Portfolio leefke Bohde

P O R T F O L I OLEEFKE MARIN BOHDE / MASTER OF SCIENCE IN ARCHITECTURE

CONTENTS

01 PROFILE

01.1 Contact02.2 Curriculum Vitae03.3 Skills and interests

02 UNIVERSITY PROJECTS

PUBLIC BUILDINGS02.1 Redevelopment of Bovisa train station in Milan 02.2 A covered market for Milan’s Darsena 02.3 Addition to the Peggy Guggenheim Foundation in Venice

RESTORATION AND CONSERVATION02.4 Recapturing public space - different projects of redevelopment and restoration for Barzanò02.5 Conservation of Boito’s chapels in Gallarate 02.6 The ancient and the modern Neues Museum Berlin - a critical project of redesign

HOUSING02.7 Living in the historical center of Milan - a housing project in the area of Porta Ticinese

03 OWN WORKSSKETCHES AND HANDWORKS 03.1 School handworks03.2 School paintings and drawings03.3 Portraits03.4 Landscape03.5 Architecture03.6 City scene

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01.1 CONTACT

Leefke Marin Bohde - Master of Science in ArchitectureRedderkamp 21e24111 KielGermany

[email protected] contact: leefkemarin1. Mobile: +39 - 3924179303 (italian)2.Mobile: +49 - 17627185550 (german)

01.3 SKILLS AND INTERESTS01.2 CURRICULUM VITAE

EDUCATION

14.08.1986

08.1993 - 06.2006

09. 2006 - 06. 2007

10.2007 - 09.2010

10.2010 - 12.2012

INTERNSHIPS

10.2009 - 4.2010

10.2011 - 11.2011

WORK EXPERIENCE

01.2011

05.2012 - ...

LANGUAGES

DRAWING- AND LAYOUT PROGRAMS

INTERESTS

CHARACTER

Born in Eutin, Germany

Freie Waldorfschule Kiel (Waldorf/Steiner school), Final Examination: Abitur (A-Level)

Ten month work as Au-Pair (nanny for two children, 1 year and 6 years) in Milan, Italy

Bachelor studies at the Politecnico di Milano in Architectural SciencesFinal examination: “Laurea in Scienze dell’Architettura”(Bachelor of Science in Architectural Sciences)

Master studies at the Politecnico di Milano in ArchitectureFinal examination “Laurea Magistrale con Lode in Architettura”(Master of Science in Architecture)

Internship (150 h) in the Laboratory of Material Samples in the Department of Structural Engineering , Politecnico di Milano, tutor: Prof. Cristina Tedeschi

Internship (150 h) at Studio Franceschin in Milan , tutor: Matteo Franceschin (Experiences on the building site and in drawing architectural- , technical details)

Assistent of the theater and film director Felice Cappa for the theater piece “Lezi-one sull’architettura del teatro” (Lesson about Theatre’s Architecture), written by Dario Fo and performed by Dario Fo and Franca Rame, shown on the 24./ 25.1.2011 at the Politecnico di Milano

Collaboration with the Studio Dezzi Bardeschi for the editorial office of the maga-zine Ananke (Four-monthly paper for culture, history and conservation techniques for projects)

German (first language), Italian (six years of studies and living in Milan, experi-ences with academic translations), English (Toeffl, 105/120), French (thirteen years at school)

AutoCAD, Photoshop, Indesign, Rhinoceros (3d, Render learning in progress), I am very interested in learning new software and I am working on it

travelling, going to the theatre and to concerts, playing the violin, kung-fu, paint-ing with water colour and Gouache

Since childhood I have always been very affected of any kind of creative work. This part of me has been reinforced a lot during my years at the Waldorf School (Steiner School) where I liked many different types of lessons, the hand/soul works like arts, theatre, wood lab, music on the one hand, and on the other hand the head works like languages and chemistry.

I like to use my knowledge and my skills in the diverse areas of architecture, and I am always looking forward to making new experiences and enlarge my abilities.

I enjoy travelling and working in different countries and like to learn languages.

People who work and plan with me appreciate that I am reliable, solid and authen-tic, I take the responsibility of what I am doing and I really care to achieve very good results for my team and for me.

During my studies in Italy I found my enthusiasm for the field of restoration and conservation, learned a lot from my professors Marco Dezzi Bardeschi and Mau-rizio Boriani and chose to graduate in my master’s degree with a conservation project.

own articles: “Anatomia delle Tesi sul concetto di storia” (“Anatomy of the Thesis on the philoso-phy of history ”), Ananke 66. Mai 2012, Alinea editrice, Florenz; article about the relation of Walter Benjamin’s Thesis and the idea of conservation in architecture

“L’inquietante ricostruzione (in corso) del castello degli Hohenzollern a Berlino”, (The unsettling reconstruction of Berlin’s Castle of the Hohenzollern”) Ananke 67. September 2012, Alinea editrice, Florenz; article about the project of F. Stella for the Castle and the work in progress in the city of Berlin

“Il tempietto del Santo Sepolcro di Leon Battista Alberti “ (“Leon Battista Alberti’s Temple of the Sacred Grave”), work in progress

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00202.1 REDEVELOPMENT OF BOVISA TRAIN STATION IN MILAN

2012 - leefke marin bohde and ilaria parmeggiani

ACTUAL SITUATION

PLANIMETRIC AND VOLUMETRIC PROJECT

CROSS SECTION A - A

CAMPUS ARCHITECTUREEX GASOMETER AREA

STATION

PARKING

SECONDARY STATION

CAMPUS ENGINEERING

THE PLACE - Bovisa is a urban district in the north of Milan. During the centuries it developed from a simple farm complex to an important in-dustrial suburb, well connected by the first railway tracks between Milan and the other northern cities. After the crisis of the heavy industry in the 70s Bovisa is still in a process of transformation. An important event has been the opening of a university campus in 1989 just for engineering and architecture, both projects of requalification of abandoned factories. THE STATION - The Bovisa station was important already when work-ers came everyday from all over Milan’s territory. It has always been a through station. At the end of the 1980s it has been completely re-build.The main problems of the actual station are of an aesthetical and practi-cal nature. The two-storey building with the railway on the floor plan and the entrance and distribution to the platforms on the first floor, is a sim-ple grey parallelepiped with no identity. Moreover, it doesn’t have any service except a ticket shop. The two squares on each side of the station and the terrace in front are used as parking spaces. The building divides Bovisa and its two universitie campuses in two parts.THE PROJECT CONCEPT - The aim of the project is to create a poly-func-tional complex in the heart of Bovisa. The walls and the roof of the ex-isting station are eliminated and the platforms and first floor inside are encased by two long and straight concrete buildings on each side. These buildings are inhabited by shops on the ground and first floor and of-fices on the third. The four entrances from each square are marked by their red coloured sheathing. Travellers reach the station from the two terraces, which now are protected squares with shops and restaurants. The two entrances help to improve the flow of customers who enter the station. The existing station has a low ceiling and is therefore very dark. In the project, the two long buildings support the glassed barrel vault, which provides the traveller with light and helps giving a strong character to the outside of the new station. The four corners that were once used just for bathrooms and ticket shop, now gain a second floor for offices and auditoriums. Since in the project the two squares on the ground level are designed with green parts and a fixed market, the parking problem is resolved by creating a parking deck close to the sta-tion. To lose less ground surface it is build over the railway tracks and is connected to the station. Between the parking and the station remains space to build a tramway track which combines the two parts of Bovisa.

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FIRST FLOOR, LEVEL +3.8m

003

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02.1 REDEVELOPMENT OF BOVISA TRAIN STATION IN MILAN 2012 - leefke marin bohde and ilaria parmeggiani

FRONT ELEVATION A - A

LONGITUDINAL SECTION B - B

A A

B B

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SITE PLAN - PROJECT AREA

GENERAL ELEVATION


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2

4

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02.2 A COVERED MARKET FOR MILAN’S DARSENAm

THE PLACE - Milan’s Darsena is located south-west from the historical city centre in the area of Porta Ticinese (1 Map of the Astrologers of Brera, 1788). The Darsena is the old city harbour limited at east by Porta Ticinese (2) and at west by Porta Genova, both monumental gates of the Spanish walls, build from 1548 to 1562. As there has never been a river flowing through Milan, citizens had to reach the closest two rivers to transport goods: the western Ticino, connected to Lago Maggiore and the eastern Adda, connected to the Como Lake. They created an artifi-cial water system (3), the Navigli, which brought merchant ships to the centre of Milan. The port was build where the circular canal along the Spanish walls meets the Naviglio Grande (flows to the Ticino) and the Naviglio Pavese (to Pavia). Today most artificial water ways in the city, have been put below the modern streets. The Darsena remained as an abandoned lake of water, the Navigli aren’t used for shipping anymore. THE PROJECT CONCEPT - The port area has been a place for the arrival, storage and sell of goods. Today just a small fish and a very degraded fruit market are left. The project works in two areas and plans one mar-ket close to Porta Ticinese and a market complex of two buildings at the other end of the Darsena, close to Porta Genova. The area between the two projects provides a little park with a path along both sides of the water, here visitors can see the ruins of the Spanish walls (4).The market in Porta Ticinese has a C-formed plan. The main part is a three-storey building which combines the market function at the ground floor with a civic function in the form of a high conference hall above, covered by a barrel vault of green copper. This building limits the Dar-sena like a stage design in a theatre. In the direction of the monumental gate two wings, composed by market cells on the ground and aulas on the first floor, are connected to the main part. The C-form creates a pro-tected market square which expands until the square of Porta Ticinese. One building in the second project area is a twin of the market with con-ference hall, in this way it is clear, that the two projects are connected and both the ends of the Darsena- park look similar. The only difference is that the second green vaulted building serves also as a which com-bines the two passages in the park. The second building is a simple two-storey stoà with places for little shops. The project plans the excavation of the Spanish wall ruins to enriche the square in front of the stoà. As the square is now three meters under the street, the stoà is reachable from the square at its ground floor and from the street at its first floor.


SECTION OF THE WHOLE AREA

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0052011 - leefke marin bohde and ilaria parmeggiani02.2 A COVERED MARKET FOR MILAN’S DARSENA

FLOOR PLAN OF THE MARKET BUILDING OF PORTA TICINESE AND SQUARE PROJECT COMBINING MARKET AND CLASSIC ARCH

FLOOR PLAN OF THE MARKET COMPLEX OF PORTA GENOVA AND ITS SQUARE AND GREEN PROJECT AROUND THE SPANISH WALLS

SOUTH ELEVATION OF THE STOA’ AND CROSS SECTION OF THE MARKET BRIDGE

NORTH ELEVATION

LONGITUDINAL SECTION MARKET AND UPPER HALL

EAST ELEVATION

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the Peggy Guggenheim Foundation, view from the Canale Grande

0062010 - leefke marin bohde, alessandro cappelli and adrea meneghini02.3 ADDITION TO THE PEGGY GUGGENHEIM FOUNDATION IN VENICE

aerial foto of Venice with San Marco Square and Punta della Dogana

THE PLACE - The city of Venice has always been a challenge for mod-ern architects. The city on the water is an absolute unique example of harmony between the single buildings which join all some fundamental rules and together create one big architecture of the city. Famous ar-chitects like Le Corbusier or Kahn found themselves in front of a critical venetian audience and did not manage to enrich the city with their pro-jects. The Peggy Guggenheim Foundation looks directly on the waters of the Canal Grande. Peggy, coming on a visit to Venice bought the antique venetian Ca’ Venier dei Leoni, a very particular building if compared to the other buildings in the tradition of the Laguna. It presents itself like a monumental piedistallo, which has never been brought to a conclusion. The historical project has not been realized and the house remains with just a ground floor and a basement. Peggy Guggenheim lived inside of this house and at the same time arranges here her rich art collection. To-day the museum uses two more buildings, but the space is still too little for new collections and an architectural addition is needed. THE PROJECT CONCEPT - There have been many projects in the past for an addition of the building and most of them try to finish it, designing a second and third floor for it. This project refers to the idea of the theatre stage panel, as the venetian fronts are elegant of white marble even if behind there is a red-bricked poor house. Peggy’s house in the plan is divided in two parts by a corridor. Our project continues the two walls of the corridor and brings them up to a third floor. Inside these walls there is a stair system, with which visitors can arrive to different balco-nies which open the view to the city and to the water in the place of some vertical cuts in the white with marble covered walls. This new part of the museum is outside and can be used to show sculptures of various dimension. It is just a subtle idea of the missing building, like a belvedere.

PLANIMETRIC AND VOLUMETRIC PROJECTAND FLOOR PLANS OF THE FOUNDATION, ITS GARDEN AND SURROUNDING

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NORTH ELEVATION, VIEW FROM THE CANALE GRANDE

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0072010 - leefke marin bohde, alessandro cappelli and adrea me-02.3 ADDITION TO THE PEGGY GUGGENHEIM FOUNDATION IN VENICE

NORTH ELEVATION, VIEW FROM THE CANAL GRANDE

LONGITUDINAL SECTION

THIRD FLOOR

TYNDAREOSSCREPOLATOigor mitoraj

1998, bronzo

F E L I C I T A ’ P A R Z I A L Iigor mitoraj

1999, bronzo

T E S T A A D D O R -M E N T A T Aigor mitoraj

1983, bronzo

I K A R I Aigor mitoraj

1996, bronzo

O S I R I D E A D D O R -M E N T A T Oigor mitoraj

2003, bronzo

I K A R I O A L A T Oigor mitoraj

2000, bronzo

E R O S B E N D A T Oigor mitoraj

1999, bronzo

LUCI DI N A R Aigor mitoraj

1990, bronzo

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PREFACEThe title of my Master Thesis project might sound unexpected for a the-sis in restoration and conservation. But it is the one that expresses best, which was the leitmotif, the real core of the whole complex project. It underlines that an architect is never just a restorer and can’t just take care of some aspects of his profession. Finally, it leads to a fundamental idea of conservation: conservation is not mummification of some build-ings of extraordinary worth, it is not a fight against the time of some desperate romantics. It is against the idea of throwing away and rebuild. The best way to maintain a building is to live in it and to use it, in this way conservation means increase our sensibility for what exists already around us and recapture what has been abandoned for the use of the people.

SUMMARY - The project is a study of the territory of Barzanò, provid-ing a general plan for the urban and natural elements to conserve and protect. This study embodies the basis for more detailed projects of two pedestrian circuits for the city, a redevelopment of the central square and the conservation and re-use of an abandoned public building: the ex Casa del Fascio in Barzanò.

THE PLACE - Barzanò is a little municipality midway between the cities of Como and Lecco and counts 5.000 inhabitants. It is situated in a hilly and green landscape which is divided into industrial and agricultural produc-tivity. Today there are two important natural elements, the woody hill named Poggio Verde at the east of the territory and part of a huge agri-cultural and protected park, the Parco della Valletta, in collective admin-istration with the neighbour municipalities. The relation between the inhabited city centre and the hill is disturbed by the barrier of a highway.

The thesis is divided in six different chapters which describe the single steps reached on the way from a general project to a more detailed one.1 - THE HISTORICAL RESEARCH OF THE TERRITORY2 - REQUIREMENTS AND GUIDE LINES FOR THE PROTECTION OF THE TERRI-TORY3 - REDEVELOPMENT AND CONNECTION OF PUBLIC SPACES4 - PROJECT FOR THE CENTRAL MARKET SQUARE 5 - PROJECT FOR THE CONSERVATION OF THE EX HOUSE OF FASCISM6 - PROJECT FOR A THEATRE SPACE IN THE EX CASA DEL FASCIO

1 - The historical research consists in the study of books and all kind of historic maps. By redesigning in a similar graphic all the maps, it was pos-sible to show the evolution of the city, of the changing balance between agriculture, wood and housing and to individuate the elements which remained inaltered during the centuries.2 - Starting from the inaltered elements individuated in the historical maps and documenting with photos all the interesting areas, we elabo-rated a protection plan with first guide lines of what has to be done to improve critical points and reinforce positive points in the urban system.3 - Once individuated the difficulty of pedestrian movement, the lack of connection between city and countryside and the total disregard of the public outdoor spaces and buildings a project of two pedestrian circuits, the cultural circuit which connects all buildings of public interest and suggests their possible use and the green circuit which individuates and increases the quality of public gardens and parks and connects them to the natural paths on the hill and in the agricultural park.

0082012 - maria barbaro, leefke marin bohde and ilaria parmeggiani02.4 MASTER THESIS : RECAPTURING PUBLIC SPACE - DIFFERENT PROJECTS OF REDEVELOPMENT AND RESTORATION FOR BARZANO’

AERIAL PHOTO OF THE TERRITORY OF BARZANO’

HIGHWAY BE-TWEEN THE IN-HABITED CITY AND THE COUNTRYSIDE

HILLY AND WOODY AREA

A G R I C U L T U R A L PARC AREA: PARCO DELLA VALLETTA

FIRST PROJECT AREA: THE MAR-KET SQUARE

BUILDING OF PUB-BLIC INTEREST

SECOND PROJECT AREA: THE EX HOUSE OF FASCISM

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3

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2THE CULTURAL CIRCUIT

THE GREEN CIRCUIT

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PROJECT SCHEMES:1 DIVISION IN FOUR AREAS

CREATION OF A MORE-LEVELLED SQUARE

USE OF THE EXSISTING AND NEW BUILDINGS

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civil use

restaurants

shops

supermarket

0092012 - maria barbaro, leefke marin bohde and ilaria parmeggiani02.4 MASTER THESIS : RECAPTURING PUBLIC SPACE - A PROJECT OF REDEVELOPMENT OF THE MARKET SQUARE AND ITS UNUSED BUILDINGS

marketsportcivil events

-1.2m

+2.0m

PLANIMETRIC PROJECT OF THE SQUARE FLOOR PLANS OF THE PROJECTS OF INTEGRATION AND RE-USE FOR THE :1 EX ELEMENTARY SCHOOL2/3 TWO ANTIQUE FARM BUILDINGS

EAST ELEVATION

1

2

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HILL OF BARZANO’

VILLA REDAELLI

PREFACEThe idea of recapturing public space regards both: open spaces as well as buildings. The project for the central market square is an example of how to improve open spaces. THE MARKET SQUARE - The mar-ket square in situated in the heart of the historic centre. The actual square is not appreci-ated and used by the people. The big supermarket, the parking and the central stage are disturbing. The abandoned school building is in a bad state of damage and there are no protections nor benches provided. THE PROJECT CONCEPT - As there are many different elements com-ing together in a difficult triangu-lar form, the project doesn’t try to force the square into a clear geometrical form. It works with many different rectangular spac-es, which are divided in four zones for sport, relax, market and civil events. Three abandoned build-ings are re-used : 1.the ex elementary school be-comes the new town hall in the upper floors, the ground floor is conected to the function of the market2./3. Two antique farm buildings are transformed into a centre for old people and a book shop.

N01002.4 MASTER THESIS : RECAPTURING PUBLIC SPACE -

A PROJECT OF REDEVELOPMENT OF THE MARKET SQUARE AND ITS UNUSED BUILDINGS

2012 - maria barbaro, leefke marin bohde and ilaria parmeggiani

SPRING

SUMMER

AUTUMN

WINTER

SCHEME OF NATURAL ELEMENTS

SCHEME OF HERBAL SPECIES

COMPOSED BRICKS OF GNEISS

ECOLOGICAL ASPHALT

ARTISTIC CEMENT

FINE LIME GRAVEL

SURFACE OF GRASS

FIELDS OF LAVANDER

CAMELLIA SASANQUA

POTS OFBOX TREES

WINTER JASMINE

GRAPEWINE SHOOTS

AUTUMN ASTERS

REEDS

LOTUS

GREEN WAYS

SURFACE OF WATER

PLAY GUM

THE NEW LEVELS - The creation of different levels in the square fol-lows two main ideas. One is the actually negated relation to the Hill of Barzanò. The project extends the historical street between then hill and the square, in this way the square follows the curves of the hill. The other positive point is that the lowest level of -1.2m in the square of civil events is the same of the lowest floor of the ex school building, which reinforces the di-rect contact between building and square. THE GREEN PROJECT - One of the most important points of the pro-ject is the study of the materials. In the existing square the surfaces are formed by just two different materials, grass and small irregular stones. The project tries to give a special character to each of the four spaces thanks to the different surfaces. It uses artificial stone, ar-tistic cement play gum and differ-ent species of grass.Another critical point of the exist-ing condition is the absence of col-ours in autumn and spring and the dominance of trees, while bushes, flowers, spices and different grass aren’t considered. We tried to keep most of the sane existing trees and added some evergreens and many smaller col-oured species. PLAN OF MATERIALS AND GREEN SPECIES

N01102.4 MASTER THESIS : RECAPTURING PUBLIC SPACE -

A PROJECT FOR A THEATRE SPACE IN THE EX HOUSE OF FASCISM


PLANIMETRIC PROJECT OF THE EX HOUSE OF FASCISM, ITS GARDEN AND THE PEDESTRIAN CONNECTION WITH TWO CHAPELS AND THE GREEN CIRCUIT

SOUTH - WEST ELEVATION A - A

A

AB

C

BC

LONGITUDINAL SECTION B - Bsection in the center of the pre-existing building, showing the theatre space

LONGITUDINAL SECTION C - Csection in the new cafeteria

1932:composition of volumes of dif-ferent charakter and dimensions

2013, project: ad-dition of a caffe-teria bar/kitchen volume

2013, project: connection of the bar and the theatre by a glaced cafeteria

shortly after 1932: addition of the second gym

THE EX HOUSE OF FASCISM - In Italy during fascism almost every city and even small village used to build a poly-functional public build-ing which was used for political meetings but also as meeting point for free time activities as sport, theatre etc. These kind of buildings remember us of a dark and sad chapter in the history, but they are testimonies of a time that should never been forgotten and they are part of our past. The houses od fas-cism are modern buildings and of-ten very interesting for restorers for their experimental use of new materials as concrete and its com-bination with local materials and techniques. The House of Barzanò was build in 1932, first it has been a theatre, then cinema and until the 1980’ the two halls were used as gyms. To-day it is completely abandoned. THE CONSERVATION - The project’s aim has been to conserve this huge and interesting building and to give it a new live as a theatre, not for the elite, but a space used by all the people, for school events, courses of dancing or music, balls and con-ferences. With this ambition in mind first of all we worked on the project of conservation joining the following steps of researches: photografical observation of the building and its changes during the year, analysis of the materials and their damages, analysis of the moisture in the walls and floors, observation of the different types of cement in the laboratory for chemical research. THE THEATRE - The new theatre spaces are almost all enclosed in the existing building: the foyer, the hall for the audience, the tower of the stage and a rehearsal room. The project adds a bar- tower as a new volume to the theatre which is connected to it by a glassed caf-eteria. The bar is cut by a portico which is part of the project of the two circuits and link the new thea-tre with all the other public spaces of the city. 0 5 10 15 0 5 10 15

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NORTH - EAST ELEVATION B - B

CAFFETERIA

BAR

REHEARSAL ROOM

FOYER

01202.4 MASTER THESIS : RECAPTURING PUBLIC SPACE - A PROJECT FOR A THEATRE SPACE IN THE EX HOUSE OF FASCISM


SOUTH - EAST ELEVATION A - A

A

A

B B

FLOOR PLAN

AUDIENCE

STAGE

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01302.5 CONSERVATION OF BOITO’S CHAPELS IN GALLARATE

REDESIGN OF BOITO’S FIVE CHAPELS USING TRALATERATION METHOD AND DIRECT MESUREMENT

SOUTH - WEST ELEVATION A - ANORTH - WEST ELEVATION

CROSS SECTION

SOUTH EAST ELEVATION

ELEVATED GROUND FLOOR


DRAWINGS BY CAMILLO BOITO A

B B

A

SITE PLAN OF THE ACTUAL CEMETERY OF GALLARATE

THE CENTRAL AND THE

ENTRANCE CHAPPELS

HAVE BEEN DESIGNED BY CAMIL-LO BOITO

THE PLACE - Gallarate is a small city which is part of the network of industrial centres in the area at north of Milan. With Italy’s unifica-tion in 1860 Gallarate obtains the status of a city. Thanks to some rich families of businessman many important urban works are done in the following years. Especially the Ponti family is active in financ-ing high quality architecture. As a bigger cemetery was needed they chose Camillo Boito for the mas-terplan, the white central chapel and the line of smaller chapels of the entrance of the cemetery. THE ENTRANCE CHAPELS - On each side of the iron entrance door of the cemetery there is a series of red-bricked chapels. The two chapels which are closest to the entrance are bigger and more dec-orated than the four others, which are directly connected one to each other. These two chapels are pub-lic and always visitable, their princi-pal front is looking in the direction of the entrance, while all the other chapels are looking in the direc-tion of the cemetery garden. Boi-to was inspired by the lombadian medieval stile. He looked at build-ings like Milan’s Sant Ambrogio (1), Venice’s Dome of Murano (2) and Pavia’s Palazzo delle Debite(3), examples for the roman construc-tion and art, to create an architec-tural stile for the new born Italy.

2009 - leefke marin bohde, chiara novelli and ilaria parmeggiani

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01402.5 CONSERVATION OF BOITO’S CHAPELS IN GALLARATE

SOUTH - WEST ELEVATION A - A


STUDIES AND ANALYSES ON THE MATERIAL AND ITS DAMAGES

SOUTH EAST ELEVATION

INSIDE SPACE OF THE MAIN CHAPPEL, SECTION c - c

THE MATERIALS THE DAMAGES

The red bricks for the structure of the wall, the white stone (Pietra d’Angera sedimentary rock) for the elegant architectural decora-tions, the slate roof, the granite basement and the interiors deco-rated with marble and fine wall paintings of the chapels are all lo-cal materials, combined elegantly.Our conservation project is com-posed of all the well known clas-sical research needed to judge the actual situation and the physic requirements of the building: an osservation for one year with sketches, different types of meas-urement and photographs to un-derstand the changes of the state of the building in the different sea-sons and studies and laboratory analyses of materials and their damage. The final work has been the elaboration of a conserving plan, indicating how to reduce the causes of water infiltration, how to treat the damaged material and how to prevent future damage.

2009 - leefke marin bohde, chiara novelli and ilaria parmeggiani

A A

BB

c c

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01502.6 THE ANCIENT AND THE MODERN NEUES MUSEUM BERLIN

THE ASSIGNMENT - For this project of research and critical redesign of a famous and rich architecture every student was invited to chose a topic to work on. I wanted to know more about the Neues Museum of Berlin, which I went to visit shortly after its reopening thanks to the conclusion of the conservation and integration activities of the museum remain, left in disuse for so many years. I was well impressed by the conservation technique chosen by David Chipperfield and Julian Harrap Architects, which shows the history of this building, accepting that the time has passed and has taken away a lot of beauties of the original project.THE PROJECT - Five different boards resulted from the studies of histori-cal materials and another visit for photos and sketches. The aim was not to represent a building just as it is, if this is possible but to translate in the drawings what one personally had read, learned and seen. The first board tells some aspects of the story of the Island of Museums. Like a collage it composes the single floor plans of the original projects of the museums on the actual map of the city of Berlin. The castle of the Hohenzollern with its final dimensions and the pharmacy and the an-cient Dome. Even Schinkel’s non realised project for the pleasure garden in front of the castle tries to find its place in this Capriccio of one of the richest cultural sites of Berlin. The other boards treat the relation between the project of August Stuel-er of 1862 and Chipperfield’s one of 1997, the museum typology, a pos-sible interpretation of geometrical relations of the different front eleva-tions and in the end the future of the Neues Museum and the idea of connecting all the museums of the island to create a single circuit for the visitors. This last board is an unfinished, I tried to understand the main concepts from the few renders and sketches I found of Chipperfield’s first ideas for the James Simon Gallery, the new entrance building.

2012 - leefke marin bohde

2011 - leefke marin bohde and ilaria parmeggianiN

01602.7 LIVING IN THE HISTORICAL CENTER OF MILANA HOUSIGN PROJECT IN THE AREA OF PORTA TICINESE


FLOOR PLANS OF THE PROJECT AND ITS SURROUNDINGS

MAP OF MILAN BY THE ASTRON-OMERS OF BRERA, 1788

THE PLACE - The quarter of Porta Ti-cinese, located at south respecting the historical city centre is named after the two ancient gates which limit it at north and south. The me-dieval gate, restored by Camillo Boi-to, was part of the medieval walls, build in 1156 as a protection of the city. The neoclassical gate, project-ed by Luigi Cagnola was one of the monumental entrances of the Span-ish walls, which were build in 1548-62 and include a much vaster terri-tory then the medieval walls, as the city increased in the meantime. Two very important and ancient church-es are situated in this area, too: San Lorenzo with its central plan, build of materials of roman ruins and the roman Sant Eustorgio and its ab-bey. Milan’s historical centre was in part destroyed during the second world war. The project area is lo-cated in front of the columns of San Lorenzo, which is a series of huge aligned roman columns closing the churches square. In this place the perfect curtain of front elevations of typical medieval town houses is interrupted by a free lot, which has never been occupied since the de-structions of the war.THE PROJECT CONCEPT - The aim of this project is to create a residential complex, which on the one hand satisfies al the request of a modern idea of comfort, security and aes-thetics and on the other hand re-

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01702.7 LIVING IN THE HISTORICAL CENTER OF MILANA HOUSIGN PROJECT IN THE AREA OF PORTA TICINESE

EAST ELEVATION

WEST ELEVATION

SECOND FLOORFIRST FLOOR

spects character and dimensions of the historical houses with narrow and deep gothic plans, by whom it is surrounded. Many different solu-tions for the proportion between the houses and their courtyards and for the relation between the new building and the inclined street at the

southern end of the lot leaded to the final project: a complex of four buildings, used on the ground floor for little shops and going up until the third floor with flats of different dimensions, some of them simples and others duplex. The typical structure of walls of red bricks is not covered and contrasts the green of the copper roofs.

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01803.1 SCHOOL HANDWORKS TRIANGULAR SHELVES (1999), SEWED PIG (1999), MARBLE BALLET FOOT (2004)

01903.2 SCHOOL PAINTING AND DRAWING “MOVEMENT” (OIL, 2004), ETCHING (1999)

02003.3 PORTRAITS “TWO SISTERS” (PENCIL, 2006), OLD MAN (GOUACHE, 2006)

02103.4 LANDSCAPE “CHANNEL IN LEFKIMI” (WATERCOLOUR, 2006)

02203.5 ARCHITECTURE “BERGISCHER LöWE” GOTTFRIED BöHM (WATERCOLOUR, 2006)

02303.6 CITY SCENE CITY SCENE IN LISSABON (GOUACHE, 2006)

Documents

Portfolio leefke Bohde