Images are the Tool
Carcavelos beach, Lisbon, Portugal.
Starting with some of the most famous works of the russian painter Malevich and taking a cue, the project is developed through simple and primary forms as the two squares of different sizes within which various functions as those of a hotel, winery and spa are distributed. The third element in the project is a curved ramp that does not allow the view unless you walk on it.
Who influences you graphically?
Different artists, from painters to cinema-directors to photographers.
In the creation of these particular images I guess I’ve been influenced at the same time by the work of the Italian photographer Luigi Ghirri, the director Wong Kar-Wai and the painter Tarabusi.
In their work you can trace the research of melancholic beauty captured in a certain moment of time without any particular meaning, where the absence of a story could be fulfilled with an interpretation of the viewer.
Why the choice of Malevich as a starting point for the proposal?
Actually calling it starting point is not properly right. The Malevich ‘influence’ developed alongside the development of the masterplan in order to join the fields of arts, painting and architecture, in a sort of parallel existence.
You can still read both presences singularly, without any hierarchy, as in music when we have two parallel, yet different, melodies.
To what extent is the square format essential when talking about your proposal in relation to Malevich?
The square fulfilled the role much better that the other geometrical forms. Just think about Malevich’s “Black Square” that was exposed in Saint Petersburg in 1915. It marked the beginning of Russian Suprematism becoming the icon of the movement.
What dictated your choice of artists and paintings?
I use images as a tool, as I would use structure as a tool in order to produce presence. Once I’ve decided the atmosphere and the frame I would like to create, I start the research from different fields of art, even though I generally find what i’m looking for in paintings.
What is your work process, in terms of programs used?
Until now always has been digital with canonic programs as drawing programs and postproduction ones although I’d be interested in exploring new ways to communicate my work.
Francesco Lupia is an Italian architecture student at University of Ferrara. He also studied at “Faculdade de Arquitectura UT” in Lisbon and worked with Tetsuo Kondo in Tokyo.