Experiencing the Effectiveness of Simplicity
LINEARAMA is an architectural studio, a creative hub of different interest joined together to achieve ideas; it’s a design and research lab, as well as the practice of three young Italian architects that provide their own artistic and technical capability for the drawing up and the realisation of projects and professional advices.
LINEARAMA, through the intersection of different attitudes and qualities, reaches a unique vision that encloses many perspectives of the design process or, in general, of the design culture.
LINEARAMA research and uses a representation method that, loyal to its name, wants to experience the effectiveness of image simplicity, tool and vehicle of concepts, ideas and visions that should always be widely interpreted.
LINEARAMA comes to life in a particular historical context where architecture often finds its reason of being in its own representation, where the hyperthropy of images, if poor of a clear theoretical support, can coincide with the essence of architecture and where the rampant glamorisation of projects can turn ideas away from their possible real counterpart.
The glamorisation is the suitable language for the utopian tale, through which it can draws its effectiveness and charm and can make the improbable possible. The overstated realisation of the contemporary hyper-images often brings to the opposite result: makes impossible what should be real. Sons of the digital era, we do not reject the great technical power of these tools, but we research their correct use always oriented to the correct and not- faked reading of projects. Glamorisation commensurate with narration, representation not only as purpose, but more as a medium. Imaging means describing visions, in other words, is to provide proposals for a probable future and this is necessary for any architectural project and for the growth of its theoretical sub-structure.
LINEARAMA pursues the re-appropriation of imagination, researching its correct representation, conscious that Architecture doesn’t have the power of solving problems, but has the duty to provide valid answers to specific needs.
What is your take on the hyper realistic render?
Hyper-reality in architectural representation is as powerful as misleading.
The perfection of the rendered image often overtakes the reality of the building process in a way so simple that never before, and we think that this occurs when emotional intents overcome the architectural ones. We mean that the so wanted “emotional” part of an architecture should be the manifestation of the architecture itself and, consequently, the representation of a well thought project is naturally “emotional” in itself and without any forcing. It also means that this kind of image not always can be the right choice for the project explanation.
Our continuous research in architectural representation is because of the idea that probably architects should mislead no one. When an architect succeeds in reaching the best solution possible, its best representation comes out spontaneously and could even be the simplest two-dimensional drawing.
For what concerns rendered images, the necessity of providing a so detailed preview of the built space coincides with the precise aim of avoiding any kind of misunderstanding. We are talking, for example, about clients. What is often important to them is to mainly understand how their house will be and, on our side, how their house should be.
That’s the reason why, in our workflow, the rendering process occupies two precise moments in designing: at an early stage it supports our choices and the comprehension of the newly built spaces, while at the end it allows us to provide the unambiguous vision of our proposal.
What dictates you graphic approach to a project?
If architecture boasts different representing languages, we think that, during images production, they should always be considered on both designer (communication needs) and final user side (comprehension needs).
As we point out in our manifesto, the contemporary age has changed the role of the image in communication and above all in comprehension of the tangible reality. The bulimic flow of images has also changed the architect role in projects production and in storytelling, and this requires a strong flexibility in representation language depending on the interlocutor, on the media typology and also on the value of the image itself. This is the reason why we can’t talk about “following the trend”. Adaptability and self-criticism in deciding a representation type instead that another is a so delicate process that can decide the destiny of the proposed architecture.
You explore numerous means of representation: from line to renders to illustrations- which one are you most comfortable with and why?
Aware of this, we operate a continuous experimentation in drawing. We are used to say that our strength is our non-uniformity. We try to explain better. Our shared aims in transforming public and private spaces proceed under a continuous criticism about how we can translate ideas on paper. Our different qualities allow us to produce various kind of images according to our abilities, but we always consider the line drawings as an obliged and immediate step in “talking” architecture. Illustrations and rendering are the two possible paths we are exploring and trying to modify for our needs and, sometimes, overlaying them to produce hybrid images.
To what extent does color have the power of changing the way one perceived the representation of a space?
The colour is one of the main adjectives of built and represented architecture. It connotes the reality and can generate abstraction. Light and colours are always what characterize natural shapes, while the architectural process is often used to “iconify” and translate those aspects into an anthropic environment. If the two- dimensional drawing is an abstraction of the three-dimentional space, the colour has the power to suspend a direct reference to the real world and to idealize a material object.
For those reasons our answer is yes. Colours can deeply change the way we perceive both the space and its representation.
What is your work process in terms of programs used?
Everything always starts with hand-drawn conceptual schemes, sketched plans and sections designate to give shape to an initial spatial organisation. The two- dimensional CAD drawings (plans and sections) define later the architectural “substance” of every project. Sketchup and/or Rhino 3D models follow in parallel as verification of project complexity and as basis for rendered images with Cinema 4D + Vray and elaborated illustrations with Illustrator and/or Photoshop. Sometimes post production leads us to realize hybrids, converting a rendered image (decided at first) into a completely different illustration.
What elements establish the way you chose to format and create an image?
We are used to consider this our ideal premise:
“The narration of the architectural project is the end of an analytic process, after which is necessary to operate a linguistic simplification that defines the “ideal” and reveals its own anatomy.”
According to this, our production is actually based on two kind of goals: the analytic and the synthetic representations. They can alternate themselves along the designing timeline, depending on each project. We always try to define images that are complete and capable of expressing the main idea of the project by themselves.
The analytic one often refers to 2D and axonometric drawings that provide the correct grade of abstraction, allowing to show the concept or the technical info about the intervention. The synthetic one often corresponds to the perspective views and in this case we always choose the human sight height.
We would like to highlight again that this distinction is other than the expressivity of the image. It refers to what leads us to make choices during the design process.
Pegli 3_Experimental Recoveries of Suburbian Public Space
A consideration about italian suburbs, the laws that regulated them, their evolution in the first half of the 20th century, the design mistakes involved and the development process undertaken nowadays.
The period of constrution of huge suburban complexes started, in Italy, from Ina-casa period and continued for many years with the Law 167/62. In these periods were tested different models of intervention following the idea of “urban utopy” about the “biggest dimension”; so we can identify some types: from a bigger residential block that have inside it all the services to an urban planning where the different funcions have independent and distinct areas. However, in all of these types predominate the “out of scale” of builings, the monotony repetition of housing model and the lack of cohesion of the building fabric where the open spaces are unresolved or unfinished.
If the firsts huge suburban complexes were built to fulfill the housing necessity, nowadays the real problem is how to integrate them with all the services. From there, the suburbs redevelopment takes place trying to densify them, working on the public spaces and on their quality. The requalification of entire suburbs areas becomes the perfect field where a multidisciplinary approach can reinvent those parts of the city as “new active centers” able to deploy different polarities on the territory, transforming entire areas into what we can call “The Contemporary Public Space”.
This work researches, with a not demiurgical process, a methodology that allows to operate in the Pegli 3 area of Genoa in Italy, understanding that simple and delayed actions are not enough to solve, alone, the whole critical existing issues.
The New Reinosa Cultural Centre
The new Reinosa cultural centre is the representation of the continuity through perspective: each room is a stage where community life express its industriousness and its culture.The big rectangular frames focus on each scene and, sorting them into a sequence, they offer a synoptic and representative image of the entire community.
The “abacus plan” is simply the narration of a free script, which includes open and multiple scenarios. Architecture must react to the loss of the sense of community, offering new and contemporary alternatives, through which can be taken open, dynamic and non-hierarchical relationships.
The aim of the project is to reach the social cohesion within an open space that can allow continuous exchanges.
Living in an era full of innovative devices that can amplify communications, often replacing the opportunities of establishing physical ones, the role of Architecture is to define a material space for an immediate and direct interaction between human beings.
This is what a civic centre should be.
Complete renovation of a house.
Regenera(c)tions_A Memorial For Terrorism Victims
The presented proposal shows the characteristics of a contemporary memorial. In addition to performing its primary function, that is, triggering a reflection on the theme in observers through photos or text, the memorial also becomes a device enjoyable by the community in order to implement rehabilitation processes. So a monument can ceases to be an object to be observed, there isn’t only an emotional relationship between the observer and the piece anymore, but it becomes an element which can interact directly with the people. A memorial that can be described as an urban landscape. A coloured concrete memorial is a support for a picture and a text, it is an object where you can sit, lie down and socialize. The project invites you to think about the Italian terrorism in the Seventies and the powers that it had fought against such as culture, work, the State, public order and the press. To show this intent five locations were chosen near the places where those powers were involved. To understand the relationship between the reference symbol and the site of intervention better, as well as to connect the two ends of a system, it is arranged that, in the proximity of the two points, elements are located which explicitly signal this relationship.
One of the competition aims was redeveloping one or more of the project sites. This purpose becomes a cue to discover and work in central places, still unknown to the community, and at the same time in locations in need of upgrading in order to transform those into an ideal relaxing place.
Molfetta Gabriele, Architect
He obtained, with honors, his Master Degree in Architecture at University of Genoa in 2011 with a thesis, finalist at Archiprix International 2013 and exhibited in 10 Universities between USA, Chile and Mexico, on birth and evolution of spontaneous urban centres. In 2006/2007 he attended the Escuela Técnica Superior de Arquitectura in Valladolid and he reached a second-level Master’s Degree at European University of Rome in 2013. It carries out the profession since 2011. He collaborates with several studies between Milan and Genoa.
Vacchelli Selene, Architect
She studied and concluded her five-year study cycle in Architecture at University of Genoa in 2011, graduating, with honors, with a research project on public space in the suburbs. Registered at Genoa Board of Architects since 2013, she works in Italy at professional practices as freelance. Back to Italy from a one-year experience in Toronto (CA), she attended a Master in Management of Museum Heritage, where she acquired expertise in management and enhancement of artistic heritage.
Ventura Davide, Architect
Graduated in Architecture at University of Genoa in 2011, he attended the Ecole Nationale Supérieure d’Architecture de Versailles in 2008/2009. Works as freelance since 2011 and from the same year he collaborates with Materia and Area magazines. PhD student in Architecture and Design at the School Polytechnic University of Genoa since 2015, he works as assistant at architectural design lab of the 1st and 3rd year.