The Architect and Consumer Space

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Axonometric, Colour, Monochromatic, Students

The Architect and Consumer Space

Anna Saggionetto


The thesis aims to demonstrate how the space of goods, the consumer space, commerce can dictate the new role of this type of architecture that is proposed as device able to implement new dynamics inside of the nerve centers of the city. So we’ll see how the two projects, developed into one of the historic centers par excellence as it is to Venice, with their compositional strength can create a path of the artistic heritage restoration and industrial city making exchange spaces and report to beyond their vocation can always be current.

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Who influences you graphically?

Within the fifth year of university I think that one develops his own taste and style, in terms of graphics. I have however been influenced by explorations on sites like yours, exhibiting drawings, and various publications.

What is the purpose of the circle format?

The circle derived from the idea of formatting the thesis into a “pocket” format, so try to move my design that consists of straight lines in a square format, with the insertion of the circle.

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What dictated your choice of a monochromatic palette?

I have a fondness for the line drawing, and from the first moment I knew that my thesis project would be articulated as a “technical drawing to CAD”. Favouring a very drawn style has failed the insertion of colour that has run out in the choice of a single hue. In addition to the grey scale, used mainly to differentiate the types of lines, only one background colour is featured, and the colour red to highlight some symbols or details of design.

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How does the graphic language of the proposal link to the themes treated? How could the theme of the commercial have been implemented more graphically?

The choice of this graphic language, used to represent the projects, highlights different aspects of the two projects developed. In the first, inside a Venetian palace, the actual construction consists of new elements, accented with black, to give them the idea of a mass, of new load-bearing walls, “equipped”, which gives new life to the building. In the second operation on the Giudecca it is emphasized the plasticity of the soil, in this case it becomes architecture, saving an abandoned area, resulting in a production centre. Perhaps this realization, mainly of an interior space, would also be effective with some further internal view, which would have highlighted the new “clothes” of the building, but it would have diminished the intention of creating a sales-production system to revitalize the historic city centre.

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