MARIA BONACINAportfolio

MASTER DEGREE IN ARCHITECTUREPolitecnico di Milano, Scuola di architettura e Societ, 110 L /110Degree Final Project : Frammenti Urbani. Larchitettura dello spazio pubblico in tre interventi a So Paulo, per una riappropriazione del Centro tra socialit, memoria e nuove identit.

INTERSHIPAquiliAlberg, Milanoin particolare aiuto nella progettazione di vetrine per negozi e appartamenti,apprendimento del programma Rhinoceros e Vray

INTERSHIPLabora Arquitetura, So Paulo, Brasilaiuto alla progettazione di interni, in particolare di appartamenti o edici scolastici e religiosi

COLABORATIONarch. Elisabetta De Gasperi, Milanocostruizione del modello 3d di appartamenti e renderizzazione attraverso luso di Rhinoceros e Vray

COLABORATIONarch. Alessandro Fergola, Genovamodellazione di un allestimento allinterno del Palazzo Rosso a Genova con Rhinoceros e Photoshop

DESIGN COMPETITIONstudent competition for an House of Music in Wien, Austria

BACHELOR DEGREE IN ARCHITECTUREPolitecnico di Milano, Scuola di architettura e Societ, 95 /110Degree Final Thesys: Eterotopia?reference professor: prof. arch. Antonella Contin

CLASSICAL STUDIES HIGHSCHOOL DIPLOMALiceo Ginnasio Statale Giovanni Berchet, Milano

Master Degree Final Project developed from set. 2013 to dec 2013 in So Paulo at FAU - USP with the professor Fabio Mariz. Reference Professor at the Politecnico: prof. arch. Emilio Faroldi

PARTECIPATION TO THE EXTRA - EU EXCHANGE PROGRAMMEUniversidade de Sao Paulo, Faculdade de Arquitetura e Urbanismo, Sao Paulo, Brasil

date of birth: 26 May 1989

place of birth: Milan

nationality: italian

address: via San Luca 10, Milano

tel: +393335917612 (ita), +41787788239 (ch)

mail: maria.bonacina@gmail.com

MARIA BONACINA

WORK EXPERIENCE

EDUCATION

march 2011- may 2011

sept. 2013- dec. 2013

set. 2011- may 2014

jan. 2014 - apr. 2014

oct. 2010- feb 2011

sept. 2011- april 2014

oct. 2008- sept. 2011

july 2008

july 2012- july 2013

WORK AT ABCPolitecnico di Milanosurveying and drawing in autocad of the historical building, Palozzotto Borbonico in Naples

april 2014

ITALIAN

Ai

ENGLISH

PORTOGUESE

FRENCH

PHOTOS ARTSMOVIES BOOKSTRAVEL

SOFTWARE: Windows, Mac

Others : Word, Excel, PowerPoint

LANGUAGES

extra curricular professional experience

skills

INFORMATIC SKILLS INTERESTS

SPANISH

Ps Id

CAD Rhino

Jan. 2007 formulation of questionnaires for Barchemicals

Aug. 2009 voluntary work in a heartquake camp at Sassa, near LAquila

Aug. 2008- 09- 12 exhibition arranger for Rimini Fair

Aug.- Sept. 2010 work as au pair in New York

Feb. 2011 promoter for Gierre Company

2009- 2012 Voluntary experience helping study at Cooperativa dei ori, Milano

May 2013- July 2013 private italian teacher in So Paolo, Brasile

Dec. 2013 waitress in catering.

Jan. 2011

sept. 2010 - July 2012

October 2014

hostess for Universit Cattolica di Milano

leader scout

publication of the thesys Urban Fragments

mother language

written: good TOEFL 82/120talk: goodwritten: very goodtalk: very goodwritten: goodtalk: elementary

written: elementarytalk: elementary

I like to travel and to spend time abroad, in addiction to the Extra- EU Exchange Programme and the Final Thesis in So Paulo, in 2004 I attended for a two week period the languague school in Bournemouth, England and in 2011 I spent one month in New York. During the university I organised with other fellow students an architectural four day trip in Barcelona in 2010 and in Switzerland in 2011, supported by the Politecnico di Milano.

Excellent skills to work in a team, even international, fained during the university period in project teams in the designs studios, and espercially during the exchange program and for the Final Project Thesis ( with two colleagues).

Vray

POLITECNICO DI MILANOSCHOOL OF ARCHITECTURE

1st year

3rd year

4th year

September. 28. 2011

April. 28. 2014

Contemporary art MuseumDesign Studio Iprof: arch. Giovanni Denti

Masterplan and Social HousingDesign Studio IVprof: arch. Caputo

Conservation of Palazzo DugnaniConservation Design Studio IIprof: arch. Manfredi, arch. Di Biase

House of Music

Bachelor Degree 95/110

Design Studio IIIprof: arch. Vincenza Lima

Scienze dellArchitettura, Facolt di Architettura e Societ, Politecnico di Milanothesys:Heterotopiaprof. arch. Antonella Contin

2008

5th year Social Housing and ServicesDesign Studio Vprof: arch. Angelo Bucci

Faculdade de Arquitetura e Urbanismo, Universidade de

So Paulo, Brasil

Master Degree 110L/110Progettazione Architettonica, Scuola di Architettura e Societ, Politecnico di MilanoThesys: URBAN FRAGMENTS

Housing and multicultural centerAtelier Verticalprof: arch. Claudio Braga

Public SquareLandscape Design Studioprof: arch. Silvio Machedo, arch. Fabio Mariz

LinksHistory of Brazilian Artprof: Maria Ceilia Floureno

URBAN FRAGMENTS

Our research discusses and involves the re qualication of the public spaces of the Historic Center of So Paulo, Brasil. The Center, place of foundation of the city and once one of the most rich and beautiful parts of So Paulo, is nowadays semi-abandoned and suffers social and architectonic decline.Nevertheless, the area presents several potentialities, attests a rich historical memory, it is well- served by public transport and it offers a large range of cultural and public services. Among the several attempts to give back his life to the Center, we decided to work on the public space, creating places where it is possible to rediscover the memory and the identity of the Center, and where it is suggested a new sociality. We rst analyzed eleven squares of the area, in order to understand the major problems and resources, and hence we developed three urban strategies which discuss the quality of the public space and of the curtain of surrounding buildings that dene them. We rst applied the strategies to a system composed by the Vale de Anhangaba, the heart of the public space, and three squares directly connected to him. We dened the guidelines of the masterplan, proposing the insertion of new volumes and functions, discussing routes, arborization, and the use of water.Then we projected three squares, Largo do Paissand, Largo So Bento, e Largo So Francisco, trying to read the context and to strengthen his present functions by adding a built part which offers public services. Our projects involve the public spaces and they try to apply the method of composition of landscape learntin the university of So Paulo.

35.385

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2.198.096

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7.634 ab./km2

7.055 ab./km2

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12.463 ab./km2

4.640 ab./km2

4.105.795

ZONA EST

1.926.224

1.028.775

ZONA OVEST

331.986

CENTRO

FAU USP

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ACAYABAS HOUSE

3 503 859

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1.149 RS

27%

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1.286 RS

7% 24% 688 RS

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ANALISI CENTRO ANALISI 11 PIAZZE MASTERPLAN LE 3 PIAZZE

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personeentrano in centroogni giorno

4,18 km2

0,29 km2

supercie del centro

spazi pubblici e strade pedonali

698.160

URBAN VOIDS ANALYSIS

1881 1910 2014

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LARGO DA MEMRIA

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The rst phase of the research concerned the analysis of the principals public spaces of the Center. We tried to understand the tipologies of the spaces, different from our european standars.We mapped the squares, the parks, the pedestrian ways but also the empty spaces in the urban tracade or abandoned buildings that one day would be part of a requalication. Than we analised 11 squares, by making a geometric survey and trying to live their spaces, to understand their use and their frequentation. This work was very useful to understand the general qualities and the critics of the public space of the Center, giving us the instruments to elaborate some urban strategies to solve them.

STRATEGIES APPLICATION

[ TRACKERS ]

[ GALERIA OLIDO ]

[ GALERIA DO ROCK ]

[ TEATRO MUNICIPAL ]

[ PRAA DAS ARTES ]

[ CENTRO CULTURALDOS CORREIOS ]

[ MONSTEIRO DE SO BENTO ]

[ EDIFICIO BANESPA ]

[ EDIFCIO MARTINELLI ]

[ESCOLAALVARES PENTEADO ]

[ CATEDRAL DA S ]

[ CENTRO CULTURAL BANCO DO BRASIL ]

[ PATO DO COLGIO ]

[ IGREJA DE SO ANTONIO ]

[FACULDADE DE DIREITO ]

[ IGREJA E CONVENTO DE SO FRANCISCO ]

[SHOPPING LIGHT]

[GALRIA PRESTES MAIA]

[SCUOLA DI DANZA DEL TEATRO]

[UNIESP]

[ PONTO CHIC ]

[ ALBERGUE ]

[ IGREJA DE NOSSA SENHORA DO ROSARIO ][ CENTRO CULTURAL AFRO-BRASILEIRO ]

[ CAF/ RISTORANTE ]

[ CAF/ RISTORANTE ]

[ OSTELLO ANAHANGABA ]

[ URBAN CENTER ]

[ INFO POINT ]

[ CINEMA ALLAPERTO ]

RICUCIRE ISOLATO

RIEMPIRE VOLUMETRIA

OSMOSI FUNZIONALE

A

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EXPO CORREIOEXPO APERTOEXPO APERTO

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LIGAES

an exhibition project for the Pinacoteca do Estado of So Paulo

.ABSTRACT

A proposta da exposio nasceu de um interesse pelas obras vi-stas na Pinacoteca do Estado de So Paulo, com o desejo de entender a fundo o que carateriza e constitui a pintura brasileira no nal do sculo XIX, relacionando-a aos movimentos desen-volvidos na Europa no mesmo perodo, qual o Impressionismo e o Pontilhismo. A nossa pesquisa comeou no momento da primeira visita Pinacoteca, quando olhando as pinturas brasi-leiras nos voltavam memria as pinturas de Monet, Van Gogh, Czanne, e do outro lado se tornava evidente como tinha algu-mas peculiaridades que no podiam ser encontradas em outro lugar, em quanto a tcnica, cor e luz e elementos representados. desses trs aspectos que veio a idia de uma exposio que pudesse mostr-los explicitamente, para ver as influencias e os destaques da arte brasileira desse perodo. Junto com essa reflexo, sempre nos interessou entender os pon-tos de contatos entre esses dois continentes, vendo como os pin-tores brasileiros pintavam a Europa e vice-versa. Para enfrentar essas temticas nos decidimos usar as obras do acervo da Pinacoteca e acabamos escolhendo trs artistas que tem entre as maiores quantidade de obras expostas na Pinaco-teca e que nos parecem os mais signicativos do perodo: Eliseu Visconti, Pedro Alexandrino e Almeida Junior. A escolha de Almeida Junior foi o que guiou o trabalho desde o comeo, porque permite de enfrentar a temtica de um jeito completo, e foi o primeiro que nos marcou para sua grande ca-pacidade de evocar valores, costumes, elementos que no po-dem ser encontrados na Europa. Em seguida escolhemos Eliseu Visconti, pela sua vizinhana pintura europeia e pela sua origem italiana, nossa ptria, para poder entender como a tcnica que ele aprende na Europa pode se desenvolver no panorama brasileiro e como ele pinta um ou outro ambiente. Enm seleccionmos Pedro Alexandrino, para poder refletir tam-bm sobre o gnero da natureza morta e para mostrar um arti-sta que viveu sempre dividido entre o Brasil e a Frana. Desenvolvemos ento um percurso transversal entre os trs arti-stas, enfrentando a pintura deles luz das trs temticas explici-tadas em cima: tcnica, luz e cor e elementos. Alm do percurso transversal, que se destaca ento da clssica diviso das exposies segundo os gneros, escolhemos apro-fundar um aspecto da exposio atravs do gnero da paisa-gem. Essa sesso particular foi concebida depois do grande impacto que teve a viso de um quadro de paisagem de Almeida Junior, que nos marcou muito para sua originalidade e unicidade. En-tendemos ento que era com esse gnero que nos podamos entender como o pintor pinta a sua prpria terra (neste caso, o Brasil) e como um pintor de fora pinta a mesma. Decidimos, ento, selecionar algumas obras de fora do Acervo da Pinacoteca, para ladear a pintura da paisagem brasileira de Almeida Junior uma paisagem brasileira pintada por um pintor italiano e uma paisagem italiana pintada por um pintor brasi-leiro.

Sucessivamente a essa fase de concepo da exposio, entra-mos no mrito das suas caratersticas e peculiaridades, em pri-meiro lugar escolhendo as obras de cada artista ser expostas. O partido da nossa exposio prope-se ser exemplicativo mais que exaustivo, considerando tambm a quantidade de obras presentes no acervo, muito grande por quanto concerne Almeida Junior e bem mais modesto por Eliseu Visconti. Por essa razo escolhemos duas obras de cada autor por cada tema.

A ultima fase do nosso trabalho foi a concepo do espao fsi-co da exposio, dos paneis, da montagem e da instalao das obras.

The idea for the project of the exhibition for the Pinacoteca do Estado of So Paulo, has grown with the interests for some artists al-ready exhibited in the Pinacoteca, represen-tative of brazilian Impressionism. Studying their attitudes, techniques and thoughts it has been possible to project an exhibition that tries to compare the three artists, reading them critically and analysing some common themes in their pantry such as colour, tecnique and elements. For each theme some signicative pain-tings have been chosen to be observed to-gether and compared.The exibition nds his place in one of the biggest rooms of the Pinacoteca, compo-sed, such as all the others of the museum, by a bigger and linear space, and by a smal-ler one that normally harbours temporary exhibitions. The rst space has been divided by tempo-rary walls, creating a linear but not straight path to discover the three themes of the exhibition. The name of the exhibition, ligaes (lia-sons), indicates not only the aim of tra-cing links between the painters, but also between the european and brazilian art of the period of the Impressionism, trying to point out similarities and differences, and to give a critical lecture by european students projecting an exhibition for a brazilian mu-seum.

TECNICA COR ELEMENTOS

THEME 1 _ TCNICA

Cena de famlia de Adolfo Augusto Pinto, 1891, 106x13, Almeida JuniorAmolao interrompida (estudo), 1893, 70x50, Almeida JuniorPaisagem (estudo) 1896, 24,5x33, Pedro AlexandrinoNatureza morta (peras e morangos), data x, 32x45, Pedro AlexandrinoA Providncia guia Cabral, 1900, 180x108, Eliseu Visconti Descanso em meu Jardim, 1938, 85x65, coleo Ronald Visconti

THEME 2 _ COR E LUZ

Paisagem fluvial, 1899, 23,5x34, Almeida JuniorEstudo para Fuga da Sagra Famlia para o Egito, 1881, 45x32, Almeida JuniorPaisagem (estudo), 1896, 30x39 , Pedro AlexandrinoFrutas e flores, 1911, 69x124 (a Parigi) Raios de sol, 1935, 81x62, coleo Leonardo Visconti CavaleiroCasa da vov, 1915, 55,3x42,5, Coleo privada, So Paulo

THEME 3 _ ELEMENTOS

1. Estudo para cabea de caipira, 1893, 58x47, Almeida JuniorSaudade, 1899, 197x101, Almeida Junior3. Bananas e metal, 1900, 98x130,5 (a Parigi), Pedro AlexandrinoCozinha na roa, 1894, 130,5x110,5 (prima di conoscere Europa), Pedro Alexandrino Maternidade, 1906, 165x200 , Eliseu ViscontiUma rua da favela, 1890, 72x41, coleo Tatiana e Afrisio Vieira Lima Filho

Cena da familiaFrutas e ores

paisagem uvialpaisagem

Saudade

Cozinha na roa Uma rua da favela

D C

F E

G

ELEMENTOS

Natureza mortaPaisagem

A Providncia Descanso em meu Jardim Fuga da Sagra Famlia

Raios de sol Maternidade

Bananas e metal Caipira

A

B

Casa da vovo Amolao interrompida

AB

C

D

E

F G

CONTEMPORARY PUBLIC GALLERY

Design Studio IV - Housing & services, Centro, So PauloCS@

rua s.ta Efigenia

avenida Rio Branco

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RIO BR

ANCO

broke the block make a public passage

structural scheme broke the housing connect with open passages

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PLANTA PRIMEIRO ANDAR1:200

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SECTION CC

MULTICULTURAL CENTER

Design Studio V - Housing & services, Centro, So PauloCS@

9%

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0.00

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restaurant bookshopcaf housing expo bicicletrioauditorio

broke the block make a public space

the programme

class

SALA DE AULA

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SALA DE AULA

5,00

5,00

5,00

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SALA DE AULA

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ELEVATION OF THE HOUSIN INSIDE THE AREA

ATELIER VERTICAL

This project was a great occasion to work in a large number of persons. It was a vertical atelier, with students of the second, third e fourth year and a erasmus student.

The work was developed in the city center and we had to choose an abandoned area or empty area.The our group chooses an area occupied for a big parking building, a very present function in the center, near the famous and dangerous neighborhood of Cracolandia.

The program had to consisted in a residencial part, an other commercial and the last cultural.The design of the public space also helped us to create a connection between the Avenida So Joo and the Rua Vitoria, broking the block e making a public square in the middle of the project the becomes a space for living and meeting for the people of the district. At the ground floor are placed the public functions, like shops, restaurants and the exposition, that need a greater link with the city, while the access to the upper floors is restricted a cause of the housing.There are also some functions that are developed at the upper floors like the theater, the library and the class for the study. All these public functions are linked by catwalks, stairs or elevators.

5,00

9,50

14,00

11,75

-0,50

16,00

7,25

2,50

0,00

SECTION CC OF THE EXPOSITION

THE CITY OF TASTE AND FLAVOR

Design Studio IV - Residential and commercial masterplan, Milan, Italyfourth year - Politecnico di Milano, Prof. Paolo Caputo

2m0m

2mmmmmmm0m00m0mmmm

The public space is designed as carpet between the buildings, caracterized by different uses in order to respond as fully as possible to the expectations of residents and visitors. The Way of Taste is a really route, not only informative, but also formative with workshop and open spaces. The walking is accompanied by public islands composed by vegetation adn flowers, playground for children and relax areas. The quality of these spaces is garanted also by the sudy of the flowers and of the plants. During all the year a continue variation of colours and density is garanted so that every season is caracterized by different shades and heights of the vegetation. The sustainability of the project is ensured by the presence of commercial spaces dedicated to botany that take care of the plants.

Our project originated from a reinterpretation of the fence that today delimite the area in order to transform in a lived and livable margin containing a large green area on which different functions and activities appear.

THE WAY OF TASTE

CONCEPT OF RESIDENTIAL BUILDINGS

The park is a great green surface that accompanies the route of the visitor between the thematic clusters, starting in some historical preexistences until the Ortomercato, the most important center of the route. This at the beginning is horizontal, but in the market becames vertical, so that is possible a bautiful view of Milan.The project of the green area and of the border buildings is the resul of work on the density and the identityof the area, starting by a rigid geometry in the part near to the city grid then articulating more freely in the revival of the mesh design of the Lombardias elds.

HOUSE OF MUSIC

Design Studio III - House of music, Wien, Austriathird year - Politecnico di Milano, Prof. Vincenza Lima

The proposal contemplated the construction of a building accomodating an House of Music for Wien, becoming an important connection between the citys history and its present. The project is intended at rst to be an element that changes the perception that users have of the park and the surrounding space, creating a pleasant experience not only for the visitors, but also for the people that will take a walk in the park simply.The program included both areas for public services for the city and the park, both private spaces to teach the music, an interior auditorium and outdoor spaces for the performances.Our project born by the movement made by the ground that generates itself spaces willing to accomodate different functions: auditorium, classes and the mediateca. This building doesnt want to be hidden in the park, but belongs to it. The park is enhaced by the architecture, thanks to the value that is given to it: new spaces and new experiences are linked to the music in the city.The borders of our architecture are not limited into the walls of the House of Music, but are spread all through the park, hearth of the city. Its the most proper set to meet the contemporary classic musical culture.

0,00

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0,00

-1,50

0,00

0,00

+1,00

-4,00

0,00

+1,00

-3,00

+1,00

0,00

0,00

+7,00

+5,50

0,00-3,00

-4,00

0,00

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+1,00

-3,00

0,00

0,00

0,00

0,00

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ELEVATION TO TE RIVER

-4,00

-4,00

-4,00

-4,00

-4,00

-3,00

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Contemporary Art Museum

Design Studio I - Contemporary museum, Milan, ItalyLMNS@HD>I?D(DF

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The proposal of the design studio is to build a contemporary art museum in the center of Milan. The starting difculty was how to relate with the tissue densely build and with an important historical value.Startinf from the analyse of the principal guidelines of the urban tissue, we have rotated the ground floor of the building to create an access that breaks away from the great flux of Via Torino, Partendo dallanalisi delle principali direttrici del tessuto urbano, abbiamo ruotato il piano terra delledicio per creare un ingresso che si discostasse dal flusso principale di via Torino, generating an open and public space in the most interior and quiet part.The public function are located at the ground floor, to be more accessibles, while the exposition areas are developed in the other three floors.

THE GROUND FLOOR

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