Drawing The Process
Who influences you graphically?
We are very eclectics and we like to create our personal “correspondance” between the stimulus around us. We think the strongest influences we received are coming from exhibitions of the art paintings or sculpture visited. We are particularly sensible to colors combination, materials and shapes.
Living in cities like Paris, New York, Rotterdam, Tokyo, Aarhus, Ferrara, we have been exposed to a substantial amount of art related activities which created our database. In 2015 we visited about one exhibition a week either at museums or art galleries. We also enjoys their bookshops.
Our Italian background let us create a strong relationships with the history and get us used to a certain amount of daily natural or artistic beauty.
What are you looking for while drawing or collaging?
We are interested in drawings that are able to communicate flows and relationships.
Our images and collages are framed in a imagined “futuralistic” set able to evoke a certain mood.
While designing, besides testing different concept options, we also like variations, to built up a collection of drawings around one single idea.
What do you think is the role of graphic in the design process?
Tracing or re-drawing the context, the existing buildings, the curves of levels and so on, is an act of comprehension. Quoting Claudio Magris, knowing is often recognizing, in a Platonic sense. As he says, to see a place you must see it again. So architectural abstraction conceived while drawing is the first chapter of the design process. We like to zoom into our drawings to discover un unexpected regard.
Is there any hierarchy or time line in your drawing production?
We find particularly fruitful to work simultaneously in a combination of different types of drawings: black and white plan to explore the building organization and program relationships, blue foam model or massing collage to investigate the volume in the context, evocative raft collages to explore the mood and the message we want to convey. Furthermore, diagrams are not minor.
How to find your own graphic approach?
Our working experiences so far exposed us to some vertiginous changes as far as concern the architectural communication and graphic attitudes.
In Japan we were under the enchanting influence of fine lines, thin paper, subtle colors and dazzling shades of white. At OMA we dig into the manifesto of boldness, the domination of arial, the supremacy of collages, the contrast of materials.
With those 2 founding premises, to find our own path we try to follow our instinct. Anyway aesthetic is a fragile and uncertain terrain.
A Scale to the Sky
“Bologna was named “Silva Turrita” in the late Middle age. In a rapresentation of the city in the XII sec. Bologna was a little Manhattan.
Nowadays just few towers still exist.
The project investigates the Middle age tower-house typlogy in relation with the sprawl extension of the town.
Small proportion towers, working on the matrix of existing spaces, increase the potential and quality of life on the ground, experimenting a new model of urban relationships at 30 m of altitude. Housing towers are interbred with medieval existing fabric, trying to investigate new ways to live downtown, in order to create a supply crossing social groups and stimulating the complexity of the polis.
A tower housing is made by stacked, overlapped rooms. A room is seen as the space of proximity, of everyday life, the right proportion to introduce a dynamic and adaptive vertical community. The plot is reduced to the minimum size, the location traces out the existing fabric. The fabric of the consolidated city is a well recognized model.
We must invent new types of settlements on mutable, urbanized lands, on areas recyclable into new functions in the medium or long term. It is a rediscovery of the “next-door fund”, considered under a new point of view, spaces of possibilities.”
Living in The Fence
“The project is located in Muhura on the hill’s ridge line. Following the church, the school and the hospital, the project should be able to establish a new idea of community. The program conceives essential services as stationery, pharmacy, bread oven, polyvalent room, with the special cathartic power of a relational space where exchange of experiences is allowed and advocated. For the fact of being in a vast territory of an endless succession of green hills, it is important to define a place, to circumscribe a space that brings back a human scale and that people can grab, reaching a sense of domesticity and everyday life.”
“42°54’42.22”, 89°32’29.53” between Turpan and Kamul, in a depressed area under Houyan Mountain, China.To overturn the linear system’s logic of a connection infrastructure into a new meaning for re-orientation, able to represents the contemporary nomadicity, it has to create a reference system to understand a territory and its genius loci, crumbling any predetermined way.Crossing territories is seen as a creative act, able to perceive its becoming.It is a nomad search that aims to create a relationship’s system by times and spaces’ juxtaposition, inspired by ancient maps’ imaginary, rich in personal interpretation of the unknown.In the system of open space, continuous and unconfined, strategic pre-existences of brown fields in Silk Road’s vector trend, are underlined transforming them into enclosure of acceleration or slowdown, as flourishes that define new boundaries to fix development’s limits: superimposing to recognized landscape a new principle of settlement.
Effective actions, aware of the extent of their spatial borders, but not of programmatic ones, create targeted effects.Distances’ definition finds the right rules of coexistence between development’s areas and enhanced void.Dwelling services or collective spaces for sharing, characterized by a strong potential of urbanity, create a new morphology around the existing buildings in low relational sites, introducing constraints and hierarchies in undetermined soils.Yurt’s concept of hierarchic space, with a strong potential to influence the use of the void comprise into its boundary, is interpreted like a sign in the territory that divides A area from B area, seeing in the principle of tracing an enclosure architecture’s founding act.The inner habitat, neither wildness, nor home, creates a domestic landscape defined by clear limits, neither West, nor East, ambiguous, not a city nor a non-place, could represents our heritage to the future, limiting the void and producing next ruins.”
homu is an architecture office grown up in Italy and based in Paris.