The project aims to create a real architecture of sharing, between city and nature, between existing and new.
So as to create a new narrative understanding space.
Who influences you graphically?
To begin with, I’d like to say that there isn’t only one specific artist that has influenced me. Actually, there are different artists that I take inspiration from, from different movements. Being an incurable lover of art, I honestly believe that I will never become influenced by only one movement, and from a certain point of view I am happy about that. As far as my modest opinion is concerned, every architecture has already a perfect “flavour” in it. Our duty only consists of turning it into truth. The painters that influenced me the most include H. Rousseau, G. De Chirico, D. Hockney, E. Hopper, A. Kapor, and then move towards the 60s’ collage experiments such as Archizoom and Superstudio, and find the finish line in the dimensions and lights of Japanese drawing.
What dictates the way you frame and format an image in terms of specific view and or ‘shape’?
As far as the designs of external areas are concerned, I always try to emphasise the corners of buildings to try and amplify the power of the element. I try to follow the basic rules of photography, such as the 2/3 rule. For the interior design, I try to emphasise the optical cones, making them stretch to the corners of the image. As for the size of the images, I do not have a standard, but I vary depending on the inspiration the projects gives me, or on what I think it is the best size to add the image to a final piece with other drawings.
To what extent does the decontextualisation of fragments allow for the building of a new narrative?
I would like to answer this questions with an oxymoron: PONDERED EXAGGERATION .
It is precisely this action of exaggeration, which through the de-contextualising of the single elements composes an image that makes the image strong. A pondered exaggeration which manages the conflicts and contradictions given by disconnected elements, and at the same time can widen the spatiality of the drawing without breaking it, so to an incomprehension of the project itself . (after all, we are pseudo architects)
How important and significant are generalised figures within a photomontage? To what extent will they always be out of context?
The generalisation of the figures represents a principle of response to the “architecture-man” relationship dilemma in the picture. It is exactly through making the person free of his clothes. creating a continuous monochromatic surface, that you can focus on the person’s face, to underline the feeling of the individual in terms of architecture and the surrounding space.
For the same principle of pondered exaggeration, which will bring them to the maximum limit of decontextualisation, without never break the balance of the image.
Enrico studied Architecture at DiDA, department of Architecture of Florence, Italy. He worked as assistant for Architecture Design with P.Di Nardo (ARX), V.Barberis (MDU).
He also founded, with two of his colleagues and friends, HJB, with whom we exposed at “30<30” during the Fuorisalone in Milan.