Architecture for Archaeology as Ability to Add Without Ever Denying
Project_Piranesi Prix de Rome 2016 Winner Project.
Villa Adriana is an ode to the fragmentation, the immortality of the incompleteness, the contemporaneity of the unfinished.
We are not able to ignore the laws of geometry which are in this case the only law possible.
Inside a perfect system every gesture is pointless, it can’t complete anything. The only possible gesture is what it reveals.
The State of disrepair multiplies the possibilities of reading each of its parts.
The threshold of the Pecile is today more than ever what it has never been: a threshold.
The project adds further readings. Architecture for archaeology as ability to add without ever deny.
Who influences you graphically?
The approach to architectural drawing that interests me most is the ‘metaphysical’ one, a tradition that goes from Piero della Francesca to de Chirico, who has always known how to educate architects and their drawings. Being in continuity with them is not an obvious choice, it is an acknowledgment. When one thinks about well designed architecture, one think about the past, and only partly to the present. I also believe that the French pensionnaires’ drawings are unsurpassed.
To what extent do you agree with the notion the medium is the message?
I think it has always been the biggest challenge for an architect. Not only with the drawing can one describe the architecture, but one can describe the Parthenon writing, Loos said. The idea is always imprisoned in the mind, the ‘ medium ‘ is between you and the world. I’m not saying that it is more important than the ideas themselves, but the best ideas need a dream as support.
To what extent has your cultural background influenced the way you perceived architecture and the city?
Being born in Pompeii is no small feat. This means to live in an eternal present, where the remains of past lives show just as much as we the present ones. This inevitably leads to work on these issues, not coincidentally the next search in Pompeii is taking place imminently.
You construct through collage, do you believe that this approach and method can be expanded to talk about architecture as a whole?
Yes, when I consider as an example the collage Piranesi’s Campo Marzio or his recent reworking Piranesi Variations made by Eisenman, they both manage to stay within the architectural practice. The collage needs control of what is ‘in the middle’, what holds everything together. This may be an expression of an architectural idea. Today the concept of ready-made is often confused; we see more cartoonists than architects, and unfortunately we are not all Duchamp.
How would the use of colour changed the way the images are perceived? how could it have been used to distinguish between ‘old’ and ‘new’?
The colour definitely changes the way we read the architecture, and not to use it is a choice. First this is to focus on other subjects that compose it: ‘the masterly, correct and magnificent play of masses brought together in light’, which goes towards an idea of autonomous architecture. Then because we mean the distinction between ‘old and new’ in a different way. The architecture corresponds to both, without them ever overlapping. For this reason we have established a studio named ‘àut’ which in Latin means ‘or’. because ‘àut’ is the answer to the question: old or new?
Vincenzo Stile is an Italian architect based in Milan. Bachelor’s degree at Federico ll University in Naples, he’s about to complete his master degree in Architecture at Politecnico di Milano. He’s deeply interested in the research and development of projects involving the interactions between archeological architecture and new ones. In 2016 he founds àut studio in Milan with Daniele Magliacano.