Drawing Through Subtraction
Linearama & Circolo-A
Who influences you graphically?
Nowadays the drawn architecture boasts a visual archive without defined boundaries in which the same descriptive languages cyclically return. A drawing can count on a range of possibilities decoded, connected or demerged. By defining the message that should be spread, we blend together specific elements of different styles because each part of the representation is descriptive of a precise aspect of the project.
The atmospheres, the kind of representation, the use of the colours are influenced by different architects and artists belonging to different worlds. Some examples are Superstudio, Archizoom, Saana, the early drawings of Rem Koolhaas, Salottobuono, Fala Atelier, Junya Ishigami, James Graham Ballard, William Eggleston, Flavio Costantini.
How does your visual language change from that for a competition when compared to a project for a specific client? What importance does colour hold, what dictates your choice of colour palette?
The descriptive freedom of a competition allows us to provide a certain degree of interpretation to the end-users and to express ourselves through a language which can convey different atmosphere and emotions.
For what concerns the graphical approach for a specific client, we must work by subtraction trying to express the message in the most immediate, realistic and above all unequivocal way.
What importance does colour hold, what dictates your choice of colour palette?
The colour, as the choice of representing the project by an axonometric or perspective projection, is an “abstraction generator”. The representation, by its nature, reproduces the reality so the abstraction operation is a conceptual work about a filter application. If in EPICICLO the chromatic references are explanatory about the materials and the environment (natural and built), in our proposal for Europan 13 the will to communicate our design strategy, beyond its materiality, shapes and colours, leaded us to a complete reversal of the real colours.
How important are diagrammatic visuals when it comes to explaining a proposal?
The diagram corresponds with both the beginning and the end of each creative process. In the early stages it is the act establishing and fixing the generating idea and the undertaken choices, which are later enforced and specified. At the end of the process the diagram is used as a tool capable of explaining, very briefly, the complex processes that regulate the architectural complex, both the building and the urban planning (eg. spatial distribution, technical and functional performances).
You seize to reveal the proposal from a subjective perspectival point of view, why so?
The subjective views represent the human point of view. If the architecture is people-oriented, the space comprehension, its atmosphere, the proportions, the comparison with the architecture and the relation with close elements, have to be explained through the observer, with a completely immersive viewpoint.
To what extent do you agree with the axonometric as the most complete form of drawing?
The axonometric projection is the union of the two-dimensional graphic representations; being the synthesis of these elements, it assumes a higher degree of descriptive and illustrative power, adding, de facto, volumetric information of the spaces. The real strength and uniqueness of this kind of representation is its analytic capability, in other words the opportunity to break the design elements up (eg. architectural, structural and functional).
EPICICLO means centrality, discovery and meeting, held by a ring open to the outside and comfortable in its inside. It enhances an equipped verdant island different from the outer vegetation in which the building finds its right place. It alternates open and closed spaces, public and private ones, spots of community life and moments of privacy. It’s the junction between cultures and different way of living, youth and wisdom, wild nature and human activities. EPICICLO materialises, into the contemporary Zeitgeist, the main assumption of the Modern Movement : ” the machine for living in”. Far from the unsuccessful proposition of Modernism that missed the realisation of it’s saving mission not providing all the complementary services that every citizen claim for, EPICICLO builds its complex system around the public space introducing the idea of the “discovery beyond the corner”, according to which everyone can experience a micro-world populated by children and young people, teachers and students, sportsmen, artists and craftsmen, professionals and retirees. All the living dwelling frames the live swarming of public interactions, alternating houses, social activities and events. Conventional houses have been characterised by winter gardens that, through the facade drawing back, can reach a natural climate regulation. Along with them, social and student houses propose themselves as statement of the contemporary living with their shared living-room as driving force of all the social dynamics. EPICICLO is a small and bustling urban center, sized as a building, it’s a complex space with a green heart and a free spirit.
An Eventual Show
Zagreb “eventual show” propose itself as synthesis of adaptability, self-organisation and co-operation. Four empty spaces to establish a fruitful substructure for culture, social activities, art and public life in general. Four specific approaches within a common framework to revitalise four different areas of Zagreb, each one with its own surrounding and its particular ‘way of being’.
A core framework that use both a physical and visual connection between all the parts of each area and also between the areas themselves. An ad-hoc ‘infrastructure’ that is unique and specific for its shape but generic and common for its meaning.
Temporary as strategic way of actively re-thinking the city with a dynamic functional planning that makes each area unique but replicable at the same time.
Temporary can’t necessarily be synonymous of low-quality if designed for and with people.
Temporary in space and time, precise in its organisation and development.
Temporary as convertible functions and spaces but not as ephemeral architectural devices.
‘That could be the right bet over the future.’