Hello! Matteo Astolfi Studio - Portfolio 2017
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
Hello! Matteo Astolfi Studio Milano / Barcelona Portfolio 2017
Nodoo / Identità visiva
Nodoo srl
Matteo Astolfi | Studio
Art direction, grafica, identità, fotografie, web. Nodoo, Italia. nodoo.it
Nodoo / Identità visiva
Matteo Astolfi | Studio
Progetto web
Nodoo
Nodoo / Identità
/ Identità visiva
visiva
Matteo Astolfi | Studio
Progetto
Progetto web:
web: pagina
pagina tipotipo (prodotto).
(prodotto).
Nodoo / Identità visiva
Matteo Astolfi | Studio
Cartoline
Nodoo / Identità visiva
Matteo Astolfi | Studio
Schede prodotto
Nodoo / Identità visiva
Matteo Astolfi | Studio
Cartellini shop, adesivo packaging
Foof Dog & People / progetto web Foof Dog & People
Nodoo / Identità visiva
Foof Dog & People / progetto web
Progetto web: pagina tipo (prodotto).
Matteo Astolfi | Studio
Progetto web
Foof Dog & People / progetto web
Matteo Astolfi | StudioFoof Dog & People / progetto web
Matteo Astolfi | Studio
BrochureFoof Dog & People / progetto web
Matteo Astolfi | Studio
BrochureNike Recaps / web
Nike Inc.
NIKE
PORTAL DE L’ANGEL
BARCELONA SE DTC
THE SERVING ATHLETES*
September 2017
OCTOBER 2017
BARCELONA
SHOPPING
NIGHT
NIKE BCN
30 NOVEMBER 2017
TEASING PHASE
NIKE PORTA NUOVA / NIKE BARCELONA
1.25TH — 2.22ND JANUARY 2018
SP18 NIKE RUNNING NIKE REACT VISUAL CENTER
Inspire consumers PAGE 5
through epic experience
every day
NSW
TECH PACK
NBA IS
THE BEST EXPRESSION
OF THE GAME HIGH TOUCH DTC DTC
SELL OUT SELL THRU
FOR BASKETBALL LOVERS
IN BARCELONA. Iberia 6 2151 UNITS 46%
Italy 6 2354 UNITS 50%
(after 4 weeks of sales)
OBJECTIVES On nov 30th we celebrated the Barcelona shopping
night in Nike Barcelona, a key cultural moment
happening in the city, with more than 90k people
in the street (80% local)
Matteo Astolfi | Studio
THE ULTIMATE
BASKETBALL EXPERIENCE
TO ANNOUNCE THE NBA
OBJECTIVES
LANDING IN BARCELONA
CONSUMER JOURNEY GIF
SP18 NIKE RUNNING NIKE REACT VISUAL CENTER PAGE 131 Tech Pack
1. 3. NIKE.COM APP / NIKE+ RUN CLUB APP
_
WIP
Position Nike Barcelona as the A unique and distinctive experience –
GLOBAL BRAND DESIGN
destination for her in the city only for Nikeplus members TEASE / MOBILE ANNOUNCE / MOBILE
CONSUMER JOURNEY
2. 4.
Create product lust with the best Kick off the X-Mas season with
Recaps e newsletter per Nike looks led by AF1 a strong gifting plan
DEM
FACADE
Host of the eventeven the electric escalators… October has
been the month of Basketball in Nike Portal!”
Marc Frigola, Store Manager
CONNECT
Nike Recaps / web
EKIN TRAINING
FEEDBACK
Click to watch the presentation
“Love the new App!
It is great to have access to the latest NBA
content and about my favourite player”
Consumer VIDEO
NIKE
PORTAL DE L’ANGEL
BARCELONA
Click to watch the video
password:
TAPINTOTHEGAME
OCTOBER 2017 “NBA everywhere! Façade, windows…
even the electric escalators… October has
been the month of Basketball in Nike Portal!”
Marc Frigola, Store Manager
SALES RESULTS
EUROS
12.5K
EKIN TRAINING TOTAL SALE
S
MODULE UNITS SOH ST
THERMA JACKET 32 35 91,4%
SHIRT 48 82 58,5%
NBA IS
THE BEST EXPRESSION GAME JERSEY 88 157 56,1%
OF THE GAME
FOR BASKETBALL LOVERS GAME PANT 18 34 52,9%
IN BARCELONA.
HODIE 35 79 44,3%
Click to watch the presentation
OBJECTIVES
VIDEO
EMEA SOUTH NIKE DIRECT BRAND
Matteo Astolfi | Studio
THE ULTIMATE
BASKETBALL EXPERIENCE
TO ANNOUNCE THE NBA
LANDING IN BARCELONA
Click to watch the video
password:
TAPINTOTHEGAME
CONSUMER JOURNEY
Recaps e newsletter per Nike
SALES RESULTS
FACADENike Recaps / web
SP18 NIKE RUNNING
CONSUMER JOURNEY
NIKE REACT VISUAL CENTER PAGE 131
NIKE BARCELONA
NIKE.COM APP / NIKE+ RUN CLUB APP
–
_
WIP
GLOBAL BRAND DESIGN
TEASE / MOBILE ANNOUNCE / MOBILE
APP MEDIA
NOTIFICATION & INFLUENCER
GET THE PHOTOS
_
GLOBAL BRAND DESIGN
INVITE
CONSUMERS FEEDBACK
TO STORE
“ONCE YOU PUT THEM ON, YOU CAN BARELY FEEL THEM”
“WOW, SO REACTIVE AND COMFORTABLE.
I SIMPLY LOVE THEM”
“THE TPU LAYER IN THE BACK, MAKES IT A BIT DIFFICULT
NIKEREACT EXPERIENCE WHEN YOU TRU TO SNUG YOUR FOOT IN,
NUT ONCE THEY ARE ON, THEY FEEL AMAZING”
PAGE 6
GET MORE COMMENTS
TEASING PHASE
NIKE PORTA NUOVA / NIKE BARCELONA
SP18 NIKE RUNNING
1.25TH — 2.22ND JANUARY 2018
SP18 NIKE RUNNING
NIKE REACT VISUAL CENTER
NIKE REACT VISUAL CENTER
PAGE 5
PAGE 5
RESERVE FOR YOU
(PORTA NUOVA)
NIKE DIRECT SOUTH TEAM
Alessia Boi | rome manager
Carla Fernandez | lisbon manager
THE STORES
CONSUMER JOURNEY
Matteo Astolfi | Studio
SP18 NIKE RUNNING NIKE REACT VISUAL CENTER PAGE 131
MILANO PORTA NUOVA
NIKE.COM APP / NIKE+ RUN CLUB APP
_
WIP
–
GLOBAL BRAND DESIGN _
GLOBAL BRAND DESIGN
TEASE / MOBILE ANNOUNCE / MOBILE
Recaps e newsletter per Nike
APP MEDIA
NOTIFICATION & INFLUENCERNike Recaps / web On nov 30th we celebrated the Barcelona shopping
night in Nike Barcelona, a key cultural moment
happening in the city, with more than 90k people
in the street (80% local)
OBJECTIVES
1. 3.
Position Nike Barcelona as the A unique and distinctive experience
destination for her in the city only for Nikeplus members
2. 4.
Create product lust with the best Kick off the X-Mas season with
looks led by AF1 a strong gifting plan
50%
girls
(age average 23,3)
Host of the event
126 +
new members recruited
during the event
(94 girls / age average 20)
THE
BARCELONA
SHOPPING “With effort
NIGHT
NIKE BCN
and talent,
everything is possible.
Your success depends
30 NOVEMBER 2017 only on you
and your FORCE”
“I´m super excited
as it is the first time 406 K
I do this with a brand” followers
CONSUMER JOURNEY Laser Customization Service
customization in exclusive
for Nikeplus members
HOST
SOCIAL
NIKEPLUS
30
MEMBERS pairs of AF1
customized
On nov 30th we celebrated the Barcelona shopping
night in Nike Barcelona, a key cultural moment
EXPERIENCE
happening in the city, with more than 90k people
in the street (80% local)
NIKE
Matteo Astolfi | Studio
OBJECTIVES APP
coverage
1. 3. “I´ve always believed in what
Position Nike Barcelona as the A unique and distinctive experience I wanted to become, without
destination for her in the city only for Nikeplus members care about opinions” TOTAL
REACH
2. 4.
Create product lust with the best Kick off the X-Mas season with
looks led by AF1 a strong gifting plan IG POSTS
Recaps e newsletter per Nike 156
IG REACH
Host of the event 10.176.064GIF
EKIN
Nike Recaps / web
INTERNAZIONALI NIKE+ RUN CLUB
D’ITALIA
TENNIS POP UP STORE barcelona madrid
attendees avg. age new members attendees avg. age new members
185 27 3% 403 34 2%
vedi GIF
INSTORE SERVICES
SE DTC
RME COLA DI RIENZO IBERIA ITALY IBERIA ITALY
1414 267 514 na FTB
SERVING ATHLETES*
TRIAL
RUN BOOT FITTING
Sales results:
September 2017 BRA 407 592 158 103 WT
FITTING BOOT FITTING
+82% +48% Thu 18th May na 681 227 na
SHIRT BB
PRINTING BOOT FITTING
Actuals vs LY Actuals vs 2015 Best selling day
FTB
na na 7 na PERFORMANCE
CUSTOMIZATION STYLIST
Actuals trends
May 2017
BIZ OVERVIEW
Inspire consumers VS LY COMP TRAFFIC CONV UPT AVG BASKET SEAMLESS
through epic experience
VS LY VS LY VS LY VS LY VS LY SALES
Month -16.2% -14.4% -6.1% -0.1 PTS +2.3% -9.5% 432 UNITS
every day wed thu fri sat sun mon tue wed thu fri sat sun
Iberia
10 11 12 13 14 15 16 17 18 19 20 21 Year -7.2% -3.3% -2.2% +0.6 PTS +2.0% -9.0% 1397 UNITS
Month -17.9% +11.4% +1.4% +1.9 PTS +1.3% -6.2% NA
Italy
NSW Year
Month
+5.2%
+23.0%
+1.6%
+16.0%
+1.1%*
+61.0%
+1.0 PTS*
-3.0 PTS
+0.6%
-6.0%
-9.4%
-9.0%
NA
NA
TECH PACK Greece
NIKE+ RUN CLUB
Year +5.0% +4.0% 0% +1.0 PTS -6.0% -9.0% NA
*Not accurate due to traffic counters issue
HIGH TOUCH DTC DTC
SELL OUT SELL THRU
barcelona madrid
Iberia 6 2151 UNITS 46%
NIKE DIRECT SOUTH
Italy 6 2354 UNITS 50% Team
(after 4 weeks of sales)
Milo Gullotta | se director
Luz Valera | barcelona manager
Alessia Boi | rome manager
avg. age avg. age
attendees new members attendees new members
Marco Giunta la Spada | milan manager
438 28 5% 560 32 3% Carla Fernandez | lisbon manager
Dimitra Tripoliti | athens manager
Marc Sune | iberia support
Matteo Astolfi | Studio
GIF
INSTORE SERVICES
Tech Pack
IBERIA ITALY IBERIA ITALY
TRIAL 2135 164 627 38 FTB
Recaps e newsletter per Nike
DEM RUN BOOT FITTING
BRA 602 671 129 91 WT
FITTING BOOT FITTING
SHIRT 1588 772 323 na BB
PRINTING BOOT FITTING¿ N M Icone di servizio
Metallo bianco bucato + serigrafia
Segnaletica / Way finding
Seminario Vescovile di Forlì
a a b
CIRCOLARE
ORARI RICEVIMENTO
LUN. MAR. MER. GIO. VEN. SAB. DOM.
10-12 10-12 10-12 10-12 / 10-12 /
17-19 17-19 17-19 17-19 17-19 / /
10-12 10-12 10-12 10-12 10-12 10-12 /
17-19 17-19 17-19 17-19 17-19 17-19 /
10-12 10-12 / 10-12 10-12 10-12 /
17-19 17-19 17-19 17-19 17-19 17-19 /
10-12 10-12 10-12 10-12 / 10-12 /
17-19 17-19 / 17-19 17-19 17-19 /
MONSIGNOR DINO ZATTINI
10-12 10-12 10-12 10-12 10-12 10-12 /
17-19 17-19 17-19 17-19 17-19 17-19 / ORARI RICEVIMENTO
LUN. MAR. MER. GIO. VEN. SAB. DOM.
10-12 10-12 10-12 10-12 10-12 10-12 /
17-19 17-19 17-19 17-19 17-19 17-19 / 10-12 10-12 10-12 10-12 / 10-12 /
17-19 17-19 17-19 17-19 17-19 / /
PER APPUNTAMENTO RIVOLGERSI IN SEGRETERIA
PER APPUNTAMENTO RIVOLGERSI IN SEGRETERIA
Matteo Astolfi — Studio
Targa tipo 1 - AULE Targa tipo 2 - SEGRETERIA E DIREZIONE Targhe aule e soluzione Verni
con vernice magnetica
CIRCOLARE AVVISO
per affiggere tramite
calamite avvisi e circolari
Matteo Astolfi | Studio
Studio e realizzazione segnaletica per l’Istituto S. Apollinare del Seminario
Vescovile di Forlì. Targhe aule, segnaletica esterna ed interna, grafica
interna, progettazione e concept pareti funzionali.a a
Segnaletica / Way finding
ORARI RICEVIMENTO
LUN. MAR. MER. GIO. VEN. SAB. DOM.
10-12 10-12 10-12 10-12 / 10-12 /
17-19 17-19 17-19 17-19 17-19 / /
10-12 10-12 10-12 10-12 10-12 10-12 /
17-19 17-19 17-19 17-19 17-19 17-19 /
10-12 10-12 / 10-12 10-12 10-12 /
17-19 17-19 17-19 17-19 17-19 17-19 /
10-12 10-12 10-12 10-12 / 10-12 /
17-19 17-19 / 17-19 17-19 17-19 /
10-12 10-12 10-12 10-12 10-12 10-12 /
17-19 17-19 17-19 17-19 17-19 17-19 /
10-12 10-12 10-12 10-12 10-12 10-12 /
17-19 17-19 17-19 17-19 17-19 17-19 /
PER APPUNTAMENTO RIVOLGERSI IN SEGRETERIA
Una lastra di ferro bucata e serigrafata.
La parte di sinistra ospita uno spazio in formato A5
in cui inserire gli orari delle lezioni.
Matteo Astolfi | Studio
I fogli vengono stampati dalla segreteria e inseriti ogni
qualvolta vi sia la necessità di cambiare le informazioni.Segnaletica / Way finding
Matteo Astolfi | Studio
Prespaziato realizzato su parete color oro In fase di posaSegnaletica / Way finding
Matteo Astolfi | Studio
Prespaziati ingresso, biblioteca e ingresso con parete funzionale in sugheroEnric Rosich / Packaging
Solegraells
Matteo Astolfi | Studio
Grafica per il packaging del prodotto dello chef Spagnolo
Enric Rosich, realizzato per Solegraells presso Cosmic,
Barcelona (Spagna). www.cosmic.esEnrich Rosich / Packaging presso Cosmic — Barcelona
Matteo Astolfi | Studio
I tre diversi packaging andati in produzioneLapalma / Cataloghi
Francesco Rota
Matteo Astolfi | Studio
Progetto grafico copertine e impaginazione
per Lapalma, Padova: lapalma.itLapalma / Cataloghi
Pagine interne
Matteo Astolfi | StudioTaste-it / Evento
Camera di Commercio Italiana di Barcelllona
Matteo Astolfi | Studio
Concept, fotografie, graficaUVA Wine Fest / Identità visiva
Festival del vino di Rimini - Evento
Matteo Astolfi | Studio
UVA RIMINI
WINE FESTSlow Food / Evento
Camera di Commercio Italiana di Barcelllona
Matteo Astolfi | Studio
Art direction, grafica, identità dell’eventoMarkus Gisler / Editoria
Vetro Edition
Matteo Astolfi | Studio
Progetto grafico per il libro di fotografie di Markus Gisler pubblicato da Benteli. vetroedition.comMarkus Gisler / Editoria
Markus Gisler
The Alps Compelling Silence
Stille Magie der Alpen
28 Image title, place, 2015.
Benteli
Matteo Astolfi | Studio
Retro e cover del libroMarkus Gisler / Editoria
Matteo Astolfi | Studio
Pagine interneMarkus Gisler / Editoria
The Alps Compelling Silence
Markus Gisler
Stille Magie der Alpen
4 5
Markus Gisler
The Alps Compelling Silence Stille Magie der Alpen
Alignissin pratece pernatur alit volori ut eaquia nonsequiam comnitia sunt. Alignissin pratece pernatur alit volori ut eaquia nonsequiam comnitia sunt.
Rest et omnis dis natio
offictis ius doluptibus esequidipsae nobi- Bus, volorpo repudae. Obis autatem que ear- offictis ius doluptibus esequidipsae nobi- Bus, volorpo repudae. Obis autatem que ear-
minum as quamus et vellam
tatem et isquaerro qui incillut es dolupta ione vendam quiae venimporias aliquis ad tatem et isquaerro qui incillut es dolupta ione vendam quiae venimporias aliquis ad unti omnimagni unto et vo-
lorum necte commo beaquiam
im cuptat ratecti voluptatat landus es ali- quuntio te nimporestion con nes dolum si im cuptat ratecti voluptatat landus es ali- quuntio te nimporestion con nes dolum si
volu.
tibu sapercit dolecto eicitio. omnit quam as ut rest, te venim de acimi, tibu sapercit dolecto eicitio. omnit quam as ut rest, te venim de acimi,
Os ad erum doluptat in-
cum quo oditempost eost, sus si totatem cum quo oditempost eost, sus si totatem
cipsam, consenist quatur
Ut atat vellentio most, ne pelitisitium ex- hari debist fugit quae pro quibus eum inc- Ut atat vellentio most, ne pelitisitium ex- hari debist fugit quae pro quibus eum inc- acillor iorercimodi omni-
plaut haruptia ipiet que eumqui cus mos ex tatur, consect ibeatur aruptat emoluptiunt plaut haruptia ipiet que eumqui cus mos ex tatur, consect ibeatur aruptat emoluptiunt mil leceped qui.
Rest et omnis dis natio eum est endi debis sit, vent reium in ratio utem. Mus et vel imo voloritate debis eve- eum est endi debis sit, vent reium in ratio utem. Mus et vel imo voloritate debis eve-
minum as quamus et vellam
etur re vent et que corerspel et velectatia les delecessin con net aped utatemo luptat- etur re vent et que corerspel et velectatia les delecessin con net aped utatemo luptat-
unti omnimagni unto et vo-
lorum necte commo beaquiam porum sitat rem ipita nulless inctas dolor- ur samet dis volestem quia nectur aliquo porum sitat rem ipita nulless inctas dolor- ur samet dis volestem quia nectur aliquo
volu. rorpori doluptat. mosani quam, cores doluta sim dolent andant rorpori doluptat. mosani quam, cores doluta sim dolent andant
Os ad erum doluptat in- Ra con nuscill essimpora conecus moluptates alit earum illatem fugiti il excepel mag- Ra con nuscill essimpora conecus moluptates alit earum illatem fugiti il excepel mag-
cipsam, consenist quatur evelenda vendae dolorem doluptis undunto niss umquas reiur acestrundes exernam har- evelenda vendae dolorem doluptis undunto niss umquas reiur acestrundes exernam har-
acillor iorercimodi omni-
mil leceped qui.
tatur? Ignihil invendam, sunt perchilit, chit, nonsequia nobitas magni quam, od ut tatur? Ignihil invendam, sunt perchilit, chit, nonsequia nobitas magni quam, od ut
estis doluptas ad expla nobis di quidistia estrunt et, consedi omnistior santibu sci- estis doluptas ad expla nobis di quidistia estrunt et, consedi omnistior santibu sci-
volupid ea dis simus quis sapidi rem as tatur rection sequibus.Obitiae sedit veri volupid ea dis simus quis sapidi rem as tatur rection sequibus.Obitiae sedit veri
doluptatur, optate num conestiam rehenis ut vendae. Et mos aut pre plab id untius doluptatur, optate num conestiam rehenis ut vendae. Et mos aut pre plab id untius
ea ne cor aut faces volor aut quam dollore sit liquatis apienisciis rat. ea ne cor aut faces volor aut quam dollore sit liquatis apienisciis rat.
pelibus eum repudicident parcid moluptatium pelibus eum repudicident parcid moluptatium
eatus, id quisquatenis estium necea eum Pudistio tempor restem. Alicid quiatque num eatus, id quisquatenis estium necea eum Pudistio tempor restem. Alicid quiatque num
quae velectem autatur, quiatur serro idis- quatio tem fuga. Et ut volor audi ne idem- quae velectem autatur, quiatur serro idis- quatio tem fuga. Et ut volor audi ne idem-
tiones que parchilis dolore re simos eris pel event alicium exerci inis iur? tiones que parchilis dolore re simos eris pel event alicium exerci inis iur?
Matteo Astolfi | Studio
es et ari doluptis aut perio erehenimus sam Aqui sum consequiatur solo cullitam que es et ari doluptis aut perio erehenimus sam Aqui sum consequiatur solo cullitam que
sed endelit isse omnienim fugiasi nobita- doluptatur rehendel ilignimusdam restrum- sed endelit isse omnienim fugiasi nobita- doluptatur rehendel ilignimusdam restrum-
tiatur mo corehene conserumet untur, ullici qui bea nihilig endita volupta dicimodignis tiatur mo corehene conserumet untur, ullici qui bea nihilig endita volupta dicimodignis
6 7
Pagine interneMarkus Gisler / Editoria
18 Image title, place, 2015. Image title, place, 2015. 19
Mid-morning light picks out the snow-dusted
pines on the slopes of Bugarach’s Pick,
as fog billows down from above.
Matteo Astolfi | Studio
12 Image title, place, 2015.
Pagine interneMarkus Gisler / Editoria
Matteo Astolfi | Studio
Pagine interneMarkus Gisler / Editoria
A stream runs through a deep gorge:
in early Spring it becomes a torrent
that tears its way downwards.
24 Image title, place, 2015.
Image title, place, 2015.
Matteo Astolfi | Studio
20 21
Pagine interneMarkus Gisler / Editoria
Matteo Astolfi | Studio
Pagine interneFablab / Editoria
Vetro Edition
Matteo Astolfi | Studio
Infografiche per il libro Fablab. vetroedition.comFablab / Editoria - Infografica
Matteo Astolfi | StudioFablab / Editoria - Infografica
18 1.Nome Capitolo 1.Nome Capitolo
19 12 1.Nome Capitolo 1.Nome Capitolo
13
8 7 4 3 2
Fab Labs geography Legend
Fab Labs by country
Austria
12
Iceland
Denmark
Norway
Ireland
Greece
Ukraine
Serbia
Luxemburg
Slovenia
Slovakia
Latvia
Lithuania
Legend
Cities with more than two Fab Lab
Projects: visual index
less than 10 11 — 20 21 — 99 more than 100 Poland 1 Finland 7 6 5 4 3
others (6)
15
Belgium 128
Switzerland France Page Technology Project Places
17
Portugal
EUROPE 118 3D Bass Guitar
535
#music
24
Russian Fed. 122 Atfab
12 #furniture
19
Mexico
NORTH AMERICA 31 130 Chaiselounge EUROPE
#furniture
Canada The Netherlands
118 136 Diatom Helmet
#sport #nature #health #transportation
Italy
140 Fab Boombox
ZOOM 169 37
Spain
144
#music #entertainment
Fab Dolly
Finland
United 43 #photography
Norway
Düsseldorf Kingdom Germany
Vancouver
London 148 Fab Drone UK
138 Glasgow
#drone #photography
United States Ufa 154 Fab Foos Netherlands
Berlin #entertainment
Moscow Germany
Bellingham Paris 158 Fab Lab House France
Rostov #architecture #energy Switzerland
Marseille 166 Fab Skate
Montreal Milan Istanbul Italy
Madrid
Seoul #sport #entertainment #transportation Canada
Boston Tbilisi Spain
Washington 170 Layer Chair USA
Barcelona Sassari Rome #furniture
Dayton Alexandria Tehran
2 Palermo 176 Lettera
#machine #art #education
Puerto Rico Kansas City China Japan
Paraguay 1 Dubai
180 Meg
#data #nature #food #machine
Costa Rica others (5) Shenzhen
5 CENTRAL / 184 Mondopasta Togo
#food #machine #tool
Ecuador
6
SOUTH AMERICA 190 Mr Beam
Chile 31 #machine
ZOOM Brazil
Quito
194 Open Hand Project Brazil Indonesia
#health #robot
7
Colombia 198 Open Source Beehive
8
80 ASIA #data #nature #food
Peru
Lima 204 Openknit
12 #machine #fashion
Argentina São Paulo 142 210 Poppy Project
#robot #research #education
New Zealand
AFRICA OCEANIA 216 Primo
3 #education #entertainment
Kuwait
Florianópolis
Israel 6 220 Rootless
Porto Alegre 2 1
42
#sport #transportation
Jordan
Santiago Singapore others (11) 226 Smart Citizen
Bahrain #data #nature
1 4
Buenos Aires Iran Indonesia 19 230 Tongue Drum
Top list, countries and cities others (8)
9 5
India #music #entertainment
Countries Cities 2 Egypt U. Arab Emirates
232 Ultimaker Original
Kenya Vietnam 16 2 #machine
USA 138 Boston 7 Benin Turkey
China Australia 238 Valoví Chair
ZOOM ZOOM ZOOM #furniture
France 128 Lima / Milan / Paris 6 Mali
Senegal 7 6 15 242 W.Afate
Italy 118 Barcelona /
Philippines #machine
Buenos Aires / Côte d’Ivoire South Africa Japan 4
Germany 43 Dubai / São Paulo / 5 8 New Zealand 246 Waterlilly 1.1 / Lillybot 2.0
Spain / UK 37 Tblisi 3 5 Saudi Arabia 11 14 #machine
Tunisia Morocco Georgia Taiwan Korea
6 1.Nome Capitolo 1.Nome Capitolo
7 10 1.Nome Capitolo 1.Nome Capitolo
11
Fab lab structure Legend Typical design
Ideas Critical Points LOCAL FAB LABS
Funding:
disparity on Fab Lab
process in a Fab Lab START 0 Understand Context
Specify context of use
1
dimensions Develop ideas Sharing and
2 and requirements
Gather resources and collaborative design
Legend
develop project ideas
Sharing:
underdeveloped beyond Ideas
Obsolescence: local/personal context
competition from the diffusion Digital files The concepts
of cheap digital fabrication 1. Local community need refinement
technologies 2. Innovation for local craft / industry Third places: Physical objects
3. Reshoring Interaction between
4. Shorter supply chains practice and structure
5. Digital dimension in local education
Governance: Urban development:
development of 1. Digital and Personal Fabrication lateral institutions
the concept and 2. Everybody can be a designer alongside government
the evolution of its 3. Technology / STEM Education
local modifications FAB LAB CONCEPT 1 4. Maker Movement
5. Third Industrial Revolution Individual design
Developing World: The concepts, designs Evaluate designs Produce design solutions
Fab Labs should be a post- FINISH 5 and objects meet the Test the developed 4 2 Develop possible designs
colonial aid requiremments and fabricated projects of the project
Competition:
new/other models Moral/political:
of community need for critical position,
Personal fabrication
workshops taking sides The designs
need refinement
1. Global community Sell
The objects
2. Peer learning Sell the fabricated objects
3. Peer support among the labs 3 GLOBAL NETWORK and/or the digital designs
need refinement
4. Sharing and collaboration
within projects Participation: Share
Balance: it should reflect local culture
5. Distributed Manufacturing Share the digital
Obsolescence: competition from local communities and include accountability
of shared projects concepts and designs
the diffusion of cheap digital fabri- within the global and commitment
cation technologies community
Use Fabricate designs
Governance: development of the Technology: Use the fabricated objects
Network: Fabricate, prototype, hack
Matteo Astolfi | Studio
concept and the evolution of its it is not neutral
poly-centric; layered and lateral and assemble the designs Sharing and
local modifications and societal,
instead of a centralized network collaborative fabrication
Competition: new/other models of cultural political Funding:
community workshops dimensions should controversy of corporate 3
Balance: local communities within be addressed money doing fabwashing
the global community
Technology: it is not neutral and
societal, cultural political dimen-
sions should be addressed
Doppie pagine infograficheChrismts Chic, The designer as a collector / Editoria
SHS Publishing
Matteo Astolfi | Studio
Progetto grafico e impaginazione
per SHS Publishing, Berlino. shspublishing.comScience by designers / Editoria, infografica
SHS Publishing
Matteo Astolfi | Studio
Progetto grafico e impaginazione per Science by Designers,
progettato con Pietro Buffa.
Libri per SHS Publishing, Berlino. shspublishing.comScience by designers / Editoria - Infografica
Pagina d’apertura macro
sezione, pagine di testo,
apertura di sezione e
doppia pagina infografica.
Matteo Astolfi | StudioScience by designers / Editoria - Infografica
Aperture di sezione e
doppia pagina infografica.
Matteo Astolfi | StudioStudio Space / Editoria
SHS Publishing
Matteo Astolfi | Studio
Progetto grafico e impaginazione per StudioSpace, progettato con Pietro Buffa.Studio Space / Editoria
Matteo Astolfi | Studio
Doppie pagineStudio Space / Editoria
Studio Gang
ChAPTeR ONe
Studio Space North America
Geographical Index Circle diameter shows studio's size
Group A
Rotterdam, NL
p. 5
2012 Architecten We Are You
Rotterdam, NL Oslo , Norway
p. 21 p. 12
Zus Vision Division
North America 53 Rotterdam, NL
p. 28
Stockholm, Sweden
p. 49
Atelier Bow-Wow
Tokyo, Japan
p. 202
Philippe Rahm
Phillip Beesley Architect Inc.
Toronto, Canada
architectes feld72
Vienna, Austria
Europe 3 Yasutaka Yoshimura
Payette Paris, France Architects
p. 54 p. 36 p. 56
Boston, USA Tokyo, Japan
Department of Unusual Certainties p. 67 NArchitekTURA p. 240
Toronto, Canada Krakow, Poland
p. 58 OBRA architects p. 71
New York City, USA
p. 80 stARTT
Ecosistema Urbano Rome, Italy
Interboro Partners Madrid, Spain p. 81
New York City, USA p. 43
p. 93
Map Office
Hong Kong, Hong Kong
p. 255
Rojkind Arquitectos
Mexico City, Mexico
p.106 Payette
Boston, USA
Asia / Oceania 201
p. 67
Phillip Beesley Architect Inc.
Toronto, Canada
p. 54
OBRA architects
Department of Unusual Certainties New York City, USA
Latin America 105 Toronto, Canada
p. 58
p. 80
Africa 159 Interboro Partners
New York City, USA
p. 93
UNA Arquitetos
Sao Paulo, Brazil
p. 125
StudioMAS
Max Zolkwer / Johannesburg, South Africa
Supersudaca p. 160
Buenos Aires,
Argentina
p. 140
Interboro Partner, New York City 54
OBRA architects, New York City 62
Payette, Boston 73
Phillip Beesley Architect Inc., Toronto 88
Department of Unusual Certainties, Toronto 96
1 2 | StudioSpace | Europe | Group A
1 2
ChApter three ChAPTER oNE
Asia / Oceania Europe
Atelier Bow-Wow
We Are You
tokyo, Japan
oslo , Norway
p. 202
p. 12
Yasutaka Yoshimura
Architects Vision Division
tokyo, Japan Stockholm, Sweden
p. 240 p. 49
Group A
Rotterdam, NL
Map Office
p. 5
hong Kong, hong Kong
p. 255 2012 Architecten
Rotterdam, NL
p. 21
Zus NArchitekTURA
Rotterdam, NL Krakow, Poland
p. 28 p. 71
Philippe Rahm feld72
architectes Vienna, Austria
Paris, France p. 56
p. 36
Ecosistema Urbano stARTT
Madrid, Spain Rome, Italy
p. 43 p. 81
Ecosistema Urba, Madrid 54
feld72, Vienna 62
Matteo Astolfi | Studio
Group A, Rotterdam 73
2012 Architecten, Rotterdam 88
NArchitekTURA, Krakow 96
Philippe Rahm architectes, Paris 120
Atelier Bow-Wow, Tokyo 132 stARTT, Rome 132
Map Office, Hong Kong 144 Vision Division, Stockholm 144
Yasutaka Yoshimura Architects, Tokyo 156 ZUS, Rotterdam 156
5 6 | StudioSpace | Europe | Group A 3 4 | StudioSpace | Europe | Group A
Indice geografico / infografico e doppie pagine di apertura di sezioneStudio Space / Editoria
Apertura di sezione (Europa) e pagine ChAPTER oNE
Europe
d’apertura dello studio “Group A”,
più doppia pagina con i progetti
We Are You
oslo , Norway
p. 12
Vision Division
Stockholm, Sweden
p. 49
Group A
Rotterdam, NL
p. 5
2012 Architecten
Rotterdam, NL
p. 21
Zus NArchitekTURA
Rotterdam, NL Krakow, Poland
p. 28 p. 71
Philippe Rahm feld72
architectes Vienna, Austria
Paris, France p. 56
p. 36
Ecosistema Urbano stARTT
Madrid, Spain Rome, Italy
p. 43 p. 81
Ecosistema Urba, Madrid 54
feld72, Vienna 62
Group A, Rotterdam 73
2012 Architecten, Rotterdam 88
NArchitekTURA, Krakow 96
Philippe Rahm architectes, Paris 120
stARTT, Rome 132
Vision Division, Stockholm 144
ZUS, Rotterdam 156
3 4 | StudioSpace | Europe | Group A
name
Group A
founded by
employees
4
address
Group A are a medium-sized Group A
Projects
Bartosz Haduch
founded in
1997
I dunno street, 23
3049405
Rotterdam
architecture and urbanism office
physical office size
90m2
web
www.groupa.nl based in Rotterdam. In many Blok 1 Presikhaaf, Arnhem,
NL - A student housing tower
designed as a part of a larger
ways they represent the Dutch redevelopment scheme for the
Presikhaaf area.
architectural practice at its best
– a strong international staff and
an open concept non-hierarchical
workspace. They even hire a chef to
cook up meals for their communal Blok 1 Presikhaaf, Arnhem, NL - A student housing tower designed
as a part of a larger redevelopment scheme for the Presikhaaf area.
lunch hour. Showing a great respect
for the architectural legacy of
Rotterdam, they have resurrected
and redeveloped a heritage site in Blok 1 Presikhaaf, Arnhem,
NL - A student housing tower
designed as a part of a larger
the port, the Diepeveen, to call their Blok 1 Presikhaaf, Arnhem,
redevelopment scheme for the
Presikhaaf area.
office home. NL - A student housing tower
designed as a part of a larger
redevelopment scheme for the
Matteo Astolfi | Studio
Presikhaaf area.
1 2 | StudioSpace | Europe | Group A 3 4 | StudioSpace | Europe | Group AStudio Space / Editoria
Group A The meeting room Coffee corner
Esempio pagine
Interview
per la sezione
Ground floor
relativa agli studi
e ai loro progetti.
How did you find your current studio space and what were
“tower
The prominent
had no
the deciding factors that ultimately led you to choose it as
a space to run your practice out of?
In terms of representation, how do you fashion your studio
to convey the right message to your clients when they
visit?
function, other — 15 years ago we were looking for an office space. We ended up at
— It’s renewing, fresh and light, as the character of GROUP A.
than advertising the Diepeveen building, a national monument. The building, for-
There is a good balance between the monumental character of
merly the premises of ironware company Diepeveen, was designed
the company in 1929 by architect W. Kromhout. The prominent tower has a spi- the building and the modern refurbishment. This is the message
name to passing ralling staircase, which had no function other than advertising the we radiate to our clients.
”
company name to ships passing on the river and harbours nearby.
ships The neighbourhood, situated on the outskirts of the city next to In what way do you interact with your surrounding neigh-
the harbour, is a bit shabby and rough, but it is also an inspiring bourhood, and are there locational advantages to being in
place, full of energy, venture and change. This characterizes Rot- the neighbourhood you’re in?
terdam, as a trade and business city. We like this atmosphere.
— The boldness and intensity of our neighbourhood inspire us
What is your general work method and approach to archi- to create more beautiful architecture. In addition, there is an
tecture? abundance of ventures in the local area, mostly small cultural
— We have always been motivated by a desire to learn. Working
businesses: we are in the middle of inspirational people. For
some projects we like to team up with other enterprises. For ex-
ample a copywriter next door is working with us on a book at
“considered
Nothing is to be
static,
on different architectural typologies and collaborations with new
clients has always given us the opportunity to develop our skills. this moment. as an inescapable
This dialogue, the challenge of the new and the learning process,
which are related, support us to continually make further progress
in our work. Progress and change are at the core of our existence
In what way does the city in which you practice effect
the day-to-day work of the studio and the work that you
fact
”
produce?
as architects: nothing is to be considered as static, as an inescap-
able fact. Our approach of dialogue and exchange of knowledge is
— Rotterdam has a profoundly modern architectural tradition,
the principle mindset for our office and provides us with the op-
mainly because the city centre had to be completely rebuilt after
portunity to approach each design project as a fresh and dynamic
being destroyed during the Second World War. This also meant a
process. The way people live, work, relax is dynamic, which re-
chance for architects and urban planners to create something al-
quires an open mind. Because of this attitude GROUP A is able to
together new and different. This culture has remained dominant
think laterally without being restricted. This enables us to clearly
ever since. Rotterdam is a city that is perpetually changing, in
think out of the box and arrive at fresh and unexpected design
permanent motion, which is, of course, also at the heart of the
solutions that define and expose the essence of the commission.
culture of GROUP A.
In terms of functionalism, how do you fashion your studio
How has communication technology changed the way your
to meet the demands of your own particular work method?
studio operates?
— We consider our office space as a manifestation of our approach
— We have always been interested in the progression of commu-
and culture: it’s an open space, light and airy. The team effort is
nication technology. Besides our website, that shows what we do,
central to GROUP A and the design of this studio. It is an inviting
we have our Blog, GROUP A LIVE, that shows the social and
space, which inspires people to improve their own specific talents,
cultural aspects of our studio. Everybody in our office is welcome
to develop themselves and the office as a whole. The complete
to post articles on it, to spread ideas and to share knowledge
ovearhaul of the interior is exemplary of the ‘hands-on’ approach
and experience. Further more, we make use of the most advanced
we hold dear: we managed everything - from design straight
drawing software including a home-built database system, devel-
through to the execution of the whole project. The end result is
oped by one of our partners. With this system we can work fast
an office with an inspiring atmosphere, in which our colleagues
and efficient, because it’s fine-tuned to our wishes.
enjoy their work, can relax, and even cook up a meal together.
9 10 | StudioSpace | Europe | Group A
5 6 | StudioSpace | Europe | Group A
Group A
“The complete overhaul of
the interior is exemplary
Inspiration/Influence
of the ‘hands-on’ approach
that we hold dear” Inspiration
Client
Institution
“thatrotterdam is a city
is perpetually
changing, in
permanent motion
”
23 km 3.1 km
Bp Refinery Stadshuis
Blaak 8
3.5 km Blauwhoed 6.8 km
Architecture Cube Houses
Institute Rotterdam
List five buildings/places in the city that you seek inspira-
3.3 km tion from.
Rotterdam itself inspires us. Not any buildings in particular, al-
though there is an abundance of beautiful and interesting places.
Netherlands Architecture
1.7 km
It’s the city as a whole, consisting of a rich array of different styles.
Institute Museumpark Social housing from the seventies, next to modern day skyscrap-
ers with expensive penthouses on top, old monumental buildings
Kunstal
next to modern architecture. This collage city, with the river Maas
running through it, with it’s the immense harbour, is an exhilarat-
ing and inspiring habitat.
Group A List the institutions/organizations/clients in the city that
have helped you develop your practice and thoughts on
Montevideo
architecture.
2.6 km Rotterdam as a typical “architectural minded city” has many devel-
opers. We are in frequent contact with Rotterdam based institutes
Matteo Astolfi | Studio
like the NAI (National Architectural Institute) and AIR (Architec-
Mass River ture Institute Rotterdam). Amongst other things, AIR organizes
architectural tours, which give people a chance to see buildings
in a different way, and gives us a chance to show our work to the
public.
We have been asked by one of our clients, BP Refinery, to design a
new head office at the refinery terrain in the harbour of Rotterdam.
We had to design a building that was “blast proof”, in itself an in-
teresting challenge. In addition we are thrilled to have a chance to
build in the harbour district, the quintessence of Rotterdam.
At the moment we are realising an office building in the historic
city centre: Blaak 8, commissioned by the developer Blauwhoed.
We are very proud to see our own creation in the middle of the city,
making a change in the skyline of Rotterdam.
11 12 | StudioSpace | Europe | Group A 15 16 | StudioSpace | Europe | Group AStudio Space / Editoria
BECHARA HELAL
Bechara Helal is a doctoral
Esempio pagine per
Training Architects:
la sezione “Essays”
student in Architecture at the
Université de Montréal. He
The Uncanny Pedagogical
graduated in engineering at
the École Polytetchnique and
holds a Masters in architectural
Laboratory of the OUPROPO design. He has worked for
prominent architectural firms
such as Saucier + Perrotte
and is regularly involved in
teaching in graduate studios
in architecture, such as the
OUPROPO studio directed by
Prof. Jean-Pierre Chupin. The
research thesis he currently
works on within the framework
of the L.E.A.P (Laboratoire
d’Étude de l’Architecture
Potentielle) deals with the
notions of experimentation
and the laboratory as mental
and physical spaces for the
production of architectural
knowledge.
In 2001, the educational curriculum for the stu- Workshops, Studios and Pedagogical Process
dents of the School of Architecture at the Univer- The OUPROPO, which can be roughly translated
sité de Montréal was transformed as a Profession- as Workshop of Potential Projects, is a clear and
al Master’s Program in Architecture (M.Arch., 3 direct reference to the OULIPO (Ouvroir de Lit-
semesters, 45 credits) was introduced in addition térature Potentielle), a sub-committee of the Col-
to the existing undergraduate Bachelor Program lège de Pataphysique cofounded in 1960 by writer
in Architecture (B.Arch., 6 semesters, 95 cred- and poet Raymond Queneau and engineer and
its). In the context of this new graduate program, mathematician François Le Lionnais. The word
which is compulsory to gain membership to the lo- “ouvroir” in the naming of this experimental lit-
cal professional association, the students have to erary group is used in the original sense of the
choose a specialization between six different ori- term, namely a “place where many persons work
entations: Explorations in Architectural Design, together, in particular in a military arsenal.” This Vollor repedi qui il in consequi as focused on the production of a unique artistic workshop can be best described as “a spontane- architectural problems after having been exposed 2107” in 2007) or the more technical (“Research Vollor repedi qui il in consequi
Conservation of the Built Environment, Project definition implies two main characteristics for occulle ssimusc idundeb object seen as an end-result. This is in contrast ous lateral network of autonomous individuals”, to the sometimes similar but often different and laboratories on the architecture of life” in 2011). occulle ssimusc idundeb
Management, Computer-Aided Design, Urban Ar- this workspace: first, a type of work related to the itinctem. Num, ventium, accus with the activity that takes place in the work- in other words, a heterarchy. even opposing methods, theories and ideologies The OUPROPO theme is a general context with itinctem. Num, ventium, accus
chitecture, and Building Systems. Following the manufacture of objects, and second, a structure repuda nonecaborum quat shop, which is concerned less with the result of The design studio that is found at the core of of a multitude of studio instructors. minimum limitations that is seen as a simple pre- repuda nonecaborum quat
pedagogical model of the undergraduate B.Arch. of work based on collaboration. In this sense, the quis dolupta turempedi officte the production process than with the industrial architectural education can be traced back to the As Jean-Pierre Chupin notes, this is “a system text for the student to develop a personal under- quis dolupta turempedi officte
program, each of these orientations is organized best translation in English of “ouvroir” would be ndipsam ut fuga. structures that will make possible the production French Beaux-Arts tradition and is closely re- that tries to teach architecture but sometimes standing of the processes of architecture. This is ndipsam ut fuga.
around a series of teaching studios. It is in this “workshop” for which the Oxford English Dic- and manufacture of goods and objects in larger lated to the artistic studio model. In the context forgets to train architects.” It is with this major done through two successive sets of operations.
context that Professor Jean-Pierre Chupin, teach- tionary gives two definitions: “a meeting for dis- quantities. In other words, work in the studio of the architectural design studio, the student is limitation of the studio model in mind that Pro- Instead of being asked to propose a final formal
er in charge of the Explorations in Architectural cussion, study, experiment, etc., originally in ed- can be best described by the resulting product faced with a design problem – usually consisting fessor Chupin set up the OUPROPO, in 2001 by solution to a design problem, the student must,
Design specialization, set up the Ouvroir de Pro- ucation or the arts, but now in any field” and “a whereas work in the workshop is better defined of a site and a program. He will work towards the exporting the model of the OULIPO in architec- in the first phase, through a series of divergent
jets Potentiels (OUPROPO), the main teaching room or building in which manual or industrial by the production processes structuring product formulation of an adequate solution to this prob- tural education. explorations, identify a specific research question
studio for this specialization and the last studio work is carried on.” manufacturing. lem under the guidance of the studio instructor. The OUPROPO is not a studio because there is based on the proposed theme that will allow him
before the Final Thesis Project which concludes By contrast, a studio is traditionally defined as The second difference addresses the relation- Following the hierarchical structure of the ar- no architectural problem to solve and therefore to build a personal architectural problem. During
the academic education for the future profession- “the work-room of a sculptor, a painter or a pho- ship between the actors working within the spac- tistic studio, the master/teacher is at the centre no formal solution to find. As Marcel Duchamp the second phase, through a series of convergent
al architects. tographer” (Oxford English Dictionary) or as “a es. The studio is where the artist creates in solitary of the process and the disciple/student acquires – himself an OULIPO member – famously stated: explorations, the student designs the principles
However, visiting the OUPROPO and witness- place for the study of an art” (Merriam-Webster confinement. If more people work in the studio, it knowledge by being in contact with this holder of “There is no solution, because there is no prob- that will structure and frame potential architec-
ing the uncanny operations of its students, one Collegiate Dictionary). It is a place directly linked usually is as part of a hierarchical structure domi- professional expertise through some kind of os- lem.” Instead of being confronted by an elabo- tural projects in relation with the problem he pre-
Vollor repedi qui il in consequi would be hard pressed to recognize in this learn- to the artistic field. nated by the central figure of the master who dic- mosis. As Dana Cuff writes, “the studio instructor rate program and a physical site, the OUPROPO viously set up. In a way, the OUPROPO students
occulle ssimusc idundeb ing space administratively labelled as a studio any Both the workshop and the studio are places of tates his intentions to his assistants and disciples. will be [the students’] semester-long guide into student is only given a general theme. Over the are similar to the OULIPO authors which Ray-
itinctem. Num, ventium, accus of the usual characteristics or dynamics of the production and learning, but by comparing them, In stark contrast with this “pre-determined ver- the mysteries of design.” Traditional architectur- years, the themes have greatly varied, from the mond Queneau likened to “rats who build the lab-
repuda nonecaborum quat traditional architectural pedagogical model. Be- one can highlight two major differences. tical chain of authority that works from the top al education is largely a repetition of this proc- more specific (“The swimming pool as a place of yrinth from which they plan to escape”.
quis dolupta turempedi officte cause, as is implied by its name, the OUPROPO is The first difference touches on the type of work down” as experimental architect Lebbeus Woods ess of assisted problem-solving, with the student the body in Montreal” in 2001) to the more gen- By refocusing the attention of the students
ndipsam ut fuga. not studio: it is an ouvroir. carried out. The activity in the studio can be seen defines hierarchy, the internal structure of the left alone to build a personal method for solving eral (“The future in three moments: 2027, 2047, away from the dynamics of problem-solving and
9 10 | StudioSpace | Training Architects 11 12 | StudioSpace | Training Architects
DEREK PIGRUM & MARCUS KOERNE different kinds from photos to sketches he states, ‘the colored print-outs that encounter with the concrete given of the scrap produce links to the experimental stage of the
The Architects’ Studio
Dr. Derek Pigrum is a research
fellow at the University of
Bath,UK. He has
•
•
•
objects that aid unfocused inspiration
objects of a documentary character
objects that serve as tools.
show local characteristics hang beside
each other, indeed sometimes over each
other, so as to develop solutions to
of paper, or the object.
Lefebvre states:
project, of formal and material relations where
I begin to see something in these objects as
something else’. The studio as a ‘switchboard’
“riatatusam
Nienihic itibero
faciam
faciand isciducium
as ‘Switchboard’ between published numerous papers
on creativity and is ‘an Koerner goes on to state that ‘the overlap be-
problems by means of visual clusters of
themes’ (Krasny, 2009, p.75). ‘Space is continually produced and
between what is put there and what we need for
our creative concerns, between the inner and voluptae. Sae
international leader in the field
the Inner and Outer World
tween these various objects determines the stu- reproduced, and as such is to be un- outer world is based on an understanding of the
of creativity research’. His book dio space’. Koerner drew the diagram below to Lefebvre(1991) developed ideas on space emi- derstood as active: the analysis of the studio as a variation on what Donald Winnicott offictur rem.
Ugiam, eaqbus.
”
‘Teaching Creativity: Transitional show the relation of these objects within the nently applicable to the architect’s studio. The production of space does not concern (1971) termed ‘potential space’.
Multi-Mode Practices’ published
studio. architect develops the ability to locate the body the ordering of material objects and ar- The term ‘potential space’ was coined in the
by continuum in 2002 will come
in its immediate surroundings producing over tifacts, but rather the practical, mental post-Freudian psychoanalytic theory of Win-
out in paper back in the USA and
UK before the end of 2011.
Koerner states that: time a ‘practico-sensory realm’; a dense net- and symbolic in their relation to these nicott (1971) on early child development as
work of ever-changing relations between the in- objects’ (in Schmid, 2010, p.321). having the explanatory power to identify the
‘at the beginning of a project I gather ner and outer that exceeds the Cartesian mod- roots of human creativity. Winnicott’s theory
INFORMATIONAL
OBJECTS Marcus Körner is a Designer information on the one hand in books, el of space, divorced from experience, where As Koerner states ‘the architect’s studio is not has gained adherents from a broad spectrum of
books born in Vienna in 1971 where journals, catalogues and so on, and on things are isolated, static and arranged on life- a “frozen’ space” but rather one where every people involved in creative activity (see Pigrum
professional journals he lives and works. In 2001 he the other hand, material directly relat- less co-ordinates, but rather as a ‘lived space’ change within it produces a new configuration 2009, Nussbaum, 2001 , Giddens, 1991, Rud-
catalogues launched his own studio there. ed to the project such as plans, photos that houses objects imbued with meaning, that of possibilities and potentialities that presents nynsky 1993, Agamben, 1993). While it is be-
For the last 20 years he has etc. In this phase of seeking inspiration makes possible the perception of links and in- us with a range of metaphorical meanings’, a yond the scope of this essay to address this
been involved in architectural
the focus is widened to include previ- teractions between things, of the wresting of space permeated by ambiguity, that in its inde- theme in any detail, it is of great interest that
and design processes. That’s
ous projects, material samples and ideas. terminacy constitutes a space of possibilities Winnicott’s ‘potential space’ is closely linked
TOOLS INSPIRATIONAL why his M.A. thesis investigated
drawing instruments OBJECTS the uses of architectural
found objects as well as autonomous and potentiality and the move from potentiality to the ‘readily available’, ‘transitional object’,
model building utensils previous work sketching. His particular interest artistic works’. In Koerner’s studio almost all the furniture to actualization. and dependent on a physical and emotional en-
paper, card artistic work is the sketching process in art, and containers are mobile and easily moved vironment conducive to the mediation between
cameras found objects These artistic works are most often related to from one place to another such that, according Koerner states that, ‘after the transformation the inner and outer world that is characteristic
design and architecture.
computer material samples
the theme of time and with a clear composition- to his needs, things can be arranged in ways of the studio there usually follows a phase of un- of the architect’s studio. The architect’s studio
al character, and according to Koerner, ‘act as that facilitate the study and development of the focused seeking for inspiration during which he is a ‘potential space’ for things that are the in-
This essay has its origins in conversations be- in the studio, the instruments, paper, equip- a kind of bridge or coupling device to his idea project. In the sketch he made below only the listens to music, looks through books and jour- termediate products of creative activity: sketch-
tween creativity researcher, author and prac- ment, tools, materials, drawings and resources, generation and development’. On one occasion table on the left is a permanent fixture. nals, thumbs through magazines, and some- es, concepts, models, reproductions, montages
ticing artist Derek Pigrum and the interior ar- are at some level of consciousness continually quite recently, he brought a small stone to our times watches TV.’ He is particularly interested and other inspirational objects and tools that
StudioSpace chitect and designer Marcus Koerner, in the taken into account. The ‘round-about-us’ of the meeting stating ‘that it usually lies within view Koerner states: in the way the architect Gary Chang conceives serve as discursive media that enrich the infor-
ambiance of a traditional Viennese café- a place studio involves a continual acquaintance and on his shelf, and acts as a source of inspira- of film because ‘it lets you connect all the key is- mation at the disposal of the drafting process.
that in itself has played a role in the creativity of a preference for certain schemas that enhance tion, and, on the rare occasion when I pick it ‘the surface of my vintage “drawing sues you are thinking of, you find the references
artists, writers and architects past and present. creative possibilities and solutions. up, it acts as a kind of coupling in that part of machine” can be tilted horizontally; much more quickly’, (Krasny, 2009, p.50). Koerner states:
DOCUMENTARY REPRESENTATIONAL The quotations from Koerner are from his writ- The architect Steven Holl states, ‘My office is the process that concerns formal and material an aeroplane trolley is used for stor-
OBJECTS/IMAGES OBJECTS/IMAGES ten account that Pigrum has translated from as messy as an artist’s studio but in the mess questions’. Whatever way the stone is turned it age purposes; a serving trolley where Koerner states: ‘I use prototypes and developmental
prototypes photographs German. In addition to this are excerpts from I see something that will become a part of my has a schematic resemblance to something; now project information and models are models, visualizations, project infor-
visualizations journal cuttings
development models sketches
recent interview notes with Koerner. creative process’ (Krasny, 2009, p.70). The ar- a crocodile, now a bird. placed; the prototype of a table I de- ‘I do not consider this to be work but mation from past commissions and
artistic work plans The reason why so little attention has been chitect Yona Friedman has an ever-expanding signed that is easily assembled serves am aware that all the time I keep the pieces of art to document my work.
models paid to the role of the studio as the site of archi- collection of bricole that stretches across the Koerner states to put things on that are not in immedi- first phases of idea development in These can serve as information and
tectural practice is that, like all such places, it walls and ceiling of his work space (see Krasny, ate use. From my desk in my direct line view. This was also the time in which I inspiration for future projects or as
UNFOCUSED has the quality of a second nature, of ingrained 2008, pp. 52-57). Bricolage activity in the stu- ‘in some ways this stone works like of vision I have a panel with magnets to think of the project as ‘transportable’, the basis for the further development
INSPIRATION
habits and an intimate familiarity. We tend to dio often takes the form of a kind of aside or Freud’s collection of ancient figurines which I can attach pictures, clippings because it is uppermost in my mind and of ideas that were never realized, or
music
TV overlook the role it plays in the extraordinary displacement activity, a polar relation between that he kept in view on his desk. It and other material’ can be carried around as a tangible rep- only partially completed, but are also a
all objects creative activity that produces much of our built intense activity and the repose necessary to the leads to a solution without providing resentation. In this phase I also talk to mode of introspective exploration’.
Matteo Astolfi | Studio
environment. The role of the studio space in the architect’s idea generation and development. one itself but simply as a means to con- The philosopher Martin Heidegger (1962) sug- other people, not architects, about the
creativity of architects reveals a dependency on Thus, in a sense, bricolage leads the architect duct a first search and to ascertain their gests that every entity that is at hand has dif- project. Conversations that involve the Denis Scott Brown talks about ‘the long his-
the nature of the place of the studio as an in- away and then back to his immediate concern. relevance to my present concerns’. ferent conditions of closeness: the ‘present-at- ‘sketch on a serviette’ where, as I talk tory of the office in the form of sketches, plans,
termediate area, as what Koerner describes as Pigrum has written about this phenomena and hand’ where things are not proximally given, and draw, new ideas come to mind’. models, slides, collected objects and publica-
a ‘switchboard’ between the inner and the out- the relation of gathering and thinking in the Koerner went on to state that (Heidegger, 1962, p. 135) and the ‘ready-to- tions’ (Krasny, 2009, p.127) or ‘the interaction
er that promotes the generation, modification studios and workspaces of writers, composers hand’ where the thing and our immediate con- A colleague of Alvaro Aalto reported that he, of the existing and its potential’ (ibid). In Ko-
and development of ideas (see Pigrum 2001 and and artists (See Pigrum, 2011). ‘the process of representation leads cerns converge, (see Pigrum, 2011). Very often ‘considered these “napkin sketches”, as having, erner’s view ‘this gives rise to a kind of muse-
2009). to a change in the physical appear- the ready-to–hand of note-paper, newsprint, en- ‘just as important a role as the ones made on um of one’s own production in the real sense
The way the architect orders the studio deter- Koerner’s prefers to call his studio his ‘work- ance of the studio itself, because now velopes or the reverse side of printed matter, is the plain backs of the packages of his favorite of communication. The knowledge gained from
mines the world of things encountered every shop,’ and classifies the objects and images it the relevant photos, newspaper cut- not only reliably available in the work environ- cigarettes’ (ibid, 2009, p.17). this documentary research activity flows into
day - things ‘readily available’ and ‘ready-to- contains as follows: tings, sketches, plans and models are ment but is something that can be left around, new tasks providing a foothold for further work’
hand’. This essay attempts to show that the stu- • ‘objects of an informational character placed in a collage- like arrangement re-found, recovered or destroyed (see Pigrum, During this phase Koerner states, ‘that other
dio is a third place between the subjective inner • objects that aid inspiration on panels’. The architect Jon Jerda 2009, 2011). These are ways of working based objects related to my personal history take on
world and objective external reality. The things • objects that involve representations of adopts much the same procedure when on an immediate sensory and imaginative a renewed significance because these objects Koerner states that, in his studio:
19 20 | StudioSpace | Training Architects 21 22 | StudioSpace | Training ArchitectsYou can also read
