URBAN SCENOGRAPHIES: Western Europe
Understanding identity as features that differentiate one thing from another, Urban Scenographies acts as a compiler of urban-architectural objects of a site, to reinterpret it and create scenarios through the mixture, exaggeration, evidence, elimination, abstraction and simplifi cation of these and in some cases with the incersion of new ones.
Normally the identity of cities is associated with people, culture, religion, architecture, landscape, leisure, language, color, art, performance, etc. But what happens when these objects are altered or invented? Does the place still have identity? Maybe, through the urban elements that are part of the site.
We could understand urban elements such as buildings, furniture, monuments, installations, natural accidents, topographies, landscapes and everything that contains a living space, with which we work to achieve a series of images that reflect and highlight different topics and urban characteristics in a timelessness.
Currently the rapid growth of cities and change in societies, requires the adaptation of historical contexts to current needs, so, in some cases are uncertain timeless objects trying not to affect the aesthetic image in a forceful but harmonious way. Taking as a starting point the public space as an element of identity that functions as the almost unique scenario of convergence and exchange between the inhabitants of the contemporary individualist societies.
The images are created under a personal perception, through a window with a set and order of elements in second dimension in form of elevations, sections, perspectives, axonometric and the mixture between them, altering classic and renaissance rules of these graphic representations, starting from analogous techniques and ending in digital results.
Who influences you graphically?
The influence comes from a mix between different sources of information, on the one hand I could talk about the most tangible ones such as artists and architecture firms, but on the other hand, I would say that the physical space is full of graphic influences, such as: colors, textures, actions, atmospheres, feelings, accidents, etc., that make this not only a graphic representation excercise, but of thought. In the specific case of this project, I focused on using only colors to make the interpretation even more open and subtle.
Being more punctual in the subject of graphic references, I could mention some firms like: OFFICE, Kuehn Malvezzi, Baukuh, NP2F and some artists like David Hockney, Magritte and Laszlo Moholy-Nagy, among others.
What defined the choice of cities and the European limit?
Rather than choosing cities, I chose elements which are part of different scenarios that seemed to have particular characteristics, for then reinterpret them or expose them with another meaning. The name of the cities refers to the place where these elements are found.
The european limit was not a choice but a coincidence.
Were there any parameters when constructing the individual images?
Each image was created with different objects found on the site and these defined the composition, scale, technique and proportion, so I could say that the elements which I wanted to show, were the parameters and also the tools to express an idea.
What is the relationship between the architectural monument and the identity of the city nowadays?
The architectural monument creates an urban image that is directly linked to identity, although it is not the only thing that defines it. This is why the interventions in historical spaces, that have to be done due to the evolution of the cities, should respect these contexts in a subtle way and preserve the symbolic meaning.
The exercise here was to alter objects, sometimes in historical contexts, trying to maintain, emphasize or exaggerate characteristics of some real or imaginary place.
Where do you see this project developing?
I think this can be developed anywhere and at any scale, in fact I think that the moment when we start exploring a new place, the interpretation shows up in an automatic way, so this was just about observing this process slowly and somehow objectively.