Marson Korbi

The Living Wall Around the Lighthouse

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The Living Wall Around the Lighthouse

Marson Korbi & Roberta Gaetani 

The project relates and compares with the typical Mediterranean plastic-wall language that we noticed in: castles forts, paved alleys and urban squares that create a spatial relationship between solids and voids inside of these system, offer the main inspiration for this project. The choice is to create a fortress or a basement from outside the lighthouse. Three courtyards where each of these has a different spatial character and different functions: the main courtyard in line with the lighthouse where we find the exhibition spaces of the Museum of Photography and the City and the temporary exhibition rooms, the large square, a reference point of the complex with the outdoor theatre and finally, the third courtyard with offices, small exhibition rooms and the restaurant with a large sea view window. The last element of the basement is the lighthouse suites accommodation. This basement system with cuts and courtyards, opens to the sea. The connection with the sea in a rocky pendant terrain is done by wooden walkways, light elements detaching from the plastic-wall fortes. Part of the light system inside this fortress, is the lighthouse landscape hotel and the sea center.  The system ends with the vertical connection between the ground and the sea level. A choice that integrates both chromatic and volumetric relationships with existing buildings after their restoration, adapted to the functions of the entire complex.

Interview

Who influences you graphically?
We think a good project should graphically be represented in order to be understood by everyone. The technical rules of perspective, axonometric and plan should clearly express architect’s ideas of his project.
When I have to present an architectural project, proportions, angles, shadows and volumes, it has to show the same feeling as a painting exposed in a museum.
When we look at a central perspective painting or image, we feel that space, we are in it. Thus, what we see in Dogma Studio projects, their representation work, we are in the middle of the scene, the main observator, we feel inside that project exactly like we feel part of Piero della Francesca’s paintings. This is what influences this kind of representation.

What is the effect and purpose for the ‘pairing of images’?
The purpose of the duo pictures is related to the perception of this rock and sea landscape from inside and within the architectural elements. The duo images in this lived wall, that measures the landscape and fixes a white basement of the light house, the viewpoint of the wooden walkways on the rocks, and one from the intimacy inside the landscape hotels. Our project is also composed by different architectural parts, we put together images of the same place. This graphic treatment gives also passepartout effect to our “paintings”.

How and to what effect does the inclusion of people from other images and thereby other contexts influence the way the viewer receives your image/space?
The choice of Jack Vettriano characters is related to an intimacy that certain forms, choices and perception of this architecture has to give. We think the purpose of this project can be forwarded better with his paintings characters. The atmosphere of the lived wall and this wooden elements looks to be similar to Vettriano’s scenes; the lonely woman on the bed with her back to the horizon, the focal point of this painting, the gentleman with his umbrella walking on our wood walkways.

 What dictates the way an image is composed, what are the fundamental driving points for every view?
The different project scenes are composed in a very simple way, based on the elementary rules of perspective with one central vanishing point, the horizon line defined by the end of the sea and an imaginary orthogonal and transversal grid on which the project elements are moved and composed in the way to explain the real scale of the intervention. The final result is a dynamic image, personages walk on wooden elements, in the museum, in different heights of the image, in order to let understand the collective use of this architecture.

How relevant are the plan and elevation when compared to axonometric and section in describing this proposal?

In each representation, it describes the different relation with the context, the landscape with its element, nature and terrain morphology. The project burns from the plan, existing elements help the projecting process by fixing ideas, alignments gives the guidelines of the plan, itself, it represents how the project works with full and empties relationships and how it communicates with the lighthouse. The intervention is situated in an acropolis condition respect to the sea, the section helps to represent how the historical lighthouse reconnects with the sea, it goes down with the new wooden elements from the fortess to the water. Plan and section are part of the projecting idea, they help to fix the ideas about the intervention and at the end the axonometric view, gives the final rapresentation of how elements relates to each other, a view of how is situated the entire work.

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