated in most of the phases of architectural projects from concept to building documentation and

Housing

Kiev 104 | Porto Alegre RsPraça Municipal 47 | Porto Alegre RsFernando Abbott 866 | Porto Alegre RsHipólito 405 | Porto Alegre RsCanoas 310 | Canoas RsMoisés soares | Dourados Mssilveira Martins | Erechim RsCasa Figueira | Eldorado do sul RsCasa Enseada | Xangri-lá | RsCasa Ilhas | Eldorado do sul | Rs

Commercial Buildings

CH Comercial | Porto Alegre RsPirapó Comercial | Porto Alegre RsER Comercial | Porto Alegre RsAlmaviva são Paulo | são Paulo sPCanoas 310| Canoas Rs

Offices

Tecon Rio Grande | Porto Alegre RsBVC Coworking | Porto Alegre RsRC 11 | Porto Alegre RsThyssenkrup DTRI | Guaíba RsBettanin | Esteio RsAlmaviva Aracajú | Aracajú sEAlmaviva Maceió | Maceió ALPuras FO | Porto Alegre Rs

Industrial Buildings

Complexo Klabin | Telemaco Borba PRDana | Gravataí RsUsiminas Cubatão | Cubatão sPBettanin Esteio | Esteio Rsstara | Não me Toque Rs

at arquitetura nacional executive projects. I had experienced different functions as a professional, as architect, project manager, marketing management and researcher. some of these projects are listed below.

This building is the first of a series of housing projects that were designed to the real state market with experimental typologies and strategies with the simple goal to give a new option to a standard market. The project

praça municipal residential building

resembles a prismatic volume, involved in a wide solid contouring plate. The articulation of the wooden shutters and fully wide open windows creates a flowing composition, announced by the movement in the main facades.

praça municipal residential building

Praça Municipal was extensively published online and at different Brazilian architecture publications, winning the housing prize from the Association of Brazilian Architecture Offices (AsBEA) in 2014.

fernando abbott residential building

The retreats required for this terrain in the master-plan of the city of Porto Alegre were the fundamental restrictions to the final design strategy. The limitations of width and the possibilities of beautiful sights took a important place in the process and the final solution uses

a configuration of one and half unit per floor organized by a composition of duplex and flat apartments. The insulation and views were maximized with this strategy, resulting in 100% of units facing the lowlands and getting sunlight.

hipólito 405 residential building

An example of the series of housing projects designed with investigation of typologies, in this building the contractor asked for modern piled mansions and the interpretation of this demand resulted in differentiation of unites with distinct spaces, covered or uncovered.

The building is articulated by a detached vertical volume which connects each floor, with compact duplex and big housing units . The project is seen by many as a hybrid type, like a house-apartment building, due to the open area from each unit that are related to ground gardens.

le bistrot

This project is a 1950’s residence retrofit with the purpose of adjusting two new different activities: a restaurant and a bakery. Outdoor, one big tree provides shadow and a comfortable places to sit.

The renovated spaces can be characterized by the coexistence of elements from different time periods and as a result, the mixture of styles rules the furnishing choices, recalling respectfully the building’s origins.

industrial catering

Industrial catering and professional kitchen projects were also part of my work scope at Arquitetura Nacional. With a large portfolio of Industrial Projects from Layout to Building Documentation, the office developed a specific knowledge in the area of Catering Projects.

In 2015, this knowledge required an specific brand and this appendix is now known as Numa. you can find more detailed projects in the website I created for the company at www.numa.arq.br

residual urban spaces qualificationgraduation project

The area of this graduation project is a result of a series of highway interventions resulting an unstructured terrain shape in front of one of the airport´s terminal of the city. The proposal in the project includes the organization of the disjointed space with new functions: visitor and conference centre with cultural and commercial use. The resulted relation between the elements of the project designs new public areas, used as the key to reorganize and qualify an important urban space.

product designcollaboration at Faro Design

The work showed here is a contribution as trainee with the Brazilian Architect and Designer Ilse Lang at Faro Design. Ilse´s work is highly influenced by modern design with a creative thinking including smart mechanisms for multifunctional products. Faro Design products are sold by well-know stores such as Design Within Reach, DPOT and Novo Ambiente. I´m glad to have contributed with the design of Clina Bed, that made part of the IF Product Design Awards 2009. www.farodesign.com.br

This research explores collective housing projects where architects have expanded their action in the development of real estate development, in this case working beyond the architectural design and Project monitoring. These projects are examples that complies specific needs for housing inserted in a niche market. Different ways of development are explained such as architects acting as entrepreneurs or simply participating more actively in design decisions, in opposition to the usual relationship with house builders. In addition, it is about the expansion of the working field of a group of architects developing their projects contemporarily in Latin American metropolis. A catalogue compiles medium scale housing projects published in specialized magazines in a period of fifteen years. Finally, I organize relevant aspects regarding the market insertion and its promoters. The projects insertion in different scales, from housing unit to the city, demonstrates distinct forms of spatial relations.http://www.lume.ufrgs.br/handle/10183/122512

distinct homes: housing in latin american metropolismaster thesis

Cover Photo: Cristobal Palma.

writing

writing

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FUNDAÇÃO iBERÊ CAMARGO : A TRANSPARÊNCiA DO CONCRETOIbErE CamargO fOundaTIOn : THE TranSParEnCY Of COnCrETE

Marcelo Della Giustina & Ricardo Calovi (Fotos/Photos)Carlos Eduardo Comas (Texto/Text)

foto: ricardo Calovi1

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3A transparência fenomenal – quando dois corpos se interpenetram sem perder suas qualidades ópticas – se dis-tingue da transparência literal mais corriqueira, qual Rowe e Slutzky ensinaram. A transparência literal mediada pelo vidro se distingue da imediata, como em arcada ou propileu. E tem também a transparência conceitual, tão valorizada na arquitetura moderna dos 1920, quando a espessura mínima da parede era valor estético e uma concavidade exigia, do outro lado, uma convexidade materialmente similar.

Nenhuma dessas transparências se associa ao Museu da Fundação iberê Camargo de Álvaro Siza. De fato, sua opa-cidade intriga ou contraria muita gente e algum arquiteto. Dada a frente para o rio e o crepúsculo famoso, não falta quem reclame que uma vez mais a cidade deu as costas para o Guaíba, ignorando a demanda de paredes para exposição no terreno pequeno e a demanda de minimizar a radiação ultravioleta sobre as obras de arte, o ofuscamento e o ganho térmico, mais o ruído intenso da avenida.

É certo, não há transparência conceitual num edifício com parede de concreto oculta dentro por painel de ges-so, isolamento térmico e duto na cavidade entre as duas superfícies. A espessura do concreto é decididamente pré-moderna, como a diferenciação entre obra grossa e acabamento. Nem há transparência fenomenal resultan-do da planta livre quando esta não existe. No entanto, contradizendo olhos que não sabem ou querem ver, a transparência literal está sim presente, e o olho pode muitas vezes transpassar o edifício e conectar o rio ao morro, seja no corpo de quatro andares com as galerias de exposição, seja na ala baixa que faz de apêndice, prelúdio e seta, extensão permeável por completo, des-dobrada em bloco de ateliês e bloco do café.

Logo ao sair da escada que liga a garagem à calçada de acesso, uma janela deixa ver o interior dos ateliês e, além, o morro, através das grandes aberturas nas paredes opostas inclinadas. O transpasse é imediato na fenda entre os ateliês e o café; o olhar para baixo revela o pátio infe-rior e uma grande janela horizontal. Três outras janelas do mesmo tipo vazam o café, uma visando o rio e o por de sol justamente celebrado, outra enfrentando o morro, a trans-versa voltada para a longa fenda horizontal envidraçada que contém a entrada pública do museu e se opõe, por sua vez, à entrada de serviço transparente mais adiante. Um segundo pátio inferior se abre com janelas entre o café e o átrio ao ar livre, definido por rampas que parecem alças intercaladas com o verde ou o azul. No largo entre a ala e o corpo do museu, a transparência é absoluta e máxima, ápice de uma progressão devidamente coordenada com a coreografia da chegada e da saída.

Phenomenal transparency- when two bodies interpe-netrate without losing their optical qualities- is distinct from more usual literal transparency, as rowe and Slutzky tau-ght. The literal transparency that glass mediates is distinct from that which is immediate, as in ar-cades or propylea. and there is conceptual transparency too, so valued in the modern architecture of the 1920s, when minimal wall thickness was an aesthetic value and a convexity called for a materially similar concavity in the other side.

none of these transparencies is associated to the Iberê Camargo foundation museum by alvaro Siza. Indeed, its opacity puzzles or contraries many people and some archi-tects. given the river frontage and the famous sunset, there will always be somebody complaining that once more the city turns its back on the guaíba- oblivious to the need for walls to hang pictures in the small parcel and the need to minimize the ultraviolet radiation on the works of art, glare and thermal gain, plus the intense noise of the avenue.

Sure, there is no conceptual transparency in a building with concrete walls internally hidden by plaster panels, ther-mal insulation and ducts filling the cavity between those two surfaces. The thickness of concrete is definitely pre-modern, as is the differentiation between main building work and finishes. There is no phenomenal transparency resulting from a free plan when there is no free plan. However, contradic-ting eyes that do not see or want to see, literal transparency is very much present, and one can often gaze across the building and connect river to hill, both in the 4-story block sheltering the exhibition galleries and in the low wing that acts as its prelude, pointer and annex, a completely permeable extension featuring a block of workshops and a cafeteria.

Soon after leaving the stairs that link the garage to the access sidewalk, a window allows one to see inside the workshops and glimpse the hill beyond- through big openings in the slanted opposite walls. gazing across is immediate in the slit between workshops and cafeteria; looking down reve-als the lower patio and a large picture window. Three similar unit pierce the cafeteria, one facing the river and the justly ce-lebrated sunset, another facing the hill, the transverse window facing the long glazed strip that contains the museum’s public entrance and opposes, by its turn, the transparent service entrance further away. a second lower patio sports picture win-dows between the cafeteria and the outdoor atrium, defined by ramps that look like handles intertwined with green or blue strips. In the platform between the museum and its wing, trans-parency is absolute and maximal, the apex of a progression duly coordinated with the choreography of getting in and out.

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foto: marcelo della giustina

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1º pav / 1st foor126 127

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foto: marcelo della giustina

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1º pav / 1st foor

Ibere Camargo Foundation, Alvaro Siza, Porto Alegre Brasil

www.terraetuma.com.br/misc.php?ci=2&pid=86 www.ufrgs.br/propar/publicacoes/fr_arqtexto13.htm

Text, Articles and photography from siza´s project in Porto Alegre, the Ibere Camargo Foundation, published in ARQTEXTO and Terra e Tuma Website.

marcelodella

giustina

thank youmarcelo.dellagiustina@gmail.com

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