Ennobling Craftsmanship In The Contemporary
The ‘SCUOLA DEI MESTIERI’ is born with the aim to ennoble craftsmanship again, giving back that dignity to all those ARTS and CRAFTS considered as minor, therefore it will be possible to give life to a new virtuous and reinvigorating process.
William Morris (1834-1896), one of the founder of the movement “Art and Craft”, had already started this process reassessing and taking the medieval corporation as a model to follow, since he was particularly fascinated by the cooperation and co-working of that system.
The aim was going against the industrial process and to give back life to craftsmanship as an expression of human work and needs.
Within the school there is a close relationship between the academic structure and the architectonical one.
Three are the formative paths: sewing, patternmaking and finishing that represent a fundamental step for Fashion Craftsmanship. This figure receives a double education: theoretical (more based on books), and practical (co-working and collaborating).
FLEXIBILITY is the key word in the planning of the spaces:
As far as didactics is concerned, the hallways became meeting points between designers and students, who can ask for reviews and checks before the final exams;
From the practical point of view, some parts of the structure have a double function: for example, during the exams, the relax area turns into a space designated for the winter runway show. In the same way, the area around the chimney stack, usually used as exhibition area, will host the summer runway show.
To what extent do you agree with the axonometric as the most complete form of drawing?
Let’s say that the axonometric is critical to an overall understanding of the project as they describe, together with the plan and section, the most technical part of the story. They are different from the designs, which are actual dreams, some sort of pindaric flight which serves the function of the time machine for the viewer.
How and to what extent did the proposals interest with arts and craft hasp your method of representation?
My research on Art and Craft tends to affect the project, in regards to both the functional part and the one concerning the representation, trying to recall the ‘old days’ in an almost anachronistic way. This accounts for the presence of flavors, people, colors belonging to an ancient era, but inserted in contemporary settings.
What is your take on colour, how could the inclusion of this within the line drawings have helped in creating hierarchy and distinguishing spaces for a clearer reading?
The colour in my designs has a fundamental value. I try in some way, with not so vivid colours, to create a kind of estrangement, almost to make one think of being in another era. The colours and nuances that I use are part of the set of flavours used by Hockney, Hopper and Vettriano.
Recent times have seen the explosion in use of figures from paintings as those of Hockney, why do you think this is the case?
Lately I have noticed a strong use of figures from Hockney’s paintings, perhaps dictated by a major return Radical. Consequently, this brings about a rediscovery of the cultural situation which led to the radical movement, the British Pop, of which Hockney was a spokesman. As far as I’m concerned, the use of figures taken from his paintings is dictated both by their strong two-dimensional impact and by their colour scheme.
If you could add another drawing who would this represent?
If I were to create another drawing, I would have opted for the representation of a collective workshop area, another important area of the teaching/architectural project, in order to emphasize the relationship between the individual and architecture.