Collaging as an Act of Curation

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Collaging as an Act of Curation

Desiree Casoni




Who influences you graphically?

I am constantly researching the potential of tools of representation used in other disciplines, like films, paintings, photography, music, and literature, they provide new ways of expanding the limits of architectural language. I am particularly inspired by artists like Edward Hopper and Giorgio de Chirico. The color tones and figure placements in their paintings are what influences me the most. In architecture I try to stay up to date with contemporary architects, some of the many favorites are David Chipperfield, Arrhov Frick, and Junya Ishigami. Additionally, everything in my surroundings are source of endless inspirations, I make the effort to always observe and retain.

What is your work process also in terms of programs used? 

I usually start with hand sketches and physical models. I try to translate the ambiances I have in my mind to paper. Once I have drawn, built, and explored I begin to work with digital programs, like Photoshop, Rhino, Revit and AutoCAD, and from there I jump back and forth between them. Collaging for me is an act of curation.


How does the medium of the model help you in exploring your proposal further? What is the effect of photographing this and then manipulating the image in Photoshop rater than directly drawing the space you shoot on the computer? 

Making physical models helps architects in many ways, firstly one starts thinking three-dimensionally, understanding how to build specific forms, how shadows and light work in certain spaces, the scale and materiality. Model photography is more precise, I have worked with both physical models and 3D models and the quality of light and shadows are completely different. Physical models are more true in my opinion to real life structures. When I want an ambiance to have site specific daylight I photograph the physical model and then add small details to it digitally like, figures or vegetation.

The figures in your images oscillate between being monochromatic and colorful, what is the effect and purpose of this?

I began a few years ago to add in my digital drawings silhouettes and black and white or colorful figures but the drawings felt less organic to the style I was going for. While playing around with personal projects I began to remove or obscure the figures clothing and their poses and facial expressions became the focal point. The figures set the mood, therefore if I want an image to portray silence I tend to make my figures monochrome and vice versa.

Your collages are mostly contracted in Photoshop, have you ever explored this method manually through the physical cutting and sting of images?

Before entering graduate school at Parsons, I had started to experiment with analog collaging. But as school started and deadlines approached quickly I work on what I know best and that is digital. Although I would like to, in the near future, work on mixing my digital with analog.

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