chiara-lippi_5

The Timeless Landscape_Inujima Performance Art Institute

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The Timeless Landscape_Inujima Performance Art Institute

Chiara Lippi, Silvia Moretti, Beatrice Rogantini

Project

The project is located on the Japanese island of Inujima, a small reality where nature and art play the main roles.
Due to its artistic connotation, we decide to explore in greater depth the so called performative art: body performance, opera, theatre, video/cinema, music and dance. The peculiarity lies within the idea of spreading the functions needed in the building all over the island, enabling each one to find its suitable geographic morphology. The result is the creation of five different pavilions, all of them related to the landscape and to the performative arts that should host: the concentration, the rest, the fitness, the rehearsal and finally the performance pavilion.
In the images shown, we wanted to underline the different feelings that each pavilion could evoke for the artists. For this reason they are all characterised by different scale of colours that help us in stimulate a more personal and introspective idea of the project. In fact, they move from an isolated mood perceived in the concentration pavilion, to the detached relationship between the actors and the public felt in the rehearsal building, to the calm perceived in the rest, to the dynamic idea of the fitness and finally to the spectacular view felt in the performance.

Who influences you graphically?

What we wanted to achieve with these images was the representation of the feeling inside the space, more than the space itself. Each image is made to recall a timeless landscape, a foreign scenario in which everything can happen. In addition, the single image is seen as a unicum in relation with the pavilion that it is representing; that’s why we have 5 different images for 5 different spaces.
In order to achieve these kind of impressions, we were inspired in the graphics by the Novecento schools and important art movements, such as the Bauhaus and Art Deco, as well as the personal use of the colours and figures by the graphic designer Shout, Mario Puppo, Mario Borgon, Vittorio Grassi, and Jules Chéret. In addition we could say that many architecture ateliers influenced us as well: for sure SANAA and Elding Oscarson, together with some others like Fala Atelier and Viar Estudio.

To what extent did Japanese culture influence the language of the project?

The Japanese culture influenced us from the very beginning of our project and also in the way we decided to represent the project itself. From an architectural point of view, we approached for the first time to an aesthetic conception of beauty, which is really far from our culture. We have learnt how to draw and think of something that becomes beautiful and right because of its shape, and because of the natural environment surrounding it. Moreover, the specific context strongly influenced the curves and shapes of the pavilions.                  Regarding the graphic language, we studied the way in which Japanese architects and artists display their images. We discovered that, instead of using just the formal and canonical way of representation for the rendering views, they approach to the projects in a personal and unique way, so we did the same.

What dictated the choice of format for the images? How does the white border effect the way the drawing is perceived?

The choice of the postcard was carefully decided as each image is made to represent a precious piece of the island during a different time of the day. In addition, it also wants to transmit the particular and personal feelings that visitors and artists can perceive inside of the different pavilions.

The postcard generally catches a detail, a special moment that touch the feelings of the photographer and invites him to portray it in an unforgettable way.

Because of the peculiarity of each pavilion, we decided to use the postcard format to represent them, with just an image that could explain everything, creating different feelings and perception to those who see them.

How would the proposal/ images be received differently through the use of a monochromatic palette?

We wanted to underline the different feelings that each pavilion evokes to the performance artist and to the visitors. In order to do so we tried to propose an expressive exercise, using monochromatic palettes that help us into achieving our intentions.                                                                                                                   Each image is related to a specific pavilion, therefore to a specific program and use of the space, at which we assigned a unique monochromatic palette that can convey to the observer the type of sensations achieved in the pavilion itself. Furthermore, the use of the full colours and their particular combination wants to give the impression of an everlasting landscape, which exists out of time and space.

 

You talk about using a different scale of colours to distinguish in between artists and pavilions, how could this feeling be further emphasised through a varied use of textures/tones etc?

Potentially, we might further emphasised the images with the use of some textures, in order to stress even more the different feelings that we want to suggest. We actually thought about it but in the end we decided to leave everything to the power that our palettes of colours could evoke. We thought that using too many textures or colours, the atmosphere that each images should suggest would be too much super-imposed by us, without leaving any freedom to what people would feel looking at them. What we want to transmit with these images is the creation of many personal frames in the eyes of the observers, without driving them too much into what to see and what to feel looking at our postcards.

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About

Chiara, Silvia and Beatrice are all attending the MSc Course in Architecture at the Politecnico di Milano, and met in Professor Sejima’s atelier earlier this year. In the studio they were able to explore the relationship between architecture and nature, as well as to experiment with a more scenographic way to approach it.

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