My personal history
Scientific high school, a degree in Architecture, and qualification for the profession: these are essential but not exhaustive stages of a journey that began many years ago and led me to the profession I had wanted to pursue since I was a child.
Having control of the processes, the cultural and technical tools to make concrete the realisation of imaginative hypotheses, of architectural projects useful to society, represented the challenge I gave myself in facing university studies with the attention, care and curiosity of one who is not interested in docimological results, but in cultural ones, in laying one brick on top of another laboriously, having as a binder only the will to achieve the set goals.
Important experiences for my education
Inasmuch as personal enrichment, precisely during my studies, has certainly contributed to a greater awareness and concreteness in the finalisation of my studies.
The act of building implies ever greater and more extensive responsibilities not only towards the client, but even more so towards the entire community because we all have a need to protect the environment and natural resources, the territory and its geomorphological and hydrological sensitivity and vulnerability, and public and private safety and security.
Therefore, compliance with the sector regulations pertaining to 'construction' is not only a professional obligation to be complied with, but more concretely a moral and civil commitment to society, a profoundly ethical principle that only ennobles the complex and articulated action of building a work of architecture, which otherwise becomes a reckless and violent intervention with all that it entails, as unfortunately the chronicles of environmental disasters and structural and hydrogeological instability have recorded in recent years in our country.
How the relationship between architect and client takes place and materialises:
Coordination between the operations to be carried out in a relationship of total transparency with the client represents one of the fundamental elements in the management of the process of realisation of both private and public works of an architectural practice Once the objectives have been identified, after a careful analysis of the requirements and needs expressed by the client the pursuit of these is implemented in the subsequent operational phases through a critical action and a motivated reading of the client's requirements in relation to the constraining system, of various nature and origin, to which the project must be subject, which in this sense is represented, in terms of dimensional consistency, by the maximum possible of what can be realised.
The formal and compositional aspects will be, even with the multiple solutions proposed in the variant, in respect of the numerical elements given, a response that must also take into account other constraints that pertain to the discipline on the level of formal meanings and the system of spatial relations with which the project must interact.
During the elaboration and approach phase to the final design, the executive design and realisation, the minimum requirements are
A point of view on interior design
The discipline that goes by the name of interior architecture, or interior design, actually borders on architecture proper in that there is no real division of roles, except for market reasons.
In fact, architecture is a discipline that deals with the spatiality of relationships tout-court, the built environment, the relationships between interior spaces and these with the outside.
It is clear that interior design has its focus within the architectural space itself, which in turn must be defined in its functional specificities and aesthetic and technical details. With this in mind, we can consider the two disciplines, one a continuation of the other, so we cannot, in my opinion, consider interior architecture as separate from the rest.
It is clear that interior design has its focus within the architectural space itself, which in turn must be defined in its functional specificities and aesthetic and technical details. With this in mind, we can consider the two disciplines, one a continuation of the other, so we cannot, in my opinion, consider interior architecture as separate from the rest.
In fact, the existing heritage represents a huge pool of users that over time cyclically manifests needs for renovation and constitutes a growing demand for those involved in interior design and furnishing. In contrast, the construction of new architecture is certainly slower and less frequent.
Registration number:
214
