architecture portfolio matteo pelagatti

Architecture PortfolioMatteo Pelagatti

Table of Contents

4-5CURRICULUM VITAE

7-13REFURBISHEMENT

Alpine Museum

Munich 2015Prof. Nagler

15-19CONCEPTUAL WORK

Parallax Series

Melbourne 2014Prof. Woods

paintings

top: 2010 - collage: oil on canvas and printed picture - orginal dimensions: 30x40 cm left: 2010 - oil on canvas - original dimensions: 70x70 cm

both paintings where exposed at the „Estroverso“ exhibition in Milan, march 2012.

16

SELEC

TED W

OR

KS

OTH

ER W

OR

KS

TIMBER CONSTRUCTION

Family House & Atelier

Munich 2012Prof. Kaufmann

VACANT SITE

Fritz Koenig Museum

Munich 2011Prof. Nagler

URBANISM

Roofscapes

Munich 2013Prof. Michaeli

21-25ONE TO ONE

Pavilion for Tanzania

Munich 2013Prof. Eversmann

27-31DETAILING

Sustainable Row House

Munich 2012Prof. Musso

33-37ARTS

Visual ArtsArchitecture SketchesPaintings

platzsituation | sporthalle mit integriertem u_bahnausgang

roofscapes | dachbegruenung und grillzonenallee | geschaeftsstrasse und kleine plaetze

Curriculum Vitae

Name Matteo Pelagatti

Birthdate 8. September 1992

Nationality Italian

Adress via Moscova 46/9a, 20121 Milano, Italy

Email [email protected]

Education

September 2005-May 2011

October 2011-August 2015

February 2014-February 2015

Internships

March 2012

March 2013

January 2015-February 2015

German School of Milan (DSM), Milan, Italymain subjects: mathematics, physics, arts, languages

Bachelor of Arts in Architecture at Techical University of Munich (TUM), Munich, Germany

Exchange Program at University of Melbourne (UoM),Melbourne, Australia

Chapman Taylor Architetti, Milan, ItalyArchitecture Office

Anyway, Milan, ItalyCommunication and Design Agency

SiblingNation, Melbourne, AustraliaArchitecture Office

Other Skills

Arts

Communication

Sports

Pubblications

Others

Programs

Languages

Handdrawing - Tutor of architectural sketch-drawings at TUM in 2012

Painting - exhibited at Estroverso in March 2012, Milan

Acting - theatre courses at Teatro Libero, Milan 2010 - 2011

Music - guitar, self-taught

Internationality - great adaptation at multicultural environments developped through summer camps, language courses and exchange studies

Teaching and Leading - founder and director of school journal IlChiodo and drawing tutor at chair for Architectural Design and Conception at TUM

swimming, soccer, climbing, skiing, surfing, athletics

works publicated in Logbook Munich, Munich 2015; Ortstermin Burghau-sen – Der doppelte Blick, Munich 2015; JahrBuch 2013, Munich 2013

Drivers Licence B

French - B1 basic

Spanish - A2 basic

Technical Drawing(Autodesk - AutoCAD)

Image Editing(Photoshop )

Layouting & Diagrams(Illustrator, InDesign)

Italian - native speaker German - C1 fluent

English - C2 fluent

3D-Modeling(Rhinoceros)

Rendering(Vray Rhino, Cinema 4D)

Microsoft Office(Excell, Word)

Refurbishement Alpine Museumindividual work - Bachelor Thesis | Professor Nagler | Technical University of Munich | SS 2015

The Alpine Museum counts to those smaller size, niche-topic museums, which are gradually disappearing from the cities and are though particularly soothing in the nowadays vibrating mu-seum scene. The former “Cafè Isarlust” is distinguished by its clear freestand-ing and symmetric volume and by its location on the Praterinsel, an island on the Isar river in Munich.

During the second world war the building burned down com-pletly. After 1945 it has been rebuilt in a very simplified style, which matched the Architecture of that time. The original clarity of the buildings structure got lost. Following interventions transformed the interior life of the build-ing more and more into an incomprehensible labyrinth, which now needs a new order.The task is to rethink the spatial organisation of the House of Alpinism in Munich. The main facilities of the building are the exhibition spaces, the offices of the German Alpine Club (DAV), the library with its archive and the depot. The building should mantain its character.

DESIGN

In addition to a new interior order, a spatial extension of the Alpinism House is needed, due to its increased facilities.Considering the peculiar location of the Museum and its previous proportions, the more logical decision was that to add one level to the building. This would not only improve the urban role and visibility of the Alpine Museum, but also preserve the secular trees on the plot.The new organisation of the different facilites is the direct consequence of studies based on the orginal structure of the

house. The load-bearing structure results in four main axes which divide the floors into three main naves.Using this given configuration, every facility was assigned to the space with the most adequate qualities. The entrance, now clearly set on the west side of the house, leads to a foyer which functions as a distribution room. The cafè and the function room are situated at the ground level in double height ceiling spaces, opening up to the garden. Ar-chive, library, offices and museum are all located on a different levels, connected by a representative stair placed in the bay window on the east side.

STRATEGIE INNEN: ursprüngliche Ordnung, Großzügigkeit und Charakter des Gebäudes wiederherstellen > 1. klare Nutzungseinteilung > 2. Ausrichtung des Gebäudes Westen-Osten (mit Auswirkungen auf Eingang, horizontale und vertikale Erschließung)> 3. introvertierte Westfassade / Öffnung der Ostfassade zum Garten

1. 2. 3.

kleinere Öffnungen / eindeutige Eingänge

Keller 1909

Nutzungsräume

Erschließung/Empfang

Cafe

Veranstaltung

Museum

EG 1909

Hauptachsen

Zwischengeschoss 1909

1.OG 1909 Unterteilung in 3 Schiffen

EG 1887


1.OG 1887Bezug zum Garten durch Offenheit und Terrassierung


1. 2. 3.


Keller 1909

Nutzungsräume


Cafe

Veranstaltung

Museum

EG 1909

Hauptachsen



EG 1887




1. 2. 3.


Keller 1909

Nutzungsräume


Cafe

Veranstaltung

Museum

EG 1909

Hauptachsen



EG 1887



Site Plan

Studies of Existing Structure

0 10 30 50 70 m

Basement - Archive,Sanitaries Ground Floor - Cafè,Function Room

1.Floor - Library 2.Floor - Offices

3.Floor - Museum Section A-A

Section C-C Section B-B

Ground Floor Plan - Foyer, Cafè, Function Room

Front Elevation

0 1

0 3

2 3 5 7 m

7 m

North Elevation

Cross-Section - Archive, Function Room, Offices, Museum

0 1

0 3

2 3 5 7 m

7 m

View of the Exhibition RoomsModel Picture

Parallax - Conceptual Studioindividual work | Prof. Woods | University of Melbourne | WS 2014

Studio 8: Gift to the City thinks past the dominant ‘white-wall’ art gallery model to consider what art galleries and art muse-ums can be? STUDIO 8 promotes experimental, speculative and gestural architectures / non-architectures that disrupt museum typology and signal museum futures.

Gift to the City III PARALLAX will explore the theme of Parallax via asking each student to develop a single research theme which is investigated over separate sites worldwide (of your choice). How does the ‘object’ (the research theme) mutate,

shift, respond to, reject or co-exist within different ‘back-grounds’ (sites)? How do the museums exist as a Series – assemblages of Difference and Repetition which communicate the ‘brand’ of the collective museums internationally? Phase 1: Design: 5 galleries for 5 artworks. Each artist will be interviewed by the students during the first part of the semester. One quote of the interview should than be used as concept driver for the gallery design.

Phase 2: Design 5 (small, medium or large) privately owned “Art Museums” to ‘house’ each gallery anywhere in the world.One out of three given curators interviews has be chosen as a concept driver to develop an own research topic. The thesis should base on rules which apply to every designed museum.

DESIGN

Artist Liam Gillick talking about the structure and location an artwork is exhibited in : “ WELL, AND I ALWAYS THOUGHT: I WILL PRETEND IT IS THERE !”

The artworks of Liam Gillick are always strictly related to the location they’re exposed in, dealing with its history and partic-

ular over-structures. This methodology permits him “to work in possibly every location, but always in relation to that location”. “Margin Time” was as well created for a specific context which gives the artwork its strength and meaning.Projecting the video into a vanishing ice-wall and moreover into a gallery which will completely disappear is a way to create a NON-LOCATION: the only place where a site specific work could be exhibited.

The Sanctuary of Art

Flowing Water - MILFORD SOUND

The artworks of Liam Gillick are always strictly related to the location they’re exposed in, dealing with its history and particular over-structures. This methodology permits him “to work in possibly every location, but always in relation to that location”. “Margin Time” was as well created for a specific context which gives the artwork its strength and meaning.Projecting the video into a vanishing ice-wall and moreover into a gallery which will completely disappear is a way to create a NON-LOCATION: the only place where a site spe-cific work could be exhibited.

LIAM GILLICK

Margin Time

TALKING ABOUT THE STRUCTURE AND LOCATION AN ART-WORK IS EXHIBITED IN : “ WELL, AND I ALWAYS THOUGHT:I WILL PRETEND IT IS THERE !”

The Monastry

A

A

A

A

B

B

B

B

gallery plan 1:200

longitudinal section AA 1:200 longitudinal section BB 1:200

museum ground floor plan 1:200

museum front elevation 1:200

museum cross section AA 1:200

side elevation 1:200

longitudinal section BB 1:200

back elevation 1:200

first floor plan 1:200

The interior spaces are obtained by subtracting a volume of the water befor it ices. This is achieved by insering air-filled balloons into the

metal structure.

metal-frames structure, filled with water. By low temperatures the ice volume is formed.

exterior volume:stone shaped, edgy volume

interior spaces:smooth round surfaces result of boolean subtraction

MELTING STAGES ALGORITHM-DRIVEN CRAB PROJECTOR

REALIZATION DIAGRAM

DESIGN DIAGRAM

SITE CHOICE

Water plays a primary role in the concept for Gillicks Sanctu-ary. The trial is that to create a „non-location“ for the Artwork and therefore let the gallery appear and disappear every year.

To reinforce this idea the location is set in a Fjord, so that the ice used to create the Sanctuary will melt into the the river and flow away. By doing so the particles composing the building will slowly spread in the environment, achieving so the desired „non-location“.

Melting Diagram

Roboter Crab-Projector

Construction Diagram

Gallerie Gillick

talking about the structure in which an artwork is exhibited

"well and I always thought: I will pretend it's there"

plan 1:100

section AA 1:100 seciton BB 1:100

A A

B B

algorithm driven crab-projectoe

Gallerie Gillick

talking about the structure in which an artwork is exhibited

"well and I always thought: I will pretend it's there"

plan 1:100

section AA 1:100 seciton BB 1:100

A A

B B

algorithm driven crab-projectoe

Sections and Elevations

0 4 10 14 m

DESIGN

AVAF | Eli Sudbrack : “ THIS IS WHAT THE SHOW IS ABOUT. I MEAN “BIG BANG” IS LIKE THE SYMBOL OF RESISTENCE. AN IDENTITY THAT MAY BE LOST “

This particular artwork of AVAF deals with the topic of resis-tance. In particular the artist focuses on the city of SaoPaulo

which is constantly changing and “eating itself”, distroying and losing traditions and identity.The GREY LAGOON which the visitor needs to wade without drowning is a metaphor for the self-destroying-modern cit-ies-mentality, which can only be saved by art and history. The atmosphere conveys the sense of nostalgia and casts positive light on the “ruin”.

This particular artwork of AVAF deals with the topic of resistance. In particular the artist focuses on the city of SaoPaulo which is constantly changing and “eating itself”, distroying and losing traditions and identity.The GREY LAGOON which the visitor needs to wade wi-thout drowning is a metaphor for the self-destroying-mo-dern cities-mentality, which can only be saved by art and history. The atmosphere conveys the sense of nostalgia and casts positive light on the “ruin”.

AVAF - ELI SUDBRACK Installation Casa Triangulo

“ THIS IS WHAT THE SHOW IS ABOUT. I MEAN “BIG BANG” IS LIKE THE SYMBOL OF RESISTENCE. AN IDENTITY THAT MAY BE LOST “

The Sanctuary of Art

Dystopia - DETROIT

The Monastry

gallery plan 1:200

A

A

A

A

A

A

A

A

B

B

B

B

B

B

B

B

museum ground floor plan 1:200

museum front elevation 1:200

museum cross section AA 1:200

side elevation 1:200


back elevation 1:200

museum first floor plan 1:200

museum second floor plan 1:200

cross section AA 1:200

old pre-existing concrete building as symbol of the old, disused architecture falling apart - buildings skeleton adapted to host the

artworks

rectangular conrete bases and a topographical designed metal platformare are implemented in the concrete skeleton.

the artworks are placed on the concrete bases or hanging from the beams. graffitis are painted on the underside of the metal

wave

the space between the bases is filled with small sized balls. these become a hurdle for the visitor who tries to reach the artworks

and the opposite side of the room.

interior layer:light self-supporting

timber structure

exterior layer:thick industrial concrete

“there are beautiful places hidden in the city, where only people who know them can access”

PROCESS DIAGRAM

EXPLODED AXONOMETRY

SITE CHOICE

Detroit is well know for being an abandoned „ ghost“ city. The desolation and the ruins make a clear statement about a system which didn‘t work and collapsed. The city with it‘s unique atmosphere of lost splendor is though still a tourist attraction.This particular atmosphere is therefore the perfect setting for the AVAF „Monastry“ and „Sanctuary“, with the Artwork basically accusing ta lost of city identities and a self-destoying modern city-metality.


Axonometry - Artworks Placing

Conceptual Diagram


0 4 10 14 m

Tree House Study Pavilionteamwork with Felix Kremp | Professor Eversmann | Technical University of Munich | WS 2013/14

The task is to design study pavilions for the Kibwigwa Students Center. The projects are freestanding, openly accessible struc-tures, giving the children (ages 10-16) the opportunity to study and meet between classes. The pavilions provide privacy for

free study, providing simple protection against sun,wind and rain.Bamboo, a local material, is used for the project. Planned as in-novative structure, diverse spatial effects and moods are creat-ed, while its simple structure allows to be easily constructed on site. Bamboo is a material with relatively small cross sections; larger forms may incur from the smaller-scale multiplication of elements. The project’s goal is to realize detailed designs. The concepts are studied based on prototypes.

DESIGN

The project is composed of two overlaying roofs, creating a set of intertwined spaces on different levels. The ground level offers a more conventional study space with desks and chairs, whereas the upper level is seen as an individual reading space.The inclined structure serves as seating as well as a staircase seamlessly connecting the upper and lower rooms. Screens of weaved bamboo elements between the structure

and the roof create a diffuse lighting, ideal for concentrated studying. The spatial richness is achieved by simple means: The frames can be fabricated out of the same geometry, with repeating angles, where only lengths of the bamboo canes can vary. The angles of the two roofs (35° and 50°) are chosen to permit a thatched roof construction, which is a cheap local material. The Fish-mouth joints are only used at 90-degree angles. The roofs widely cantilever, ensuring the protection of the structural bamboo members.

644.0

114.0 366.0 164.0

283.3

363.3

664.2

450.4

215.7

234.7

960.8

296.6 66.5 597.7

123.1 644.0 193.7

158.7

28.0

97.0

159.6 159.6

675.2

356.0

24.0 182.0 100.0 26.0 24.0

161.1

23.9

294.1

661.2

152.9 356.0 152.3

399.0

161.9

322.9

185.0

215.0

170.0

15.0

356.0

24.0 182.0 100.0 26.0 24.0

356.0

204.1

644.0

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356.0

50.0

82.3

173.7

50.0

139.5360.5144.0

697.7

100.8

496.2

100.8

43.7

610.3

43.7

942.8

662.7280.0

182.8650.8109.2

LAENGSSCHNITT A-A 1:50

GRUNDRISS 1:50

QUERSCHNITT A-A 1:50 QUERSCHNITT C-C 1:50

MODELLFOTOSLERNPAVLLION

AUSSENANSICHT LERNPAVLLIONNUTZUNG

AMBIANCE

MATTEO PELAGATTI | FELIX KREMP www.cargocollective.com/einszueins

TUM Technische Universität MünchenFachgebiet für HolzbauGastprofessur Philipp Eversmann

EINSZUEINS

ORIGAMIBAMBUS-FACHWERK

Construction Sequence

644.0

114.0 366.0 164.0

283.3

363.3

664.2

450.4

215.7

234.7

960.8

296.6 66.5 597.7

123.1 644.0 193.7

158.7

28.0

97.0

159.6 159.6

675.2

356.0

24.0 182.0 100.0 26.0 24.0

161.1

23.9

294.1

661.2

152.9 356.0 152.3

399.0

161.9

322.9

185.0

215.0

170.0

15.0

356.0

24.0 182.0 100.0 26.0 24.0

356.0

204.1

644.0

32.0120.0120.0120.012.0 120.0120.0

356.0

50.0

82.3

173.7

50.0

139.5360.5144.0

697.7

100.8

496.2

100.8

43.7

610.3

43.7

942.8

662.7280.0

182.8650.8109.2

LAENGSSCHNITT A-A 1:50

GRUNDRISS 1:50

QUERSCHNITT A-A 1:50 QUERSCHNITT C-C 1:50

MODELLFOTOSLERNPAVLLION

AUSSENANSICHT LERNPAVLLIONNUTZUNG

AMBIANCE

MATTEO PELAGATTI | FELIX KREMP www.cargocollective.com/einszueins

TUM Technische Universität MünchenFachgebiet für HolzbauGastprofessur Philipp Eversmann

EINSZUEINS

ORIGAMIBAMBUS-FACHWERK

Detail Section

0 0,50,25 0,75 1,25 1,75 m


0 1 2 3 5 7 m

DETAILS MATERIALEN UND AUFBAU

BODEN

1. KIESBODEN 2. TERRASSIERUNG AUS STAMPFLEHMBO-DEN 40cm3. STUETZENFUSS B ETON AUF STEINLA-GER 240x300x80mm

DACHFLAECHE:

4. S PARREN, BAMBUSROHRE 2 x D80 mmVERBUNDEN MIT GEWINDESTANGEN5. V OLLHOLZVERBINDUNGSSTUECK 150x80x80 mm6. F IRST 2 x D80mm, DURCHGEHEND OBEN, UNTEBROCHEN UNTEN7. LATTUNG, GEVIERTELTE BAMBUSROHRE 3 DACHDECKUNG, STROHMATTEN 200 mm

MODUL 1

8. BAMBUSSTUETZEN 4x D80mm9.1 TRAEGERZANGE DIAGONAL 2x D80mm INNEN10.1 TRAEGERZANGE DIAGONAL 2x D80mm AUSSEN11. DRUCKSTAB AUS BAMBUSROHRVERBUNDEN MIT SCHRAEGE F ISCHMAUL-VERBINDUNG12. LAENGSBALKEN 2x D80mm

MODUL 2

8 BAMBUSSTUETZEN 4x D80mm9.2 TRAEGERZANGE DIAGONAL 2x D80mm INNEN10.2 TRAEGERZANGE DIAGONAL 2x D80mm AUSSEN11. DRUCKSTAB AUS BAMBUSROHRVERBUNDEN MIT SCHRAEGE F ISCHMAUL-

14

constructions sequence pictogramsmaterials

one to one detailing

clay -floor shape

bamboo canes -load bearing structure

concrete -footing

straw -roofing

entrance situation

top view of upper level

DETAILS MATERIALEN UND AUFBAU

BODEN

1. KIESBODEN 2. TERRASSIERUNG AUS STAMPFLEHMBO-DEN 40cm3. STUETZENFUSS B ETON AUF STEINLA-GER 240x300x80mm

DACHFLAECHE:

4. S PARREN, BAMBUSROHRE 2 x D80 mmVERBUNDEN MIT GEWINDESTANGEN5. V OLLHOLZVERBINDUNGSSTUECK 150x80x80 mm6. F IRST 2 x D80mm, DURCHGEHEND OBEN, UNTEBROCHEN UNTEN7. LATTUNG, GEVIERTELTE BAMBUSROHRE 3 DACHDECKUNG, STROHMATTEN 200 mm

MODUL 1

8. BAMBUSSTUETZEN 4x D80mm9.1 TRAEGERZANGE DIAGONAL 2x D80mm INNEN10.1 TRAEGERZANGE DIAGONAL 2x D80mm AUSSEN11. DRUCKSTAB AUS BAMBUSROHRVERBUNDEN MIT SCHRAEGE F ISCHMAUL-VERBINDUNG12. LAENGSBALKEN 2x D80mm

MODUL 2

8 BAMBUSSTUETZEN 4x D80mm9.2 TRAEGERZANGE DIAGONAL 2x D80mm INNEN10.2 TRAEGERZANGE DIAGONAL 2x D80mm AUSSEN11. DRUCKSTAB AUS BAMBUSROHRVERBUNDEN MIT SCHRAEGE F ISCHMAUL-

14

constructions sequence pictogramsmaterials

one to one detailing

clay -floor shape

bamboo canes -load bearing structure

concrete -footing

straw -roofing

entrance situation

top view of upper level

Row House - Detailingteamwork Felix Kremp, Luc Morroni, Gilles Dostert | Prof. Musso | Technical University of Munich | WS 2012/13

The task is to design a house with particular focus on the as-pects of materiality and sustainability, achieved through an in-tensive analysis and development of details at a smaller scale.The brief is to design a home for a young working couple.

As well as usual private areas like sleeping room, living room, kitchen and bathroom, particular semi-public working spaces have to be designed.The young couple, working as professional photographers and architects, needs a dark room in the basement, a big atelier room and a computer working station.The challenge therefore is to design a building which combines a public and a private character, keeping a clear distinction in or-der to be both able to receive clients and ensure privacy where needed.

DESIGN

The building develops vertically from a more public character on the ground level up to a more private character. The atelier and the office are kept on the ground level in order to be easily accessed by the clients without crossing private rooms. On the first level a very open space includes a kitchen, eating and living area, whereas the bedroom and bathroom are situated

on the last level. This privacy differentiation is reflected in the front façade by the openings which become smaller in the upper levels.The whole building is orientated towards the more quite and green area in the back. For this reason the biggest openings and all the outside areas are situated on the back side of the house. The double bending of the back façade improves the usability of the terraces avoiding too narrow spaces and be

Plans

0 1 2 3 5 7 m

comes at the same time an aesthetical mark of the house.The split levels permit to create optimized spaces for different activities and at the same time ensure the view to the back garden from every angle of the house. Higher spaces are provided where creative work has to be accomplished, like in the atelier; smaller cozier rooms are created for example for the bedroom. The materiality is based on the mixed use of concrete and wood. The contrast between inside and outside

is strengthened by the darker timber used in the inside as floor finishing and the brighter timber panels used on the façade, keeping an elegant, reduced, amount of materials. Thermal insulation which wraps the whole building, a water pump using thermal energy from the ground and solar panels on the roof permit the house to be totally sustainable and reach the standards of a passive house.

Facade Section and Front Elevation

0 0,5 1,25 1,75 m

Detailing

0 0,1 0,2 0,3 0,5 0,7 m

raw-house

5

task

The task is to design a raw house with particular focus on the aspects of materi-ality and sustainability, achieved through an intensive analysis and development of details at a smaller scale. The brief is influenced by the particular requests of the client, a young couple who desires to work (as architect and professional photographer) as well as to live in their new home. The challenge is therefore to design a building which combines a public and a private character, keeping a clear distinction in order to be both able to receive clients and ensure privacy where needed.

design

The building develops vertically from a more public character on the ground level up to a more private character. The atelier and the office are kept on the ground le-vel in order to be easily accessed by the clients without crossing private rooms. On the first level a very open space includes a kitchen, eating and living area, whereas the bedroom and bathroom are situated on the last level. This privacy differentiation is reflected in the front façade by the openings which become smaller in the upper levels. The whole building is orientated towards the more quite and green area in the back. For this reason the biggest openings and all the outside areas are situated on the back side of the house. The double bending of the back façade improves the usability of the terraces avoiding to narrow spaces and becomes at the same time an aesthetical mark of the house.The split levels permit to create optimized spaces for different activities and at the same time ensure the view to the back garden from every angle of the house. Higher spaces are provided where creative work has to be accomplished, like in the atelier, smaller cozier rooms are created for example for the bedroom.The materiality is basically based on the mixed use of concrete and wood. The contrast between inside and outside is strengthened by the darker timber used in the inside as floor finishing and the brighter timber panels used on the façade, keeping an elegant reduced amount of materials.Thermal insulation which wraps the whole building, a water pump using thermal energy from the ground and solar panels on the roof permit the house to be totally sustainable and reach the standards of a passive house.

view from terrace into bedroom

atelier and office“

detailing design studio| teamproject with Felix Kremp, Luc Morroni, Gilles Dostertraw-house

5

task

The task is to design a raw house with particular focus on the aspects of materi-ality and sustainability, achieved through an intensive analysis and development of details at a smaller scale. The brief is influenced by the particular requests of the client, a young couple who desires to work (as architect and professional photographer) as well as to live in their new home. The challenge is therefore to design a building which combines a public and a private character, keeping a clear distinction in order to be both able to receive clients and ensure privacy where needed.

design

The building develops vertically from a more public character on the ground level up to a more private character. The atelier and the office are kept on the ground le-vel in order to be easily accessed by the clients without crossing private rooms. On the first level a very open space includes a kitchen, eating and living area, whereas the bedroom and bathroom are situated on the last level. This privacy differentiation is reflected in the front façade by the openings which become smaller in the upper levels. The whole building is orientated towards the more quite and green area in the back. For this reason the biggest openings and all the outside areas are situated on the back side of the house. The double bending of the back façade improves the usability of the terraces avoiding to narrow spaces and becomes at the same time an aesthetical mark of the house.The split levels permit to create optimized spaces for different activities and at the same time ensure the view to the back garden from every angle of the house. Higher spaces are provided where creative work has to be accomplished, like in the atelier, smaller cozier rooms are created for example for the bedroom.The materiality is basically based on the mixed use of concrete and wood. The contrast between inside and outside is strengthened by the darker timber used in the inside as floor finishing and the brighter timber panels used on the façade, keeping an elegant reduced amount of materials.Thermal insulation which wraps the whole building, a water pump using thermal energy from the ground and solar panels on the roof permit the house to be totally sustainable and reach the standards of a passive house.

view from terrace into bedroom

atelier and office“

detailing design studio| teamproject with Felix Kremp, Luc Morroni, Gilles Dostert

Arts | Sketches | Paintings

VISUAL ART | “FLOATING CHAIRS” | EXKURSION BURGHAUSEN 2013

“A ball of chairs slowly spins, almost meditative, hanging from a steel cable in the Heiligkreuz church.The sculptur turns the saints-figures on eye level into spec-tators. The floating chairs bundle the energy of the hystoric and secluded place.” Der Doppelte Blick, Munich 2015

ARCHITECTURAL SKETCHESAs much as differnt writing styles, each person has its very personal way to draw a line. Sketching is therefore a subjec-tive interpretation and reproduction of the reality. The quick reproduction of a place with its particular atmo-sphere relies in a fast recognition of what’s the genius loci. Sketching is not just a drawing excercise but rather my way to train my observation and analysis skills.

PAINTINGIt has been my passion since I’m little. That’s how I can the best express myself. There is no sophisticated message, nor aim. It is just my sensations through colour and lines.

“floating chairs”, Burghausen 2013

Europe, Rotring, architectural sketches

paintings



16

Milan 2010, oil on canvas, original dimensions: 70x70 cm

exposed at „Estroverso“, march 2012.

Milan, watercolor, architectural sketch

paintings



16

Milan 2010, oil on canvas and photo collage, orginal dimensions: 30x40 cm

exposed at „Estroverso“, march 2012.

the end.

architecture portfolio matteo pelagatti

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