Dutch Suprematism_When Koolhaas met Malevich

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Dutch Suprematism_When Koolhaas met Malevich

Federico Musso


The project features a collection of images which are constructed out of the  juxtaposition of pieces of architecture from different firms inspired by russian constructivism and suprematism.


Who influences you graphically outside from the suprematist world? 

Lately I’m very focused on the Soviet propaganda posters from the 30s but I would say that, in general, I’m fascinated by different kinds of things at the same time.

How relevant is the idea of old and new within the realm of architecture? To what extent are we always referencing the past? 

In my opinion you can’t avoid referring to what happened before. The past is always predicting the future and I think this work demonstrates it pretty well. Rem Koolhaas studied and criticized Le Corbusier and Mies with his first works: Villa dall’Ava, Tres Grande Bibliotheque and the Kunsthal are great examples of how a new Manifesto is based on the analysis of the past.

You talk about suprematist narrative, how would you format these images if they had to escape the computer? Would you print them on a canvas, book etc? 


What dictated the projects you chose?

Lately I’m studying some of the OMA’s projects. I selected these (Maison a Bordeaux; Villa Dall’Ava; Bibliotheque Multimedia a Vocation National; Seattle Library; Bocconi Urban Campus; DE Rotterdam; Taipei Performing Arts Center) because they are those I consider the best ones to be analysed and “translated” this way.

What elements and filters drove the fragmentation and choreographed assemblage on the paper?

The fragmentation is already inside the project, you just have to study it and understand what parts you should pull away and how to use them. The whole work is about decontestualising fragments of architecture. I worked on plans, sections, masterplans, elevations, footprints, windows and even furnitures like in the case of the bibliothèque; any scale is represented at the same time in these drawings. A building is made of several different parts: small ditails, iconic volumes, vertical and horizontal lines, tension between elements, fragmentation and so on. The good architect is the one that makes sense of this mess and I think this is a good way to give a frame of what’s going on in the project. I just tried to watch it from a different point of view. At the end of the day a project is an absurd composition of things so I would say these drawings are projects, somehow.

Federico Musso_1Federico Musso_2Federico Musso_3Federico Musso_4Federico Musso_5Federico Musso_6Federico Musso_7Federico Musso_8


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