Jacopo Nori_5

The Archetype of the Vertical Dendrophilia

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The Archetype of the Vertical Dendrophilia

Jacopo Nori

“The archetype of the vertical dendrophilia”

I was asked to participate in an exhibition that had as general theme “the nature”.I worked on which are for me the most representing nature elements, selecting a variety of vegetation that grows in a vertical or parasite manner to put them in opposition to what is the vertical architectural archetype par excellence: the stairs.Taking the stairs as an architectural element, starting from the Livio Dimitriu studies of 1978, I developed a theme of promiscuity between the object constructed by the human being and what is actually the element born and developed in nature.The project is then built around what the dendrophilia represents as a sexual promiscuity between artifice and nature.

 

Interview

To what extent do you agree with the axonometric as being the most complete form of representation in architecture?

I do not think that there is a more complete representation than another but simply different graphic tools that can be useful depending on the requirement of the project. Certainly by the end of the eighteenth century Gaspard Monge had introduced a technically innovative representative and functional method but in 2016 there a lot of different drawing methods to have the absolute control of every part of a project.

How would the images be received differently if they were to be rendered through rich colours? How would this alter the meaning of the architectural intervention?

I think that using color would create a subjective perception regarding the hierarchy of the elements in my drawings by the people who approach to the images. Using black and white I can give the same importance to all of the design components allowing a deeper attention to the draw itself and a more complete vision and reading of the whole image. Probably using colors there would be no alteration of the surface meaning but simply of perception and the feelings that I want to convey.

The images stand alone upon a white canvas, what is your take on the Tabula Rasa?

Each design is conceived and built in order to be appreciated as a floating element in an empty space that allows you to focus on a single point. In my mind every design comes in a non-contextualized space in a still point in time with no real reference to real life. The elements present in these images are in fact promiscuous oasis in a desert of nothingness. I don’t think the concept of tabula rasa in a standard way, if I had to imagine the tabula rasa visually would be an infinite white space with an infinite small black element inside. The space is designed to accommodate and make something grow, a totally vacuum space would be a barren place without any purpose and identity.

The images are all formatted centrally, why so? What would be the effect of shifting the positioning of the images to the edge of the canvas?

My OCD of precision does not allow me to not create centered images or drawing that does not follow a rigid grid of axes. In case the image is not in the center but moved to an edge I would consider the drawing not precise and simply wrong for my perception.

What is your work process in terms of programs used?

One of my fetishes is related to the redesign all the drawings that I like from architects that I admire, rebuilding in some cases even more complete drawings of the same project. This allows me to have a huge library of elements. So my creative process is based on mixing these elements in CAD and then passing them through Photoshop where I mix black and bolt lines with textures and images taken from photos often made by me.

Article also available at: http://www.3nta.com/category/rotating/koozarch-rotating/

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