ELECTIVE

 

 

DIA - DESSAU INSTITUTE FOR ARCHITECTURE

2014-2016

 

 

LECTURE MULTITRACKING

 

1-2-SEMESTER 2014-2016

 

 

 

 

Queste lezioni sono state preparate per gli studenti del corso master al DIA di Dessau e per chiunque altro fosse interessato all’argomento. Viste tutte insieme mi ricordano un viaggio pieno di scossoni e di sorprese, un raccogliere dati su cui trovarsi d’accordo, anche solo con se stessi, una collezione di fatti, anche curiosi, e di idee su qualcosa che infondo, come la vita, gode del privilegio di non essere solo comprensibile. Insomma, storie rimasterizzate, cioe´ manipolate per migliorarne la qualita´ sonora come vecchi brani rovinati dal tempo.  

Senza questo punto di partenza del mutitracking va sempre a finire che l’architettura tende sempre piu´ spesso a inciampare e a cadere in sogni monofonici, rigidamente incantati (incatenati), di storie che non ci assomigliano minimamente e non assomigliano alla nostra vita.

Il passaggio dal racconto monofonico a quello multicanale e´ un processo artistico, nel quale si ha la possibilita´ di avere un nemero di tracce illimitato, tutte simultanea tra loro, con in piu´ la caratteristica che ogni traccia, ogni racconto, puo´ essere ascoltato insieme a qualunque altro attraverso un mixer, la nostra storia personale, che e´ la possibilita´ di scegliere come accostare e intrecciare le diverse storie tra loro. 

L’architettura è  qualcosa che accade con l’intenzione di fare architettura. Non il passato che non avviene più, non il presente che continuamente passa, non il futuro che non e´, ma uno spazio dell’accadere. Noi accadiamo come persone e con il nostro accadere rendiamo conciliabili tra loro cose separate, come passato e futuro, costruendo immersi nelle forze che ci circondano, cose contrastanti e distanti nel tempo come espressione della nostra vita e delle nostre conoscenze.

Ecco, forse una buona definizione: l’architettura è un’esperienza di vita incollata a noi come una pellicola trasparente stesa su tutta la superficie del nostro corpo, sulla quale si riflette la realtà  che ci circonda, e questa realta´, con il suo continuo riflettersi su di noi, modifica il nostro corpo e il nostro pensare, a volte in modo doloroso, con ferite da cacciatore aborigeno, a volte in modo divertente, con un solletico di felicità inarrestabile, come quando la pellicola riflette i suoi occhi.

 

MUTITRACKING

Tecnicamente i testi qui raccolti vorrebbero essere l’equivalente del multitracking della musica digitale, cioè molte registrazioni in grado di catturare e di riprodurre il suono su piste parallele, fino ad un numero indeterminato, tutte una di fianco all’altra per poi sovrapporle in luoghi imprevisti, quelli della nostra esperienza, attraverso mixaggi e re-mixaggi, anche con l’aggiunta di nuove parti vocali o strumentali, fino a raggiungere l’effetto ricercato senza averlo interamente programmato a priori.

Le nostre piste parallele sono formate da materiale proviente dall’arte, dalla letteratura, dalla grande poesia, dalla musica, dalla filosofia, le quali, attraverso il multitracking, raccontano le loro storie, i loro suoni e i loro spazi, sullo sfondo dell’architettura che li collega tra loro come oggetti depositati sulla scrivania piu´ o meno in modi regolari, sopra la base dello spazio costruito che si infiltra scivolando continuamente verso il fondo per farli emergere e riflettere nella sua storia.

Il processo di multitracking di queste lezioni comprende una traccia continua, un diagramma della frequenza condiviso. Si tratta dei testi dello scrittore James Joyce, Dedalus, Ulisse e Fiinegar wakes, romanzi nei quali nasce il mutitracking stesso con il superamento della struttura del romanzo grazie alla sua sostituzione con un “metodo mitico narrativo” al posto di uno solo narrativo.

L’adozione di questa traccia iniziale, ossia la sovrapposizione al realismo narrativo di costanti paralleli con altri poemi, con i progressi nei campi della ricerca scientifica, con la psicologia, l’etnologia e l’antropologia, ci permette di costruire un processo aperto con il quale strutturare riflessioni minuziosamente realistiche in una stratificazione di meccanismi associativi, come se quest’ultima fosse la loro stagione piu´ avventurosa.

Un processo aperto……per essere contiuato…… ( aggiungi un ritratto, un libro, un cuore, una musa………)

 

 

 

 

 

ELECTIVE

 

DIA - DESSAU INSTITUTE FOR ARCHITECTURE

2017

 

LEARNING FROM PHOTOGRAPHY

 

 

 

 

 

 

 

 

Photography is an art that can contribute to the knowledge of architecture if it not only use to represent reality as a postcard o as a cinematographic set.

Traditionally architects take photos of their work during construction site, for legal purpose, and when the building is completed, to publish the work done, usually with a big chancing from reality due to all the computer programs to erase all the effects of reality. More like: how to Photograph the exterior of Architecture.

This requires a learning curve. 1. Walk Around The Place:  Look for line and pattern: 2. Use a Tripod. 3. Add a Human Element. 4. Wait For The Right Light. 5. Watch Your White Balance. 6. Look For Converging Lines. 7. Embrace Distortion: 8. Be Aware Of (But Not Intimidated By) The Weather.’ll need to supplement with inside strobe.9. Look For Reflections (And Don’t Get Caught In One). Mirrors and windows reflect light and photographers! 10. Look For Details: 11. Use The Best Image Quality Settings.

Since I found photography at the beginning of my professional carrier, I have learned different things which I would like to share with you in this elective. These lessons have made me richer and I hope that you will find them refreshing and inspiring on your journey from photography as Photography of architecture to Photography as a tool for making architecture.

1. Never do photography to become a rock-star
2. Enjoy what you are shooting
 3. Pay attention to your thoughts and emotions 
4. Set goals you cannot achieve

5. go shooting without a tripod
 6. Be angry with the little successes
7. Don’t build any relationships with potential photo bodies
8. Don’t watch the place you want to shoot 
9. Don’t stay calm
10. Know that you tend to underestimate yourself
11. Perspective is the killer
12. Don’t take part in a photography community, it is your project and nobody has to know how you did it 13. Don’t keep your camera clean, use any app you find interesting and anything for the screen 14. Always compare yourself to others  and if necessary takes part of their work for your own purpose 15. Don’t find your own style of photography, you need the style to find you
 15. Try not to compose one imagine but one as result of the millions of imagines 16. Never accept critique on your images, nobody knows what you are looking for and nobody want anything than what they already know 17. Do something or the same thing millions of time: it does not matter
18. Don’t get inspiration from the work of other photographers: copy their work! 19. Always criticize with not a lot of respectfully
20. Never get feedback from your lady
 21. Don’t take care of the golden ratio
 22. Never take self portraits
 23. Never read books about photography, you will find nothing ( buy a book of poetry instead) 24. Every shooting situation does not count, the difference is in the post production, different than you expect
 25. Always produce imagines of high quality 26. Discover the things you cannot think about thinking with words 27. We don’t have time to become a good photographer
 28. The best equipment is what you have now
 29. You can take photographs of everything
 30. Break the rules of photography but not your camera and your computer
 31. Camera and computer is the same instrument of your scene
 32. The eye does not count in modern world

33. ‘Nice Shot’ is not a very useful comment 34. Amazing! Isn’t useful either 34. Never try to describe specifically what you are doing with an image
 35. You are your camera
and your computer, whatever they will produce for you  36. Every image is better than a bad one
 37. Everyone has to start very fast and with no limits
 38. Your opinion about photography is not important to anyone!
 39. The only important thing is to get something useful for your architecture project 
40. Never limit your photograph to the substance
 41. Post processing = everything! 
42. Use any application of the IPhone, I pad, computer as much as possible, 43. Always remember what brought you to photography: architecture! 
44. Always press another bottom, the better image is unpredictable. 45. Mistakes are all we need 46. If you have an idea, you immediately think, and loose any imagine 47. Shoot and play with the virtual as often as possible
48. Don’t believe in yourself
but in the computer 49. Be afraid of getting dirty
50. Pay attention to quality 
51. 
Try to amplify your mental and physical limits. Never think “it’s enough”
52. Pay attention to structures and not to decorations
53. Print your images in big size. 54. Calibrate your monitor. Working with a monitor that is not accurate is like being together with someone you can’t trust. It always ends badly.
 55. Fight your laziness! Creativity comes AFTER discipline.
56. Never ask yourself : what do you want to express in my images ?
It is the imagine that express you and your architecture 57. Always try to think outside the box, collect new ideas = new applications 58. Doing all of this is never a waste of time. 59. There will always be people who will not like what you are doing.
60. Henri Cartier-Bresson was wrong when he said that “Your first 10,000 imagines are your worst.”
61. A better camera, computer guarantee better images.
62. Never have printing in mind when you post process your images, the printing is another opportunity to get something never seen before.


 

 

 

 

 

ELECTIVE

 

DIA - DESSAU INSTITUTE FOR ARCHITECTURE

2017

 

LEARNING FROM MUSIC

 

 

 

 

Music is an art that can contribute to the knowledge of architecture if it not only use as a background o as a soundtracks of our everyday life activities.

Traditionally architects have referred to music as a structure or system of proportion, as in the Palladio studies by Rudolf Wittkower.

The famous words of Nietzsche, “Architecture is frozen music”, could be a good start to enter another level of the implication between music and architecture.

More like: how Architecture could become frozen music?

This requires a learning curve. 1. Listen to music as a form of space:  Look for music line and pattern: 2. Use architecture as an art able to host music space. 3. Add a Human Element. 4. Wait for the combination of the double form of music and architecture to become one thing. 5. 6. Look For Converging Lines. 7. Embrace Distortion: 8. Be Aware Of (But Not Intimidated By) the sound and the score. 9. Look For Reflections (And Don’t Get Caught In One). 10. Look for geometry: 11. Use The Best Image Sound and Quality Settings.

Since I found music at the beginning of my professional carrier, I have learned different things which I would like to share with you in this elective. These lessons have made me richer and I hope that you will find them refreshing and inspiring on your journey from the restrictions of logic to the making of analogy, as the richness language for architecture.

 

 

 

ELECTIVE

 

DIA - DESSAU INSTITUTE FOR ARCHITECTURE

2017

 

LEARNING FROM ARCHITECTURE TREATS

 

 

 

 

 

 

 

 

 

 

 

 

 

The elective will continue the series “Learning from” everything that can contribute to the knowledge of architecture, if is not only use as a far away background of our everyday architectural activities. The 400th Architecture Treaty is the introduction of a theory, replacing the old practice based on empirical facts, in which architecture was regulated by repetition of numbers and privileged measures to express the authority of a particular empire, or the symbology and proportions of a particular religious practice. This semester we will learn from treats, in particular from the Leon Battista Alberti De res Aedificatoria, published in the fifteen century, the first book who has introduced a scientific mentality in the history of architecture.

What is this scientific mentality? In architecture, for Alberti, the scientific enterprise is instinct of truth. Acting to build something real and practical is virtuous action and hence there is also an instinct of virtue. The scientific enterprise is therefore instinct of truth, virtuous and practical. 
Mathematics, will say years later Galileo Galilei, is the language in which nature is written, and so comes the superiority of rationalism that questions nature with mathematics and not merely with the senses of man. It is a decisive moment from which many of our architectural certainty derive. For Leon Battista Alberti the ancient building is however used to reinvigorate the theory and practice of building, by placing ancient forms in a very different way, both structurally and formally, from those of the past. The students are invited to study this fundamental text of architecture and produce a design or a constructive detail in which architecture is related to its theoretical description.

 

 

DESSAU STUDIO TERRAGNI - MASTER COURSE IN ARCHITECTURE

 

 

STUDIO

DIA - DESSAU INSTITUTE FOR ARCHITECTURE

 

2014 -2015

SECOND SEMESTER

 

AFTER GEOMETRY 2

 

 

 

 

 

Motionless: forced to double meaning, or brought to perceive the sensible reality not through the physical form of experience, the built, but by simulating reality itself in a virtual world that anticipate the sensory emotions that SO remain too far away to be expected. 

We can no longer wait, we have to respond to the conditions of modern history, the urban forms that contain sublime imaginations and preserve the Constitutive Act, the initial thought, the  imaginative action; the city therefore must reserve spaces for being abstract, must allow its contemporaneity, must deliver the fields of experience. 

Deprive the inexorably and rapid decline of residential urban form, in which, on one hand we can still understand the boundaries of History, but on the other we have confused the idea of ​​living with the floor area, the idea of ​​life as evolution + revolution with the idea of  citizens considered as patients, a subject to be help and save by a planning department.

We must observe and listen to this dissonances, perceive and read the differences, design through the "conflicts" of the contemporary world.

All of this will be invistigated this semester in the studio trought a series of proposal for new type of residential buildings where the language of architecture will be tested through a set of new parameters.

 

 

STUDIO

DIA - DESSAU INSTITUTE FOR ARCHITECTURE

2015-16

FIRST  SEMESTER

 

AFTER GEOMETRY 3

 

 

 

 

 

Welcome to After geometry III where you can see an incredible talent of students at DIA.

The university here is like a Riverrrun of people, cultures, imaginations, languages, religions, abilities, colors, lights and shadows, hearts of different cities, visions........

Riverrun is the first and last word of Finnegans Wake by James Joyce. It ‘a new word. Everyone knows that River is the river and Run is run.

The compound word, however, becomes a new character, a suggestion of the sound texture, and introduces us to the experience of bring- ing things together and see the flow.

RIVERRUN has three times the letter R that makes the rhythm of passing the internal structure of the word.

Art and architecture here are not a matter of style or ideas, is the experience of our meeting and clash with the Riverrun flow.

As a day of endless years, sharing every morning...... where the truth is relative to matters. 

 

 

 

STUDIO

DIA - DESSAU INSTITUTE FOR ARCHITECTURE

2016-17

FIRST SEMESTER

 

AFTER GEOMETRY 4

ASSISTANT: KSENIA KALACEVA

 

 

 

 

“La varietà di forme appare spaventosa, quasi qualsiasi cosa è arbitraria” scrive Darwin e D’arcy Thompson nel suo famoso Crescita e forma del 1942,   descriverà  una straordinaria teoria delle trasformazioni delle forme in termini geometrici e meccanici

L’idea che il minerale sia amorfo come pietra grezza,  come cumulo di nubi, come acque agitata, è collegata, da un  lato, al concetto di caos primordiale, dal quale il soffio divino avrebbe tratto i viventi come strutture composte e ordinate. Dall’altro lato, e in tempi più recenti, essa si è sviluppata insieme al concetto di evoluzione per selezione naturale. La materia inorganica non si riproduce, non si moltiplica, e quindi  non può fruire della ragionevolezza imposta alle cose vive dalla “sopravvivenza del più adatto”.

Le forme non viventi sono tuttavia precise, eleganti, complesse e libere da quelle sgualciture, storture e decadenze che le forme vive hanno come carattere essenziale. Un cristallo di neve, un arcobaleno, una galassia a spirale e un umile schizzo di latte sono configurazioni complesse, perfette e ricorrenti. Tutta la cristallografia è un inventario di perfette geometrie solide, di trame squisite e splendenti, di molteplicità inesauribili intorno ad alcune regole inderogabili. La materia minerale non è solo artefice di esattezze, ma delicata pittrice di forme libere ed eleganti, come venature di marmi, zampilli d fontane, pennellate di nubi. Le forme minerali corrispondono talvolta, ed in modo sorprendente, a forme di piante e animali .

 

Similmente l’acqua ha una sua immaginazione formale e una sua immaginazione materiale. L’acqua rimane se stessa a dispetto di tutti i recipienti, occorre che essa trovi una materia che le dia la sua forma poetica, la sua profondità.

In architettura l’acqua è il principio della mescolanza, crea l’impasto di terra, cemento, sabbia e acqua la cui combinazione è lo schema fondamentale della materia dell’architettura. Un materia che allo stesso tempo resiste e cede e in generale accoglie tutte le bivalenze.

Non s’insisterà mai abbastanza sul concetto di fluidità nel progetto d’architettura, sull’attitudine dell’acqua a combinarsi con gli altri elementi, per avere materia capace di forma.

Questo potere di legare è qualcosa da imparare dall’acqua, un elemento magico e luminoso con cui impastare e far lievitare i diversi elementi che compongono lo spazio dei nostri progetti.

Una composizione in cui gli elementi assumono con difficoltà la loro forma, per poi perderla nell’impasto che sostituisce la visone pura e stanca dei solidi volumi, con metamorfosi così profonde dal contatto con l’altro da risultare un legante universale tra azione e visione, tra geometria e dopo la geometria.

 

"The variety of forms seems frightening, almost anything is arbitrary" writes Darwin and D'arcy Thompson in his famous Growth and Form 1942,  describes an extraordinary theory of transformations of the forms in geometric and mechanical terms
The idea that the mineral is amorphous as rough stone, as a cluster of clouds, and as the waters agitated, is connected, on the one hand, to the concept of primordial chaos, from which the divine breath would suddenly living as composed and ordered structures. On the other hand, and in more recent times, it has been developed together with the concept of evolution by natural selection. Inorganic matter does not play, does not multiply, and therefore can not qualify for the reasonableness imposed on living things from the "survival of the fittest."
The non-living forms, however, are precise, elegant, complex and free from those creases, distortions and forfeitures that the forms have lives as an essential character. A snowflake, a rainbow, a spiral galaxy and a humble sketch of milk are complex configurations, perfect and recurring. All crystallography is a perfect inventory of solid geometry, of exquisite and shiny textures, inexhaustible multiplicity around some mandatory rules. The mineral matter is not only the creator of accuracies, but delicate painter of free and elegant forms, such as marble veins, jets of fountains, clouds brushstrokes. The mineral forms correspond sometimes, and in a surprising way, to forms of plants and animals.

Similarly, the water has a formal imagination and his material imagination. The water remains itself in spite of all the containers, it is necessary to find a material that gives its poetic form, its depth.
In architecture, the water is the beginning of mixing, creates the mixture of earth, cement, sand and water whose combination is the basic scheme of the field of architecture. A material that simultaneously resists and yields and in general welcomes all bivalence.
We do not be stressed enoughn on the concept of fluidity in the architectural project, on the attitude of water to combine with the other elements to have material able to form.
This power of binding is something to learn from the water, a magical, luminous element with which knead and let rise the different elements that make up the space of our projects.
A composition in which the elements assume by difficulties their shape, and then lose it in the dough that replaces the pure and tired of mink solid volumes, with such deep metamorphosis from the contact with each other as to be a universal binder between action and vision, between geometry and after the geometry.

 

 

 

STUDIO

DIA - DESSAU INSTITUTE FOR ARCHITECTURE

2016-17

SECOND SEMESTER

 

AFTER GEOMETRY 6

ASSISTANT: LENA POZDNYAKOVA

 

 

 

 

CAMBIAMO D’ABITO?

 

Nei progetti di After Geometry 6 la notazione tridimensionale ci ha insegnato che LE IDEE SONO SEGNI e i segni sono veicoli di conoscenza ( punti, linee, superfici e tutte le notazioni grafiche che ne conseguono). Lo spartito dell’architettura contemporanea assomiglia a un mobile di Calder, che, come ha scritto Earl Brown, è un oggetto con nessuna libertà di interpretazione ma con una grande molteplicità di scelte, un oggetto che si muove a seconda dell’ambiente in cui si trova.

 

INIZIALMENTE SI TRATTA DI EVITARE LA DISTINZIONE TRA INTERNO ED ESTERNO, E COSTRUIRE relazioni analogiche TRA queste due figure, come in un’operazione pittorica musicalmente intenzionata.

 

Dopo l’imperatore ogni generazione ha posseduto le sue case: quella che vestiva, dalla mattina alla sera, una parrucca settecentesca, quella che vestiva un abito gessato con cappello ottocentesco.Ecco, oggi, abbiamo bisogno di case in blue jeans, case che strutturalmente e non solo per cosmesi, siano giovani, piene di energia, dinamiche per la nostra era digitale, fatte non di forme ma figure animate, la cui danza non si riesce a fermare e ridurre all’imperativo del silenzio dell’architettura del re, della regina e del vescovo o a quella del bisbigliare nelle orecchie della ricca borghesia europea.

 

Case che facciano sorridere e la cui energia tridimensionale sia solo l’inizio delle loro capacità.

 

 

SHALL WE CHANGE DRESS?

In After Geometry 6 projects, three-dimensional notation has taught us that IDEAS are SIGNS and signs are  vehicles of knowledge(dots, lines, surfaces, and all the resulting graphic notations). The partitura of contemporary architecture resembles Calder's works, which, as Earl Brown wrote, is an object with no freedom of interpretation but with a wide variety of choices, an object that moves according to the environment in which it is find.

INITIALLY IS PROHIBITED TO AVOID THE DISTINCTION BETWEEN INTERIOR AND EXTERIOR, AND CONSTRUCT ANALOGUE RELATIONS BETWEEN THESE TWO FIGURES, AS IN A MUSICALLY INTENDED PICTURAL OPERATION.

After the Emperor, every generation owned its own houses, the one that wore from the morning to the evening an eighteenth-century wig, the one dressed in a gown dress with a nineteenth-century hat.Here, we need homes in blue jeans, structurally and not only for cosmetics, young, full of energy, dynamic for our digital era, made not for shapes but animated figures, whose dance fails, stops and reduces the imperfection of the silence of the architecture of the king, the queen and the bishop or that of whispering in the ears of the rich European bourgeoisie. 

Homes that make them smile and whose three-dimensional energy is just the beginning of their abilities.

 

 

STUDIO

DIA - DESSAU INSTITUTE FOR ARCHITECTURE

2017-18

FIRST SEMESTER

 

AFTER GEOMETRY 7

 

 

 

This semester we will work on the theme of the “Palazzo Milanese”.

The studio will propose two different actions: a close up reading of some modern masterpieces and a project with the after geometry strategy. The area selected for the project is the Porta Romana railway in Milano, one the new big development in the city.  

The studio program is related to the fact that any works of architecture is in relation with the cultural context by analogies. When one has to design a building, usually the city and the site have particular situations and very often are already determined by the urban planning or by the client.

By knowing the local types and languages, it is possible to criticize them by investigating new strategy of transformation, avoiding consolatory adaptation to specific situations and conditions.

In the studio After geometry we believe that is precisely this transgression that is the sense of architectural works, and not a vague search for appropriateness, politeness and correctness, which hide conformism and often lead to pastiche or pure abstraction.

This semester the topic will be the modern House type, as a basis for development of new proposal of architecture within the urban.

Thanks to the works of master who built architectures that represent the Milan approach to modernity, we will selected cases to be studied because of their original approach, with a close up reading in terms of language, structures, architectural elements, compositional mechanisms, in search of transformation of them in the contemporary world of the After geometry.

In particular we will look to these example: Casa Rustici by Terragni and Lingeri, Casa Andreae by Minoletti,

Condominio XXI Aprile and Casa in via Lanzone by Asnago e Venders, the Complex in Corso Italia by Luigi Moretti, Casa Rasini by Ponti and Lancia, the complex in Via Broletto by Figini and Pollini and the Edificio residenziale in via Ippolito Nievo by Caccia Dominioni.

The new proposal will have great freedom to express themselves, between theory and practices. To reflect about the past is very useful only we are looking to the architectural structure as an expression of new way of thinking.

 

 

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