Published: Monday, December 03, 2007
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"The space dimension of this almost un-contaminated landscape recalls ancient conflicts, provoking attitudes which contrast with some key factors such us the horizontal line, the nature, the sea, historic traces, elements that have maintained their force and integrity in spite of last interventions: the creation of an industrial zone and the construction of a highway." says altro_studio on Holiday living unit in Sentina. More
"The combination of reciprocal sensory interferences becomes a compositional tool: sight, hearing and touch take turns in a succession of indefinite and simultaneous spatial perceptions." says altro_studio on Architecture pierced. More
"My steps start to become heavy, after two hours walk I decide to take a rest. Around me the landscape is desolated, sand dunes move following the direction of the wind pushing them." says altro_studio on The Invisible House. More
Our architecture can be defined experimental that is we experiment the impact a particular space has on people. Those effects, mainly related to the phenomenological and perceptive aspect, as Merleau Ponty meant, take their inspiration from a series of phenomena inherent to the contemporary reality that influence the conception of the living space.
We are talking about phenomena permeating the urban area (mobility, speed, complexity, etc...), natural phenomena (desertification, floods, earthquakes), or events concerning the whole world which, even interacting with different cultures and races, all share common elements underlined by terms such as information, consumerism, emigration, globalization etc...Our research is therefore intended as a possible response to a series of events, or, in some cases, rather like predictions sometimes approaching utopian solutions.
The concept of phenomenon is influenced by some fundamental philosophical theories (Foucault, Deleuze, Merleau Ponty) based on the connection environment-subject-individual, but also by mathematical or scientific rules, which have always been considered instrumental for the architecture.
We thus work on spaces characterized by those contrasts as closed-opened, outside-inside, visible-invisible, chaos-order, rational-organic, under-above, etc.
We use the movement as an instrument that shows a complex, but most of all, non static architecture.
We base our research on this matter along two main directions: the individual movement, which refers to the wandering space and which is represented by the empty, the smooth space on which the visual perception is based and in which the fundamental element is the route.
Crossing the territory the individual perceive the space so architecture becomes a cloth to wear and to bring with us, to be soon left on the territory once used.
The movement of architecture as it acquires subjectivity replacing the individual.
Moving parts and elements through operations such as rotating, sliding, flowing, overturning etc. it is possible to reach infinite spatial conditions in a short time no one of which prevail.
According to us this represents an alternative and different way of perceiving the space in which architecture expresses itself, not only through the searching for a form, which for us has a deductive character, but through pure and simple gesture. Just through action you can always reach different expressions.
Our architecture assumes a poor character; we use simple and essential forms, supported by the use of materials that are simple and economical.
All this does not exclude the scenic and illusory side of architecture, through this real use of its daily gestures: sliding serigraphic glass doors, drawing rotating walls, lighting elements that, moving change the perception of the space and create unique optical effects. Each structure becomes a theatrical work with no end and no beginning and without a specific plot, indeed it expresses without a script. In this sense we can define all our projects as 'kinetic architecture'
It is interesting the study and the resolution of the architectural detail related to the composition rules. For example the 'Mies Van der Rohe's cross pillar is divided into four parts to let the walls slide, or the volume itself is broken to reach the same effect.
New living types arise such as the semi-duplex, the double-face space and the holo-space, etc. Finally it is fundamental to notice that all structures are thought as the right answer to bio-compatibility and self-sufficiency. In particular the first group of architectures (architecture of movement) is characterised by natural and recycled materials while the second group (architecture in motion) is defined through automation systems, intelligent systems able to answer to the new technological living comforts.
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