It was the first real individual project of my university career, that project that made me say "I can finally express myself as I want".
It was also a double-edged weapon, because after having tasted the freedom of individual decision, it was difficult to find the desire to collaborate in group in future projects (which actually happened only once).

Labyrinth was a beautiful challenge in a particular Venetian context.
We are on the island of Certosa, an oasis almost removed from the context of the city of Venice.
The only inhabitants of this island are cats, birds and old ghosts who live in the ruins of the old cloister.

It was right in the cloister that the "labyrinth" project was born.
Here too, as in the project "hug treatment" we had a functional plan outlined (a little less precise, Italian style).
The aim decided by the professor was to transform this island into a place for luxury tourism, dotted with luxury hotels, spas, auditoriums and private rooms.

If Giorgia 2016 were talking to you, she would say that the idea of an almost abandoned island turned into a luxury place would be fantastic!
But in fact, he hadn't yet found his empathy in the thrift store that Monday in Munich.

If I had to give my opinion today on the choice of prof. on the transformation of the island, I would say yes, the economy of luxury generates profit, but in fact if the island had been built a 5-star hotel I do not think that the dolphins that today pass through the sea of the Certosa would continue to make a visit.

But then, what can one expect from an architect called "misogynistic and destructive" cit.

In any case, I decided that in the ancient cloister now without a roof, I would place thermal baths.
Complicated help new and ancient, especially when the cloister could not be touched in the slightest and the only solution was to build a glass box inside.

In fact the study for the design of a SPA was interesting.
The concept behind my project was that of the labyrinth, a path carefully designed to allow the visitor to appreciate, thanks to an obligatory path, the history that the bricks of the cloister brought with them.
I still find my choice exciting and I remember with a smile the passion I employed while I was designing it.
Passion also due to the madness of the idea of placing a glass roof with beams (made in glass) with a light of 16 meters, judged crazy by any engineer who could examine my project.

Crazy as the idea of a double brass facade overlooking the cloister.
The choice of the external image given to the cloister was troubled because the Venetian school teaches the extreme respect of ancient artifacts, but I could not bend to the magnificence of the brick, I wanted to oppose it, I wanted the intervention made on the cloister to be of a considerable impact while maintaining a certain rigour.
After studies of innovative materials, unsuitable geometric shapes, I found brass.

In fact, this project has taught me a lot.
I understood that the new must be able to express itself freely, without disrespecting what it was.
It's important to take care of the old, but you have to figure out when you need to create a breaking point in order to move forward.
And this applies not only to architecture, but to all things in life.

I realized the importance of change in order to improve.

And I'm not entirely sure that the restoration teacher agreed with my project idea;
but in a golden spa, in an ancient cloister, on a Venetian island, I don't know about you, but I find it an invaluable experience.