Lorenzo Poggi Architect

Biographypag. 1

Planning workshop II.pag. 2

Course of interior design. Theme: the Fosso Reale in Leghorn.

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Thesis: New ricreative and cultural centre. Recovery of Scoglio della Regina in Leghorn.

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City planning workshop. Subject: commercial gate of Prato.

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Planning workshop IV.pag. 7

Planning workshop III.pag. 8

Technology workshop: Design of a staircase.

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Course of furnishingpag. 10

Course of relief. Relief of Rocca San Silvestro.

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Sketches and drawingspag. 12

Plasticpag. 13

@ Jonathan Louth Architectspag. 14

Lorenzo Poggi was born in Pisa in 1984. He attended a High School ( Liceo Scientifico F. Enriques) in Livor-no and he regularly graduated in 2003. Then he en-tered at the University of Florence, where he at-tended the Architecture five-year course. In this period he left Livorno and moved to Florence. Now he has returned to Livorno where he lives. In April 2010 he graduated with honors with a thesis on a plan or design for the recovery of a degraded hi-storical and artistic area ofLivorno placed on the waterfront. He has travelled a lot in Italy and abroad. He has visited many architectures and their context in order to have a complete and direct con-tact with them because he doesn’t want to have just a view of photos perhaps through magazines. The architecture is an experience and in order to be fully understood in its "being" It must be really ex-perienced and touched. During his studies at Univer-sity he has developed an excellent real turn for ar-chitectural design in its completeness, handling and analyzing any aspect. He has showed a good predisposition to work in groups. He has a particular at-tention for the environment, for eco sustainable ar-chitecture and technological innovations.When he plans the architecture and the building he thinks that the aesthetic quality keeps up with the fundamental concept of Genius Loci. He thinks that it is very important the continuing research in the form and technology field. He starts from the simple architectural shapes and transforms the space. He sometimes goes against the most popular architec-turaltural trends in that time if this is necessary to create an architecture that embodies his thinking about contemporary architecture. The architect is an artist as he puts in his works, and therefore in rea-lity, needs and desires of the community as the ar-chitecture is an art form to serve man as an indivi-dual and as a multitude. The artist, who combines his ego in its architecture, creating a building unrelated to the place, to the context, doesn’t believe in the architect. He doesn’t believe in the architectural work as an Objet singulier if it is not wisely placed to bait a chain reaction that transforms and better the degraded urban environment. The problem of cities is that we are unable to re-invent the urban spacespace and to re-think the way to make town live. For this reason he believes that the key concept of the Situationalist, the Drift, (Deriva) is a concept still very current. Mending the rift between old and new in today’s cities means to interpret the past of city and its continuing transformation and to combi-ne the form or shape with the identity.He believes in the architecture technological deve-lopment and he believes in tools needed to create it even if these great changes have caused a great lack of rules as postulated in the design and just for this he believes in an indissoluble link with tra-dition.

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The project workshop II provided for the creation of a new rowing center on the Arno River in Flo-rence near Giovanni da Verrazano Bridge. Accor-ding to the program spaces for a gymnasium and the mooring, a small conference room, offices and toilets were to be made. In this part of the river the banks are high in order to avoid the city flooding but to get a privileged view of the river and the city it was decided to create a public square which is overlooked by rooms a few centimeters from the water surface. A wide staircase that connects the project area with the roundabout which admits to the Verrazano Bridge has been realized. It also offers an ex-cellent access to the river for rowers who want to practice their sports activities. The project is virtually underground, and the interior has been treated like this: oversized wall masses that or-ganize the interior spaces as if they were lite-rally dug into the earth. The roof covering is a terrace treated as an expansion of the green where the project is included. The circulation path has been placed against the ground while the functional spaces are organized along the public square. Blocks of stone that seem carved as water eroded the rock. The decision to lower the water level is derived from the desire to regain that bond with the river that over time thethe city has lost and therefore from the need to gain a peace oasis in the chaos of the city be-cause of the proximity to an important city traf-fic artery.

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Livorno was founded as a city profoundly linked to water since its origin as a port of Pisa. This intimate relationship with the sea goes from the coastal and port zone to the historical center where the sea water flows through the canals, the "Fossi", which surround it. PiazzaPiazza della Repubblica, designed by the archi-tect Luigi Bettarini and built in 1844, overcomes the Fosso Reale (Royal Canal), cohesive of the old Medicean town to the area of nineteenth-century expansion. Piazza della Repubblica named “Voltone” with 240 square meters in width, is one of the widest bridges in Europe and currently looks like a giant traffic roundabout that transforms the potential central square in a dif-ficult area to reach and use. At the two ends of the square there are the statues of Ferdinando II dei Medici. The excessive sizes of this bridge eliminate the perception of the water below, only guessed through some grates inserted in the pavement. The project idea is to return the Fosso Reale (Royal Canal) to the city by opening the square to use the subsoil as a preferred plan for the links and road crossings. A large glass tower is stated on an urban scale at the intersection of roads from the railway station and from the center Via Grande. This axis is confirmed by a suspendedsuspended bridge that sews the two separate parts of the square. The surface of the square is eroded by a giant cut creating a square on two levels. The glass tower houses a library bar and works as a connection between the ground floor and basement. Other vertical connections are then realized but, if closed, they disappear in two water basins placed all around. in two water basins placed all around. The square paving is replaced by green areas, wood floors and stretches of water. The lighting comes from the base of long prisms, seats, which mark the direction of erosion. The two platforms situated below are eroded in the form and in the material (Cor-Ten steel) and they house the shopping center. Here too, the wood flooring re-calls the naval atmosphere. calls the naval atmosphere. The peculiarity of the glass tower is in the me-chanism of hydraulic jacks and guides put in the pillars which allow the slipping down of the two top floors wall to create two open terraces. The bridge is made of Cor-Ten steel and some pipes pass between the two plates, that create the parapet. These pipes allow to slide a layer of water on the walls illuminated by spotlights. On the contrary below the beams some nozzles allow to spray water or waterfall and lit or back projected from projectors. This also allows the useuse of the water wall as an advertising wall or as an installations by artists.

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PIANTA PIANO TERRA

1 - A bird’s eye view of Piazza della Repubblica. 2 - View of Fosso Reale. 3 - Inside view of the bar (basement of the building). 4 - A bird’s eye view of Piazza della Repubblica at the sunset. 5 - View of the basement (Commercial or pedestrian center). 6 - Cross section of the bridge that connects the two sides of the square.

PIANTA PIANO INTERRATO

4Livorno coastline is now the subject of restora-tion and redevelopment projects in order to re-store the former prestige. The goal is to resto-re or to repair the direct relationship with the sea. The Viale Italia was a walk that took place between a row of tamarisks and a small bush that ended in a hedge that blocked the view of the sea. The project has broken down the "green". The intervention of environmental re-storation has merged in a urbanistic strategy. The project area is located along the coast alre-ady incorporated in the consolidated city, to the south of the city center and to the Medici port, between Benetti Shipyard and Mascagni Terrace. The area includes the historical seaside resort called the Scoglio della Regina. The structure, which has lost its original intended use, has been living totally neglected for years. The location in the dense urban context, with its proximity to the great artery of urban traffic and the proxi-mity to urban areas structurally organized, limit the opportunities of intervention. The only pos-sibility of expansion is towards the sea. The in-tervention aims to be a piece of a mosaic that sets itself in a consolidate town. The coastline part affected by the project easily accessible by the public, at the beginning of a pedestrian and bicycle path that winds along the coast, is in fact the first recreational area overlooking the city. The waterfront starts from here and it ex-tends along the coast as far as out of town. The Scoglio della Regina an old bathhouse, beco-mes the "head" of this long walking that since the early 1800 has had those entertainment and recreation characters which are common to all sea towns. Today, the "Scoglio della Regina" ap-pears as a small artificial promontory connected to the land by a stone bridge: it is the only re-stored part of the whole complex. The project provides for the development of green areas in Viale Italia in an environmental perspective rather than landscape.The creation of a wharf and the restructure of the Scoglio della Regina is the fulcrum on which the whole area should be developed and for this reason they are the subject of the project. Of particular interest is the construction of the wharf that could become an intermodal exchange node, a link to the heart of the city. It is unquestionable that any resto-ration intervention of the historic seaside resort (Scoglio della Regina), should interest the re-structure of Nazario Sauro pier to its destina-tion to public use. The project development aims to achieve several objectives including, perem-ptory, the "creating" of a new, important, pola-rity, inserted in the urban context, to attract public flows in all seasons and at all times of the day. We intend to build a multipurpose center that can provide real relax and enter-tainment opportunities where there should be several spaces dedicated to fun, leisure time

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1/5 - views of the project.

6 - General bird eye view of the project.

7 - City studing of the coastline area.

8 - Project masterplan.

9 - Aerial picture of the existing.

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1 - General sections of the project.

22 - Section of the spaces created along the pier and their coverage: brie-soleil in curved wood. The structure of the stands is realized in modular steel sup-porting elements made of wood. The pil-lars end with lights for public lightning.

3 - Typical section of the shielding of the main building made of wood brie-soleil. Inclined panels in Tecu bronze or Tecu patina also micro-perforated or thermo glass matting. The sun's rays warming jelly polymers, contained between two glass plates, allows its opacification.

Bar - Premises included in the dolphinariumSpaces for sessionsPlatform (summer period) - Space for exhibition or (winter period)Restaurant

Museum of the city - Bar

Wharf

Belvedere

Ticket office - info pointDolphinarium (summer period) - sport fishing (winter period)Exhibition space

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and cultural moments. We want to create a structure which should be a point of reference providing practical opportunities for relaxation and fun. The first intention is the prominent use of the different spaces for the creation of events and manifestations, even of the most different nature, aimed to realize a high quality “offer”,“offer”, which might restore the image of all the city. We want to create "heterogeneous spaces", with different uses, for example unita-ry elements considered as a whole and connec-ted to each other and placed in an organized path which can always allow the full fruition. The plant design gives great attention to the pedestrian area of the entire project and beyond. At the plan or design base there is the deepest respect for the existing things. Man and environment mark the lines along which the project idea is developed. This idea aims to create a multi-purpose recreational facility that might allow people to choose, from time to time, howhow to get around and have fun, how to spend their free time in close contact with a preserved nature, protected never distorted. Lightweight structures and materials, which fitted with the idea, have been preferred. Past, history, expe-riences are the substrate and they represent the key to the project structure. The search for materials, rather than the physicality of form or the structure shape, the entire development project absorbs the richness of the past, what has been and what caused such success. All this under the principle that a project should be cle-arly perceived in his physicality, not to say that this "presence" should not be invasive, selfcentered materiality, coercive and restrictive of the use of the destination fixity. Synthetically, the project consists in the realization of a hi-storical museum, with an information center, a bar and a restaurant, a dolphinarium which, in winter, becomes a fish tank for fishing and an outdoor theater that can be transformed into an exhibition space, a wharf. The outer structure will be an element of absolute novelty. It will create a new vision of the edifice whose main function is to wrap it almost completely in order to protect the building from the atmospheric agents. One of the guidelines, that have led the drafting of this project, has been to maintain the respectrespect of tradition, of the past, without distor-tions. For this reason the use of lightweight ma-terials that, minimally invasive and intrusive, are suitable to the marine environment rather than the adoption of new technologies to make the project self-sufficient from an energy stan-dpoint.

6Mezzana, a district of the city of Prato, is a small historic village remained on one side tied to rural traditions, and on the other side projec-ted into a strong industrial development. Infra-structures strangle this village that has no way of expansion. East Prato tollbooth exit is near to the built-up areas and this is another element of isolation and environmental and acoustic degradation. The district is full of buildings and areas of particular historical, cultural and lan-dscape interest but not exploited or utilized. The aim of the project is upgrading the district, ena-bling travellers to stop and get to know this area, rediscovering the identity of this site. The goal is to make the traveller stop for visiting Prato. East Prato tollbooth, now chaotic and anonymous, should be a gateway for the city in order to welcome travellers directing them to the greatest interest areas. Cycle paths connect Gigli (Lilies) commercial area to Pecci museum, and to Villa Maiano and to the existing bike path alongalong the River Bisenzio, connecting the new in-dustrial area development to the traditions of an historic village. Rental bike stations and car parks are at the bridge landing over the city park and at the bike paths junction. The connec-tion is done using the main and commercial road existing in the district, creating a bridge above the motorway tollbooth in order to have a direct passage from the inhabited part to rural and in-dustrial part that are nearby. We’ll find two dia-metrically opposed sides driving along the high-way in both directions: on one side the city of Prato, on the other side rural areas alternating with recent industrial settlements. The landscape continuously change from cities to parks and industries. The pedestrian path is similar to the bike path. The bridge, as the highway, is divided into two fronts: the front towards the Gigli is fully glazed with a flowerbed and the other front towards the center of Prato is used for trading, with shops, restaurants, services in orderorder to have the function of a motorway re-staurant and snack bar too. On this side the shops are set to create nice views of Prato city and of the most attractive rural areas. Parking areas are well located in the green spaces around the parking lots, where people can stop and then they can re-enter to the highway or they can rent a bike. The toll bridge becomes an instrumental connection that serves an area otherwise not supplied of services and it beco-mes the symbol of a new gateway for the city, which adapts to the new needs and gives identity to a completely anonymous area. Not only the Old Bridge and the Ponte Rialto have been used as landmarks but also the Roman aqueducts, which are great full-scale links used still today as pedestrian areas.

1 - Prospects of the bridge (B-B’). 2 - Prospects of the bridge (A-A’). 3 - Plan of pa-thways: for pedestrians, for bicycles, for vehicles. 4 - Plan of the bridge over the toll highway. 5 - Plans, prospects and sections of bridge. 6,7,8 - Perspective sketches.

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The project has been developed in an area on the outskirts of Reggio Emilia, more precisely in the area of St. Maurice. The project replaces an area of offices and degraded industrial buildings of a doubtful architectural quality, which faces an important park that gives its name to the entire surrounding area. The park, which hosts thethe Ariosto Villa, is at present the seat of a city cultural organization. The entrance to the park is marked by a historical arch. The limits of the project area are given to the north by the railway, which is also a great obstacle to the nearby countryside, to the west by a small river that divides the project area from the near ce-metery, to the south by Via Emilia, which is a great historic road, and finally to the east by the only road in the area, which allows to get over the railway in order to continue. The project tries to maintain a relationship with the whole area taking again some guidelines set down by the pre-existing urban material and by aa relationship with nature whose presence is very strong, being in a boundary area between suburbs and rural areas. In fact, large areas are destined for green and park facilities. The archi-tectural language is taken again, rich of porches and courtyards, reinterpreting and expanding its characteristics. At the center of the project a tower is located, the tallest of the project, which starts from a height of -4 meters, which will be used as a museum. The building is a landmark throughout the surrounding area where there are only low buildings that emphasize the lack of orographic relief. The underground car park or other underground pedestrian paths are thethe access ways. The underground pedestrian way becomes an exhibition space with access streets under every large cantilevered roof of the buildings located to the left of the museum. These buildings house a cinema theater with pre-mises and related services, university classro-oms and laboratories. The whole project is built around two large courtyards, one that overlooks Via Emilia, which houses offices and shops while the other courtyard on the opposite side, houses shops and residences. The other buildings, that overlook Via Emilia alternated with porches that are as terraces on the upper floor, are entirely used as offices. On the left of the project area aa tower for offices, an elementary school, a gym and a swimming pool are located. Near the rail-way there is a little railway station with some shops and a waiting room. The paths are minimi-zed while the pedestrian areas are enhanced.

Paved spacesCultural - recreationalHousesOfficesCommercialCommercial – directional

81 - Planimetry.

The stream, Aurelia variant, public paved paths, public green area have been hi-ghlighted on the planimetry.

A - Recreational and cultural association “Casa del Popolo”.B - Exibition space.C - Library.D - Church.E - Houses and commercial area.

22 - Plant of the church and sections.3 - Section 1.4 - Section 2. 5 - Section 3.6 - section 4: cultural buil-dings in details.

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The project area is situated in Livorno in an area completely unused and not built near a residen-tial neighborhood. The limits of the lot are iden-tified to west with Aurelia which is a high traf-fic density artery, to north with a predominantly residential neighborhood, to south with a urban area not much populated, to west by a small stream and other green degraded and uncultiva-ted areas. The project program provided for the design of some residences, a library district, a small museum and an exhibition space, spaces used for a cultural and community center and a new church for the neighborhood. The careful examination of the place has inspired the two principal directions under which the project has been developed. The way which starts from the church and passes through the block of residen-ces ideally connects the old Salviano church, too little for this district, to the new designed church. As a protection and control barrier a large “Wall” is realized in order to isolate and to detach the Aurelia. This wall will serve as an exhibition and connective space for public buil-dings. The new church, in particular the entrance hall, works as a pivot, a hinge of the two axes along which the project develops. The public green areas have a lot of space and the buil-dings are on these dominant directions. The church was completely designed hypogeum and only the bell tower and the churchyard reveal the presence of underground religious spaces. Some stone slabs, few centimeters above the ground, emphasize the spaces. We get the dual benefit of allowing the entry of light into the nave and to create sessions on public land. It waswas also provided a large parking for residences and for the believers’ cars during the liturgical functions. We expect to create some commercial premises on the ground floor of the buildings. The course of the stream will be rectified and the area will be reclaimed to allow the use of public spaces overlooking the small stream.

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The design of the interiors of six terraced houses at low cost provided the opportunity to study, in details, the vertical connection between the two floors. The attention has been focused on detail, to provide a catching image, as well as on the mounting system, quick and easy. The scale consists of a few modular elements easily mounted.mounted. Furthermore this allows to get a high quality product at a low production cost and an easy installation.

"The Architects. All idiots. In the houses they always forget to create the stairs."

From the Common Places Dictionary by Gustave Flaubert.

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The optional examination of the Furnishing course, provided two particular objects design.

The first object to project was a complete worThe first object to project was a complete wor-kstation, equipped with many functions. The aim was to create a seat, a space, to work, play, re-create and communicate without ever having to get up. The concept of this work-station was born because we wanted to make people feel cozy and protected in an alcove, where they could feel comfortably go alone. For this reason, the seat took the form of a spine. Every day objects are developed by each vertebra. Anthro-pomorphism is also an excellent solution to create a comfortable, functional and anatomic seat. It is possible to work at the computer, surf the net, phone, watch TV, read a book or have a video conference while we are comfortably seated. All objects are included with the chair.

The second object to create provided for the study of a single workstation which could easily integrate with other workstation in order to op-timize the exploitation of the space. Each object useful to the office work should be integrated within a single workstation. Every object, any work instrumentation has its own, specific, pre-defined space within the organized working sta-tion. Even the wastebasket is integrated into the desktop and it is possible to lift the lid with a small pedal. The thread that link the two exerci-ses is the formal language. The chair, used for the work stations, maintains the same structure even if oversimplified: the elements of “ribs” disappear, only two non-functional side arm remain but they don’t trap people who must be free to work and walk around the room or work at the table.

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1 - Front and side prospect of the work stations.

2 - Plans at various levels of the work station.

3 - Interior prospect of the office table without partition.

4 - Interior prospect of the office table with partition.

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5 - Plan of the office table.

6 - External prospect of the office table with partition.

7 - External prospect of the office table without partition.

8 - General planimetry for offices (assembled modules)

Section a-a Section b-b Section c-c

microphone Cup holder

table

led lampScreen 17’’

Projector

magazine or files rack

CD holderprinter, fax

waste paper basket

Pen holder

Keyboard

Connection for the mobile

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In order to prepare the architecture relief exam, with my study group, we decided to attend a weekly seminar of archaeological relief in the archaeological mining park of Rocca San Silve-stro, located in the municipality of Campiglia Ma-rittima in the province of Livorno. There was a small village manor, of which only ruins remain today, near a quarry of white marble still used today. Our working group, consisted of three people, found and returned the relief of the count residence remains. Here are some parts of the relief and some computerized adjusted photos of the photos taken on the site.Thanks to its location on a rocky outcrop domi-nating the coastal plain the fortified village of Rocca San Silvestro was one of the main settle-ments first of the Populonia diocese and then of Massa Marittima in Tuscany. Its importance was not military but it was linked to the great mining activity that took place there. In fact Since Etruscan times most of the area of the village was dedicated to the transformation of copper and silver-lead. The origin of the castle is between the X° and XI century when the Gherar-desca Counts decided to exploit the mineral re-sources of the area and the first traces of for-tifications date back of this period: the residence of the lords, the Visdomini della Rocca, was on the top of the inhabited area, almost an acropolis defended by the city walls but without the castle (mastio), while the rest of the village was surrounded by a further city walls made of stones. With the decline of Gherardesca family and the takeover of the Della Rocca as lords of thethe castle, which happened in the early twelfth century, the whole Rocca San Silvestro had a strong economic push and urban planning. The ci-tywalls were rebuilt and fitted with a fortified gateway preceded by a stone staircase, the re-sidence of counts was equipped with a high square tower and two water tanks, the church was enlarged and even the houses of the village, almost all with a floor, were rebuilt following an original urban plan for the rationalization of spaces. Inside the walls the settlement was divi-ded into sectors, to west the residential area and to east the industrial and handcraft sector. The new foundry, the forge and the charcoal were put outside the walls. In the thirteenth century the city walls were strengthened and most of the houses raised of a floor. At the end of this century the abandonment of the castle started. The population decrease led to the transformation of most mining areas in agricul-tural areas, and about at the half of the 1400 Rocca San Silvestro was finally abandoned.

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Ideas, sketches and drawings developed and rea-lized as a base material and support for univer-sity exams, in the elaboration of many different architectural designs or just during some mental ruminations times, reflective pauses or moments of relaxation in leisure travel and study.

The design for the architect is nothing more than a way to scan the world, observing careful-ly all around him. The design becomes the means to analyze, decompose and recompose the reali-ty, measure and understand in the deepest, vi-scerally, all that he might have a visual percep-tion in order to understand the relationship of the object he is representing with the context and with the man.

In the upper left: plan, prospect and section of a detail of Chiesa Santa Croce in Floren-ce. On the right relief in sight of Piazza della Signoria in Florence.

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These are the plastic that I personally made during the university and work period. The Pla-stic have been many, countless, and they were designed to study the definition of different projects. The design process that leads to the optimal definition of the project is something personal. In my modus operandi it is a fundamen-tal step the definition phase of volumes and spaces through the creation of plastics. What can’t give a sheet of paper only a model can give it.

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1 - Single-family residence not in a urban area. (In collaboration with Studio Micheli).

2 - New recreational cultural center. Reco-very of the Scoglio della Regina.

3 - Redevelopment of Mauriziano area in Reggio Emilia.

4 - Trade leads in Prato.

5 - Recovery of the urban empty in Salvia-no a discrict of Livorno.

6 - Work-station.

7 - Plan of six family detached units in Terricciola (Pisa).

8 - Study plastic for a bar.

9 - Plan for a hypogean church (detachable plastic).

14During the partnership with the Londoner office “Jonathan Louth Architects” there were a lot of opportunities for my personal and professional growing. The jobs that I have done with the office’s team concern mainly about restoration and renovation of ecclesiastic buildings. A lot of that buildings are listed. Other jobs that we havehave done concerned the design of new buildings in central London and in the proximity of London. Some of the most important and peculiar jobs that we explored are: a new building in London, in the neighborhood of Southwark, really close to skyscraper “The Shard”; a new diocesan pa-storal centre in Aylesford priory, a small village quite near to London; a inside re-organisation and refurbishment of offices in the centre of London, to one side of the Temple Church.The first project, located in Melior Street, occu-pies a site actually taken up by two small buil-dings of two floors each. The north building has less architectural quality but a peculiar glass house, the south building made with brick, is listed and it belonged to The Guinness Trust Bu-ildings. The council lets the demolition of these two building. The idea of my project consists of to demolish the first building and to maintain the listed building with the intent to optimize the uti-lization of the whole site. From this idea born an architecture characterized by sharp-cornered and clear forms, intersected solids that combined themselves like in a precarious balance. The planning choice, surely arduous and brave for the composition of architectural elements and for the disposition of masses, obtain more character with the conservation of the old and listed building, made with bricks, that is absorbed in the project. The small dimensions of the site and the con-struction of a new residential building in the parcel next to the site, make more complicated the conception of the project and contribute to its eccentricity. The shapes that I have drawn allow the possibility to maintain the new building windows west of the site without to stop the light through the windows. We have to take into consideration also how I try to create more space onon the public street on the ground floor because of the existence of a pub on the opposite side of the street. I paid specific attention to the subdi-vision of the spaces and, even though the sharp-cornered forms, I reduced at the minimum wastefulness of inside spaces and the building results externally articulated but with big spaces inside. That characteristic is really important and should not be discounted. The multifunctional bu-ilding provides for some shops at the ground floor and, to the upper floors, offices/studies, apartment, common space like terrace and winter gardens. The study of the external surface con-siders utilization of innovative and contemporary materials, in accordance with the building captiva-ting shapes.

1 - 3D south-east view of the project.

2 - Elevations of the project from the three public streets.

3 - Picture of the site from south-east

4 - General roof plan.

55 - Schematic middle section with different uses.

6 - Plans with different uses.

7 - East (Melior Street) eleva-tion: two different options with materials.

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1- General plan 2- bird eye view from South East of the project 3- South-West view of the project 4- Pictures of the site 5- Jonathan Louth’s options for elevation of the residential block 6- My option for elevation of the residential block 7- My option for elevation of the re-sidential block with materials wich is agreed and starts all the new design now 8- Conference block elevation.

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On behalf of the Southwark Roman Catholic Dio-cese, we oversee a project of a new diocesan pastoral centre in Aylesford priory. Starting from the restoration of the C15th Gate House and of a C20th small Chapel, both listed building at different grades, the project provides for the realization of new buildings that laid along a longlong and historic wall. This wall is listed as well. The whole complex overlooks to a big grassland. In particular the project provides for the reali-zation of administrative offices, a big common space, a big dining hall, a conference centre, ac-commodations for seminarist, study groups and classes that will use this centre. We design more or less seventy beds for classes and groups. Other existing buildings will be restored or re-built and these will be used for community servi-ces. The new buildings harmonize themselves with other existing buildings with the materials that we planned to use ( bricks of different tex-tures, glass and wood). A peculiar thing is the design of the gull-wings roof covered with a sedum. The different building shapes and dimen-sions result bound together by the architectural style that articulate all the facades. For the fa-cades we will use bricks of two different colors and textures. We paid specific attention to the energy efficiency and in that respect we collaborated with other engineering offices in order to define the all aspects of this project. We plan-ned the use of geothermic energy for the air conditioning of the internal space, MEV (mechanical extract ventilation) and new genera-tion heating system.

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The third project deal with the planning of a new internal organisation of some space for barrister’s chambers and meeting rooms at the ground floor of a building located in an historic central part of London, exactly to one side of the Temple Church. The client’s request was the re-organisation of internal spaces, preserving thethe meeting rooms, but creating more space for the reception. With the planning of the internal spaces, I seize this opportunity to create a inte-rior design project and reshape the furniture. The whole space is organized by a strip: an “or-ganizing tape”. The tape, that sometimes is pain-ted on the walls, sometimes becomes furniture or sometimes becomes a strip of a different ma-terial on the floor or on the ceiling, culminates in the most important piece of furniture that is the reception desk, cornerstone around which the whole project orbits. The reception desk is a unique tape that seamlessly unravels continued through all the designed spaces, leading the user from the entrance to the exit.

1 - Plan of the office In orange we can see the orga-nising tape

2 - Sections of the office In orange we can see the orga-nising tape

3 - Urban placement

4 - Concept: images of references

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