Portfolio Immaginoteca - work in progress

#ART

SPERMOLA PARIS Art Exhibition + workshop

SIGNES DE NUIT

Scrittura Multiautore “L’incompresione è la base della conoscenza?” scrivere20.blogspot.com

International Short Film Festival Paris www.signesdenuit.com

#basurama Creative Recycling www.basurama.org

workshop branchez-vous

JE SUIS FOU Image Remix Exhibition

TESTOVIVO

Public SMS speculation Public Space Exhibition Information Filters as an artistic approach to #overload issue

ECOSISTEMA URBANO Urban Creative Sustainability blog co-editor www.ecosistemaurbano.org

#ARCHITECTURE

Archifood

Algomas Arte Rivoluzionario Arte quotidiano Aleatorio Automatico www.algomas.net

CTRLZ Architectures Confused Architecture and Design Speculation ctrlzarchitectures.com

Formiche THE BIG REAL

PROJECTS CONCEPTUAL MAP immaginoteca.com 2009

Esperimenti di Autopubblicazione Grafica www.formiche103.org

HDA_Paris Architecture Office hda-paris.com

complexitys.com Antonio Artista

Oscuras Cena a occhi bendati Esperimento Sensoriale algomas-oscuras.blogspot.com

Esperimenti di Autopubblicazione Letteraria www.antonioartista.org

HDA_Paris Blog Architecture and Complex Geometries

I AM NOT JEAN NOUVEL T-shirt Design

MEIPI - collaborative spaces urban collabotive maps www.meipi.org

IMAGINARIO

Indipendent Reasearch Collective New Technologies and Urban Creativity Hyper-Local Internet Urban Ambient Awareness

IMMAGINOTECA Personal Blog and Multidisciplinary Research Platform www.immaginoteca.com

www.imaginario.cc ERASMUS STUDENT NETWORK www.planeterasmus.net TU [NO] ERES [TU]

OPENARK openark.cc

#CULTURE

The roof designed for the new Visconti courtyard of the Louvre in Paris is a free-form topography composed of triangular glass modules and thermoformed textured glass on a steel grid shell.

Metal grilles and an iridescent coating are added for solar protection and light filtering.

The design is characterised by a complex and subtle interplay of textured meshes and supporting structure for visual interest and light modulation.

Louvre Museum of Islamic Arts MusĂŠe du Grand Louvre, Paris Winning Project 2005 - 2010 CREDITS | Architects : Mario Bellini Architects and Rudy Ricciotti | | Design Consultants : HDA | | Top-Left Image : Mario Bellini Architects |

Railway Footbridge Roche sur Yon Train Station France 2007 CREDITS | Architects : Bernard Tschumi (BTuA) and Hugh Dutton (HDA) | | Engineer : HDA | | Upper Image : Gaetan Kohler - HDA | | Top-Left Section : Carla Zaccheddu - HDA |

Passerella 2006, Winter Olympics Turin Olympic Village Italy 2006 CREDITS | Architects : Hugh Dutton (HDA) and Benedetto Camerana | | Engineer : HDA | | Top-right photo : Michel DenancĂŠ |

The footbridge design is a symbiosis of engineering and architecture. The architectural composition finds its logic in structural expression. The forces are clearly expressed in the dynamism of the architectural composition. We understand of the passage of forces through the deck, cables and arch to the foundations.

The curving deck and the virtual spaces created by the cables radiating as spokes from the deck to the arch all create drama and excitement. Aesthetic pleasure can be found in feeling the athletic dynamism of the structure.

http://passerella2006.blogspot.com http://www.flickr.com/groups/passerella http://www.flickr.com/groups/passerella/pool/show

The red arch became the symbol of the Olympic Games and it is today interpreted by citizen like the icon of dynamism and renew of Turin. Due to its relevance, the project had a great diffusion in the medias and innovative channels of communication were developed to establish a nearly relationship between architects and citizens, like blogs and other web 2.0 tools.

complexitys.com Architecture and complex geomtries BLOG 2009 > CREDITS | HDA Architecture Office |

Guggenheim side effects and the Architects’ originality obsession I would particularly like to share some thoughts on the idea (or even obsession) of “being original” in architecture, the meaning of copying someone or something, and what this could imply nowadays, in a time when everybody is talking about copyright and how it’s changing with new communication technologies.

This is a very complex subject and I don’t have any firm ideas or theories, but I would like to use this post just to share some thoughts on it.

In the article I’m referring to, the 80% (maybe more) of comments have a “this project looks like…” format, that’s why I’m mindfully using the word “obsession” above.

My first reaction was to think that these comments were negative, simply because they were saying that at HDA we are not original. But when I heard my principal Hugh Dutton saying happily “they’re comparing us to Calatrava, that’s great!”, I understood that my interpretation was very subjective.

In fact, being original has something of an obsession for architects, but today it’s maybe becoming an antiquated attitude.

With a bit hindsight, it’s quite crazy to think that a lot of architects (am I one?) are always looking to be original and different. I would dare to say that architects with an originality obsession are much more common than the ones with the obsession of simply doing a good project. My perception is that this is in some ways linked with making money in architecture.

If society is looking for spectacular contents, it’s quite evident that “show business” architecture is encouraged. Maybe I’m not being original if now I mention the “Guggenheim effect” and that’s why I want to be the first architect who talks about the Guggenheim side effect, defined as a phenomena of replacing architectural meaning with spectacular contents.

“Suddenly there is this great titanium-clad mountain in front of you” Doesn’t this sound as a show business language?

But maybe this is coming to an end: as @ecosistema says, “Architecture is not sensationalistic anymore. Helped by a double crisis, the one of the real estate agency and the financial one, sensible architecture is now born”.

I totally agree with this vision of architecture, and I also would like to add that the coming of a more sensible architecture is also helped by new communication technologies, as I think that architecture will soon need to redefine itself as is happening with music or movies on the web.

For music, there is a great example we can use to clarify this point: Spotify, a new web-based music browser supported by big music labels, is reinventing the music business, as it’s selling a service which allows you to listen to a large quantity of music, rather than to sell you CDs or songs.

I’m starting to wonder if we shouldn’t set out something similar for architecture.

I believe this obsession for originality comes directly from the need to sell an image rather than a design service.

This reminds me of when Domenico (Ecosistema Urbano office) said “I wish everyone copied our Ecoboulevard project all over the world” as then the office would have become the world reference for this kind of project.

That’s maybe the same wise and contemporary thinking we find, in an easier form, in one of the last comments (by PB) on the ArchDaily post: “Looks incredible – I wish more plebeian structures were this beautiful…If it’s a good solution, why not copy it when it? As long as it is well done and carefully conceived.”

URBAN APERTURE > < POROSITY AS A NEW MODEL FOR HYBRID PUBLIC SPACES > Desde hace aproximadamente 20 años, la revolución de las comunicaciones producida por Internet ha afectado de forma substancial nuestra forma de relacionarnos con el mundo.

Esto ha producido, entre otros efectos, una corrupción de la oposición tradicionalmente reconocida entre real y virtual. Se nos presenta así un nuevo paradigma que dibuja la realidad como un sistema complejo de relaciones entre la capa « presencial » (física) y la virtual. Los arquitectos y los urbanistas ya no pueden prescindir de esta nueva realidad aumentada que hemos traducido, en el ámbito urbano, con la expresión « espacios públicos híbridos ».

Esta hibridación de los espacios es solo una expresión de un cambio radical más amplio que nos traslada desde un sistema analítico (orden y separación) a otro sintético (complejidad, conexión, permeabilidad). En un sistema caracterizado por una alta capacidad de comunicación, si el espacio se vuelve una realidad mixta de presencia y virtualidad, de la misma manera la separación entre espacio privado y público se vuelve obsoleta.

En esta teoría de la permeabilidad urbana es fundamental el concepto de filtro urbano, es decir un nuevo dispositivo (¿tecnológico? ¿arquitectónico? ¿social? ¿cultural?) capaz de gestionar las conexiones privado/público, presencial/ virtual, en un sistema donde los canales no se presentan por separado si no que son comunicantes – APERTURE -. En este modelo, el espacio público se define como aquel en el que la información puede circular libremente. Dicha información pública está formada por las comunicaciones de los canales privados tamizados por los filtros urbanos. Desde nuestra visión la función de filtro non puede ser automatizada: solo las personas, a través de su sensibilidad y sus emociones, pueden resolver esta función de discernimiento.

Nuestra teoría permitiría pasar de una visión tecnocéntrica hacia una antropocéntrica, restituyendo al hombre a su posición natural de espiritualidad y de inteligencia.

#thinkark re-pensando la profesión del arquitecto thinkark.com Spain, Italy, France 2009 > CREDITS | Francesco Cingolani, Ethel Baraona Pohl, Domenico Di Siena, Manu Fernandez, Cesar Reyes, Andrea Griborio, Arquitextonica |

IMAGINARIO Indipendent Research Group # Urban Creativity # New Communication Technologies # Hybrid Public Spaces 2009 > CREDITS | Francesco Cingolani, Domenico Di Siena, Alfonso Sanchez Uzábal |

«Hyper-local Internet»: la nouvelle dimension des espaces publics des nos villes?

Contemporary technologies cause cities to evolve from a space traditionally perceived as continuous into a structure of interconnected nodes and links –network cities. In this context, every space without a unique and clear function (everything that is not a node) loses importance, especially public spaces. As it has been tested in projects such as Wikimap and Meipi, by applying some Internet technologies in a local scale (Hyper-local Internet) it is possible to create new hybrid (physical and virtual) public spaces based on geolocation and Local Social Networks to promote collaborative creation processes. [...] fournir des pistes d’action pour l’utilisation des nouvelles technologies finalisées à la transformation et à l’amélioration de nos villes. Nous pouvons affirmer qu’il s’agit d’un véritable phénomène culturel qui prétend transformer l’espace physique par des expériences dans l’espace télématique, en traduisant les modèles virtuels en langage « présentiel » de la réalité. Ce mouvement encore multiforme et non organisé semblerait être alimenté par le rêve d’une ville capable de retrouver cette vitalité et ces libertés qui aujourd’hui semblent rester limitées au monde virtuel. [...] ( ARCHITECTURE IS NOT 2.0 ) La arquitectura es el resultado de una mezcla explosiva de creatividad, dinero y poder, que produce en muchos casos esos efectos conocidos de “delirio de omnipotencia”.

Hoy los cambios en la cultura y la informacion son radicales, y los star arquitectos se han quedado atras. Como todas las grande maquinas, la inercia es demasiado grande para responder a unos cambiamientos tan rápidos. Con IMAGINARIO, hemos dicho que la nueva arquitectura tendrá que tomar en cuenta las relaciones y la comunicación como nuevos materiales de construcción de los espacios. [...]

This theoretical work explores new ideas for landscape and architecture moving from a preliminary totally abstract study.

Starting from the topical issue of connectivity, first step consist of an intellectual speculation on this concept. Connectionism is an approach in the fields of artificial intelligence, cognitive psychology and neuroscience. It models mental and behavioral phenomenas as the emergent process of interconnected networks of simple units.

Afterward, the study of vibrating systems â&#x20AC;&#x201C; typical of connectionism - and the concept of stability are used to model new usages and new representation in architectural design. The result is an approach based on mixed and undefined spaces as originating flexible and open architectural systems.

Remix

Confluence

Habiter et Technologies Nouvelles Theoretical research Ecole dâ&#x20AC;&#x2122;Architecture de Paris La Villette 2002 - 2003

Signes de Nuit Alternative International Film Festival Graphic design and Strategy planning 2003-2009 CREDITS | Director : Dieter Wieczorek |

URBAN CREATIVE VIDEO [ EUTV ] Concurso de piezas audiovisuales sobre Sostenibilidad Urbana Creativa diseño gráfico 2009 CREDITS | [ecosistema urbano] architecture office |

EUTV Eutv es una web-tv dedicada a la investigación y difusión del concepto de sostenibilidad urbana creativa. Quiere ser una herramienta de información y sensibilización con contenidos procedentes de diferentes fuentes. Es un proyecto promovido por [ecosistema urbano] CONCURSO La plataforma EUTV pretende dar visibilidad a jovenes creadores mediante un concurso de piezas audiovisuales con el que se quiere premiar los contenidos audiovisuales más creativos e innovadores sobre sostenibilidad urbana. sostenibilidad urbana creativa El tema del concurso es la sostenibilidad urbana creativa, entendida como la capacidad de proponer soluciones creativas en respuesta a problemas o oportunidades que se han detectado en su entorno local cotidiano.

Buscamos creaciones originales que sean capaces de transmitir conceptos fuertes, generar emoción y mover conciencias. participantes El concurso esta abierto a todo tipo de personas y colectivos, como pueden ser : vecinos, grupos, colectivos urbanos, estudiantes, arquitectos, urbanistas, cineastas, investigadores,administraciones publicas, universidades, asociaciones,...

Premios Las piezas premiadas serán retransmitidas en EUTV. Se editará un dvd con las piezas premiadas.

Los concursantes premiados tendrán una pieza de diseño ofrecida por Wilkhahn y la posibilidad de asistir a un curso organizado por el IED con el fin de mejorar los conocimientos acerca de la producción audiovisual.

What is a meipi?

A meipi is a collaborative space where users can upload information and content around a map. Each meipi has a particular context, which can be local (when the entries are related to a specific area), or thematic (when the content is associated with a particular idea).

How can a meipi be useful?

A meipi allows a group of users to share information around a place or a topic. It can be very useful for collaborative dynamics, workshops, associations, enterprises, groups of friends, artistic actions...

In meipi.org we already have several meipis created by different users. They cover different areas and topics, showing what a meipi can offer.

Do I need to register to participate in a meipi?

Registration is not necessary in order to navigate through the different public meipis and access the information contained in them.

Registration is needed to upload entries, and to rank and comment on them, and also to create meipis. Registration process is very quick and easy, and it has to be done only once for all the meipis where you want to participate; it is not necessary to register each time.

meipi.org / Todo Sobre Mi Barrio Urban Art on Cartography Madrid, 2007 CREDITS | In collaboration with Domenico Di Siena [ALGOMAS - Arte Rivoluzionario] Alfonso Sánchez Uzábal [Montera34] Jorge Álvaro Rey [Lamboratory.com] Guillermo Álvaro Rey [Lamboratory.com] Pablo Rey Mazón [Montera34] Laboratorio Urbano |

Spermola Paris est une intervention artistique qui se situe dans les domaines de la durabilité, de l’écologie créative, de l’innovation technologique et l’expérimentation artistique.

Pendant une semaine, des déchets récupères dans la ville de Paris (chaises, armoires, ordinateurs, …) sont exposé comme des oeuvres d’art dans une galerie. Les visiteurs sont en suite invités à venir récupérer les objets qui les intéressent et à en ramener des autres dont il ne se servent plus. Cette démarche dynamique et souvent dépaysante pour les visiteurs, engage le questionnement et l’expérimentation

de démarches participatives et de la création collective, en partant d’une provocation écologique et sur la société de surconsommation. Spermola prétend aussi focaliser la réflexion sur la valeur artistique d’un objet récupère et ayant déjà été utilisé par quelqu’un, qui possède donc une histoire et qui le rend, à différence d’un objet neuf, une pièce unique et vivante ( AUGMENTED OBJECT ).

Pendant l’exposition, une plateforme web permettra aux citoyens d’annoncer, sur un plan interactif et participatif, les objets

SPERMOLA PARIS Exposition Galerie Arslonga, Paris Echange Artistique d’objets > 2010 CREDITS | Arslonga, Basurama, Meipi |

dont il veulent se défaire. Par la suite, ce plan restera actif afin de créer une véritable plateforme d’échange d’objets.

Ce service fonctionnera comme catalyseur des dynamiques sociales et générateur de relations dans l’espace physique de la ville à partir d’un espace virtuel sur le web.

Le projet SPERMOLA sera accompagné d’une série d’atelier thématiques et pratiques sur les sujets de la geolocalisation et de la création en rapport aux problèmes des déchets dans la ville.

MEIPI ( www.meipi.fr) est un collectif qui travaille sur la geolocalisation des données et sur la création de nouvelles typologies de connexions entre l’espace physique et l’espace virtuel.

BASURAMA (www.basurama.org) est un collectif qui intervient dans les domaines de la création artistique lié aux déchets et à la récupération créative des objets.

Prince Bandarâ&#x20AC;&#x2122;s villas Preliminary studies Riyadh, Saudi Arabia 2008 CREDITS | In collaboration with Pierluigi Bucci |

Philarmonie de Paris Winning Project 2007 - 2012 CREDITS | Architects : Ateliers Jean Nouvel | | Design Consultants : HDA | | Bottom-Right Image : Ateliers Jean Nouvel | | Bottom-Left Image : Pierluigi Bucci - HDA |

Option Explicit ‘Script written by <insert name> ‘Script copyrighted by <insert company name> ‘Script version mercredi 25 juin 2008 10:05:58 Call Main() Sub Main()

Dim dblTol : dblTol=0.01

Dim intest : intest=0

Dim i,j,k,v, inIncr, arrPtDiv

Dim strCrv1: strCrv1 =1

Dim strCrv2: strCrv2 =2

Dim arrPtBase : arrptBAse= array(0,0,0)

Dim arrPtA : arrPtA=arrPtBase

Dim arrPtOrdYBef: arrPtOrdYBef=1

‘Layer Creation

Call Rhino.AddLayer (“__SCR_POINTS_1”, rgb (255,0,0),,,”SCRIPT”)

Call Rhino.AddLayer (“__SCR_POINTS_2”, rgb (0,255,0),,,”SCRIPT”)

Call Rhino.AddLayer (“__SCR_POINTS_3”, rgb (0,0,255),,,”SCRIPT”)

Call Rhino.AddLayer (“__SCR_CRV_1”, rgb (0,0,100),,,”SCRIPT”)

Call Rhino.AddLayer (“__SCR_CRV_2”, rgb (0,100,0),,,”SCRIPT”)

Call Rhino.AddLayer (“__SCR_TRI_1”, rgb (120,100,80),,,”SCRIPT”)

Call Rhino.AddLayer (“__SCR_TRI_2”, rgb (100,0,150),,,”SCRIPT”)

‘Number of lines

Dim InLines : InLines=Null

Do While isNull(InLines)

InLines = Rhino.GetInteger (“Number of Lines”,99,1,200)

Loop

‘Number of segments for the last lines (shorter)

Dim InSeg1 : InSeg1=Null

Do While isNull(InSeg1)

InSeg1 = Rhino.GetInteger (“Numbers of segments 1 (west part of shorter line)”,1,1,10)

Loop

Dim InSeg2 : InSeg2=Null

Do While isNull(InSeg2)

InSeg2 = Rhino.GetInteger (“Numbers of segments 2 (central part of shorter line)”,3,1,10)

Loop

Dim InSeg3 : InSeg3=Null

Do While isNull(InSeg3)

InSeg3 = Rhino.GetInteger (“Numbers of segments 3 (east part of shorter line)”,3,1,10)

Loop

‘dimensioining matrix of points

Dim InCrvSeg:InCrvSeg=InLines+InSeg1+InSeg2+InSeg3-1

ReDim arrPtCrv (InLines-1,InCrvSeg)

ReDim strCrv1 (InLines-1), strCrv2 (InLines-1), strCrv3 (InLines-1)

Dim strCrvBef1 : strCrvBef1 = Rhino.GetObjects (“Select curves 1”, 0, , , True)

Dim strCrvBef2 : strCrvBef2 = Rhino.GetObjects (“Select curves 2”, 0, , , True)

Dim strCrvBef3 : strCrvBef3 = Rhino.GetObjects (“Select curves 3”, 0, , , True)

‘ordino le curve

ReDim arrPtOrd0 (InLines-1), arrPtOrd1 (InLines-1)

ReDim arrPtOrdYBef0 (InLines-1), arrPtOrdYBef1 (InLines-1)

ReDim strCrvBef1B (InLines-1), strCrvBef3B (InLines-1)

Dim t0

‘order lines

Call Rhino.CurrentLayer(“__SCR_POINTS_1”)

For i=0 To InLines-1

t0= Rhino.CurveDomain (strCrvBef2(i))

arrPtOrd0 (i) = Rhino.EvaluateCurve (strCrvBef2(i), t0(0))

arrPtOrd1 (i) = Rhino.EvaluateCurve (strCrvBef2(i), t0(1))

Call rhino.addpoint (arrPtOrd0(i))

Call rhino.addpoint (arrPtOrd1(i))

arrPtOrdYBef0(i)= arrPtOrd0 (i) (1)

arrPtOrdYBef1(i)= arrPtOrd1 (i) (1)

For j=0 To InLines-1

‘Call rhino.print (strCrvBef1(j))

If Rhino.IsPointOnCurve (strCrvBef1(j), arrPtOrd0 (i))= True Then

strCrvBef1B(i)=strCrvBef1(j)

End If

If Rhino.IsPointOnCurve (strCrvBef3(j), arrPtOrd1 (i))= True Then

strCrvBef3B(i)=strCrvBef3(j)

End If

Next

Next

Dim arrPtOrdYAft : arrPtOrdYAft = rhino.sortnumbers (arrPtOrdYBef0,False)

For i=0 To InLines-1

For j=0 To InLines-1

If arrPtOrdYAft(i)= arrPtOrdYBef0(j) Then

strCrv1(i)=strCrvBef1B(j)

strCrv2(i)=strCrvBef2(j)

strCrv3(i)=strCrvBef3B(j)

End If

Next

Next

‘big loop

Dim dblLen

Dim InCrvSeg2:InCrvSeg2=InLines+InSeg2-1 Dim ub1, arrptcrv1, arrptCrv2, arrptcrv3 For j=intest To InLines-1

Call Rhino.CurrentLayer (“__SCR_POINTS_2”)

‘Lenght of line

dblLen = Rhino.CurveLength(strCrv2(j))/InCrvSeg2

arrPtCrv1=Rhino.DivideCurveLength (strCrv1(j), dblLen, True)

arrPtCrv2=Rhino.DivideCurve (strCrv2(j), InCrvSeg2, True)

arrPtCrv3=Rhino.DivideCurveLength (strCrv3(j), dblLen, True)

‘Call rhino.addpoint(arrPtCrv2(1))

‘Call Rhino.DeleteObject (strCrv2(j))

ub1=ubound (arrPtCrv2)

For k=0 To inCrvSeg2+inSEg1+insEg3

If k<=inseg1 Then

arrPtCrv(j,k)=arrPtCrv1(inSeg1-k)

End If

Jiang Tai Winter Garden Beijing, China Project and Scripted Geometry for the Main Hall 2007 CREDITS | Architects : Benoy | | Specialist Design Consultants : HDA |

One Islan East Canopy and Facades Hong Kong 2007 CREDITS | Architects : Wong & Ouyang | | Specialist Designers : HDA |

Cerco di mettere in forma questo stato d’animo indescrivibile questa sensazione del dopo sicilia, e le emozioni che mi hanno violentato laggiù.

Ho scritto di sera in un letto che puzzava di mare: lo spettro delle sirene.

Siracusa: appena arrivato lo iodo ti entra subito in circolazione, come per via endovenosa. La puzza di mare dappertutto, per strada nella corte nei bicchiere fino ai fazzoletti e nei cessi.

E’ tutto bello, anche troppo.

Due parole per questa bellezza: genuina, spessa.

Le mura sono a pezzi e si spellano, niente e’ liscio e niente e’ splendido.

I balconi e le piante e i cani si arrampicano sulle pareti ci sono mille dettagli, nessun concetto Guardi e non puoi definire; qui guardi e prendi, c’est tout.

Non c’e’ questo o quello: c’e’ tutto ed e’ tutto mescolato.

I mattoni caduti e l’intonaco scrostato, il sole giallo e il mare bianco.

Ci sono solo dettagli, e nessuna bellezza intellettuale e fredda.

Come vita pura, senza senso.

Una bellezza senza unghie, smalto o capelli.

Il mare, il sole, le piante: tutto il resto non serve.

Io non so niente della Sicilia, ma mi sembra un posto pieno di sogno.

Un posto intriso di sogno. E sento Antonio che dice, con la sua particolare cadenza: “Ce n’e’ molto, ma non troppo” E’ tutto evidente, senza rivestimento, quasi violento, senza mediazione Credo che questa violenza noi la dobbiamo preservare, anzi dobbiamo moltiplicarla, costruirne di piu’, perché è una violenza che mi piace.

La violenza delle vertigini che ti atterriscono sopra il mare.

E’ una violenza che mi piace perché è fatta di terra, e’ la violenza di quando ti strappi le unghie e le cose inutili.

La terra e’ roccia, le morbilità e le curve e le dolcezze sono riservate al dentro, alle lenzuola di notte, alle case, ai colori.

Il paesaggio è aspro, bello ma senza pietà.

E in citta’ i balconi coi panni stesi: significa che ci sono famiglie, ci sono unioni sacre, cose che ci sfuggono nei giorni normali.

La citta’ deve farci vedere che la vita c’e’ e che non la stiamo soltanto sognando.

Mi e’venuto in mente e forse anche a marco e concetta guardando le catenarie della ferrovia che dobbiamo intervenire, e non progettare.

Ecco, ho pensato di intervenire.

Mi piacerebbe appiccicare sopra quello che c’e’ gia’, appoggiarsi per punti delicatamente e soprattutto stare attenti a quello che togliamo.

La cosa piu’ difficile e’ creare qualcosa nel vuoto, per questo in ogni area dobbiamo riportarci al mare, dobbiamo spingere verso la costa, dobbiamo tracciare in perpendicolare rispetto alla citta’ che esiste oggi.

Dobbiamo essere delicati, ma non come in un centro storico. Dobbiamo essere delicati perche’ io voglio che la gente senta un po’ di questa violenza che ho sentito io sulla scogliera. Insomma, c’e’ da stare attenti. Forse tra il collegamento e la barriera.

Bisogna costruire un equilibrio sottile fra l’apertura e il mistero.

Città Pi-adica landscape and urban planning Europan 9 competition Selected project Syracuse, Italy 2007 | In collaboration with : Marco Riccobelli, Concetta Sangrigoli, Sante Consiglio |

¡EXPRESATE! es un proyecto donde confluyen arte, arquitectura y nuevas tecnologías de la comunicación.

Se trata de un lienzo gigante desplegado en la fachada del edificio. Dicha superficie está concebida como una pantalla interactiva, un espacio virtual a disposición de la ciudad y de los ciudadanos. Los habitantes de Madrid, así como de otras partes del mundo, pueden enviar sus imágenes, textos, vídeos y animaciones vía Internet o teléfono móvil para que sean publicados en la superficie luminosa. La obra pretende devenir para la Asociación de la Prensa y para Madrid un espacio de exposición innovador y una nueva herramienta de expresión para la ciudadanía. Toda la gente puede expresarse libremente: la superficie luminosa alterna continuamente imágenes, colores, pensamientos e ideas, como un río dinámico y en continua mutación.

Es un flujo de conciencia colectiva que toma vida en el pensamiento de una comunidad multicultural.

La gestión de los contenidos y el acceso de los usuarios se efectúan a través de un portal Web. El proyecto se sitúa en el campo de la participación ciudadana y se relaciona con los temas de la Web 2.0, la autopublicación, las creative commons y las experiencias de creación colectiva como Wikipedia y Wikimap Madrid.

La fuerza de estos medios de colaboración atrae actualmente el interés de ámbitos cada vez más extensos y diferentes como el arte, el comercio o la acción social; de tal forma que se ha llegado a hablar ya de revolución 2.0. ¡EXPRESATE! pretende aplicar estos paradigmas a través de la experimentación con una herramienta innovadora que permita la libertad de expresión real y directa, apoyándose en las posibilidades que ofrecen las nuevas tecnologías de la información y de la comunicación (NTIC).

La gran pantalla luminosa está constituida de 3126 minipantalla de baja resolución gestionadas por un ordenador central conectado a Internet. La energía eléctrica necesaria para el funcionamiento del sistema, constituido por paneles de bajo consumo energético, está proporcionada por diversos paneles solares instalados en la azotea del edificio. Una antena situada por encima de la pantalla garantiza la cobertura inalámbrica en un radio de 100 metros; metaforicamente ,dicha antena pretende divenir el símbolo de esta obra, que supone una interpretación contemporánea de la libertad de expresión. ¡EXPRESATE! Monument to freedom of expression Order of Architects of Madrid (COAM) International idea competition Selected project for publication Madrid 2006 | In collaboration with : Pierluigi Bucci, Domenico Di Siena |

Une jeune plante aromatique = 10cm x 10 cm = 100 cm2 = 0,20 euros 1000 euros = 1000 / 0,20 = 5000 jeunes plantes aromatique 5000 jeunes plantes = 10cm x 10 cm = 100 cm2 x 5000 = 500000 cm2 = 50 m 2 d’architecture vive, étonnante, curieuse, écologique, utile, échangeable, didactique, durable, modeste.

Une cour envahie par des petites plantes aromatiques. Une structure architecturale rythmée par des draps blancs qui retiennent le odoeurs et les aromes des plantes. Un appartement labyrinthe habité par des petits êtres vivants végétaux.

Des plantes simple mais puissantes, des ingrédients du notre quotidien.

Les visiteurs sont invités à une promenade dans cette maison aux murs blanche et parfumés, et aussi à prendre une plante pour la ramener chez eux, en laissant en échange un objet quelconque.

Peut être un papier avec une frase dessus, une cigarette, un chapeau, un rouge à lèvre, une vielle chaise, un t-shirt…

L’exposition changera son visage de jour en jour, en fonction des interventions de chacun.

Champ de plante au début, la cour sera à la fin une mosaïque qui nous dira des petites choses sur les habitants.

Les photos prises au cours des jours montreront l’évolution d’un paysage, une plaine verte sur laquelle il n’y aura plus des plantes, mais peut être une ville. Surconsommation du territoire ?…

BIOPACMAN veut être surtout crée un dépaysement au regard d’une idée de l’art comme quelque chose de fortement construit. On essayera ici de ne pas avoir du style.

On aime ensuite imaginer que chaque morceau de l’oeuvre sera ensuite « exposé » dans la cuisine des habitants de Montpellier, une micro oeuvre d’art oublié qui servira à donner du gout.

Nous avons nommé cela Arte Quotidiano.

Venez le prendre : ils seront bientôt dans vos bouches.

BIOPACMAN Sentir Vert Proposition pour le Festival d’Architectures Vives (FAV) Montpellier, France 2009 CREDITS | CTRLZ Architectures (Francesco Cingolani, Massimo Lombardi |

Architecture Sensorielle Theory for an artistic approach to architectural design Final Project Ecole dâ&#x20AC;&#x2122;Architecture de Paris La Villette UniversitĂ Politecnica delle Marche Theoretical research, master plan and architectural design 2003 - 2004

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UIA Infopoint International open competition Turin, 2007 | In collaboration with : GaĂŤtan Kolher, Marco Riccobelli |

Info point is constituted by two re-used cargo containers (1) staying in front of each other in order to create a small public square into the bigger one Piazza Castello. This configuration allows to define between the containers a human scaled wooden platform (2) for citizens where one can sit, meet people and keep informed about events. The Info point is enveloped by a system of light and moving elements, made of articulated steel structures supporting textile surfaces (3). Envelop can be closed or opened and fabric elements moved in order to design evolving scenarios during night and day and in function of usersâ&#x20AC;&#x2122; needs. Vertical surfaces of the envelop can be used as a flexible and tentacular support for exhibitions (4). On the top, an array of funny sunshades provides solar protection and can be used as projection surfaces for information, images and videos (5). Like some big flowers, these articulated structures integrates photovoltaic cells into the fabric and collect sun energy during the day and give colored light at night. This animated performance of lighten flowers stand as a mark for the info point and contribute to transmit the icon of contemporary and eco-aware architecture.

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...//LANDSCAPE//...This is a wood blades hill for bat roosting. A vertical bat-scaled landscape...// DIVERSITY/...On the hill, bats can choose their preferred location. They have a large range of accommodation solutions. Internal (1) and external (2) wood blades roosts have different sizes, shapes, sun exposition and thermal condition. Internal boxes (3) rounding the lift (4) provide an artificial cavern atmosphere for bats, and underground ones (5) have a better thermal stability, granted by the earth-insulating effect.../ACCESSIBLE///..

Internal lift Boxes are accessible for both researcher and visitors. Researchers can easily access and take away boxes for maintenance and monitoring. Visitors can enjoy a real vertical promenade in the dark among bat roosts. Using Night Vision Binoculars, you can observe bats in their roosts trough a glass. A special glass interlayer will be used to totally avoid light and sounds entering boxes. .../FLEXIBLE/...The oval steel frame (6) is a modular system that you can replicate and use in different location with new configurations depending on and thermal needs and size. Using the same elements you can do A or B or C+D. ///VENTILATED/// Internal space has mechanical windows to let air circulate providing thermal regulation. Moreover, bats can freely circulate through. //BAT LIGHTS// Mercury vapor lights (7) are used to encourage moths and other flying insects from the lake and, consequently, attracting bats. ///GUANO/// A system for bat guano cleaning and recycling is integrated in the project. In fact, a gutter-like blade and a system of grid-boxes (8) in the ground. ///BATS 2.0/// An infrared web-cams network provide to constantly record bat images. A web 2.0 internet site will manage image data to build a really online interactive exhibition. Computers will be installed in the main buildings of the WWT centre. Bye.../// Bat House Project RIBA Competition for a Bat House London Wetland Center 2007 CREDITS | CTRLZ Architectures ( Francesco Cingolani, Massimo Lombardi ) |

LONDON (’s) BREATH(S) floating adaptable art gallery INternational competition London 2008 CREDITS | CTRLZ Architectures ( Francesco Cingolani, Massimo Lombardi ) |

Scientists think that ice will probably disappear from the North Pole for the first time by this summer 2008. We would like to express our solidarity with the hungry - and probably angry - polar bears that will soon reach our lands (?) trying to find some dry land and food. /// What about architecture? The earth and the city - AND THE BEARS - need ideas being able to cope with ecological issue and to establish a radically new relation between architecture and nature. /// This is why we’ve imagined for “London 2008” a breathing and living architectural objet, in order to give a strong iconic value to THE gallery that will contain, produce and distribute ideas about the future of the cities. Living beings basically differ from the unanimated ones in their ability to create relations and interact with the environment they’re living in. /// Like a weird animal generated by the River Thames, our proposal consist of a complex organism formed by different elements (skin, eyes, arms, heart, lungs, etc.) interacting with forces of nature to establish a mature and respectful – LOVing – relationship with environment and nature. /// The main roof, floating like a jellyfish, is composed by a translucent, elastic and flexible skin. This surface uses a structural system made of semi-rigid fiberglass elements, something like camping tent poles. This allows the roof to lightly move and change his shape depending on the wind solicitations, like a soap bubble when we blow on it: this is how the gallery breathes. On top, a random array of helium solar balloons provides for solar energy supply during the day and become a funny set of lamps at night standing as a signal in the skyline of London. When the gallery moves along the river, solar balloons can be retracted to stay on the jellyfish roof. Exhibition spaces and observation area are imagined like piston boxes, with a platform that lifts using the energy of the river coming from some water turbines. The movement of these iron lungs creates an added vertical promenade for visitors, which experience the sensation of floating on a living architecture.

DAZHONGLI SKYLIGHT STUDIES Surface Developability Study Generative drawings using Rhinoscritp and Grasshopper 2008 CREDITS | Architects : Wong & Ouyang | | Design Consultants : HDA |

Aiguille d’acier Arcelor “Art is Steel” Competition Open competition 2006 | CREDITS : HDA |

FIAT Topolino Retractable footbridge and scenography study Turin 2007 CREDITS | Designers : HDA |

Taikoo Bowl Footbridge Island East - Hong Kong, 2006 CREDITS | Specialist Designer : HDA | | Architectt : Wong and Oyuang |

Swire propertiesâ&#x20AC;&#x2122; developments at the eastern end of Hong Kong Island are separated from the harbour by undeveloped open areas currently used as government storage and refuse treatment. The company proposed to develop the area into an arts centre and park for public use. A busy access road to the under harbour tunnel cuts off the future park area from the densely populated office and housing developed managed by Swire.

HDA were commissioned as specialist designers to study a footbridge connection over the road. The brief included the creation of a signal to create a focus of attention to the future arts centre activities.

The proposed cable stayed design involves a 40m high mast steel tube from which a simple 4m wide steel deck is suspended.

The mast is fabricated from steel plate with perforations whose density gradually change as a function of the forces in the mast, from solid at the highly loaded base to a delicate filigree at the head where the loads are smallest.

The perforations also assist in aerodynamic behaviour of the mast to avoid aeroelastic excitation by creating turbulent air flow as well as reduce mass where it is not required. The filigree pattern creates visual interest and is a support for architectural lighting.

The deck is suspended with a fan array of cables that support the deck at optimal points to avoid torsional loading and simplify the erection procedures over the roadway.

bLED (in francese “cerale”) riunisce con semplicità ed elegenza forme naturali, risparmio energetico e versatilità.

Come una spiga di grano, si apre con manipolazioni semplici ed immediate. Tre diffusori di luce, le cui forme ricordano forse quelle di una foglia, si avviluppano attorno un Tubo Led verticale a basso consumo energetico.

I diffusori, composti da una leggera struttura di aste flessibili e un rivestimento in textile traslucido, possono essere spostati con un semplice gesto grazie a tre barrette che sporgono all’estremità superiore della foglia.

La configurazione è libera, aperta per un massimo di efficienza luminosa oppure chiusa per una luce dolce e soffusa. Le tre foglie creano sovrapposizioni di ombre sempre nuove, giochi di pieni e vuoti, e la loro interazione da luogo a una magia relazionale che rende l’oggetto vivente.

Il basamento ed il Tubo Led sono concepiti indipendentemente dalle foglie, che possono essere intercambiate tramite un sistema di fissaggio immediato e intuitivo. Questo apre molteplici possibililità di personalizzazione a seconda delle preferenze e degli usi, e permette inoltre di cambiare nel tempo i colori, le luci, le atmosfere. bLED propone quindi un sistema di filtraggio della luce per mezzo di elementi distinti e independenti capaci di sviluppare delle relazioni, il che rende possibili una flessibilità d’uso, di forme e di cambiamento altrimenti impensabili.

bLED Low power consumption lamp with led tubes Open international competition “Progetti di Luce” 2008 | In collaboration with : Jacques Famery |

“Les fleurs sont les esprits des plantes / Qui suis-je ? / Une lampe-fleur / dans le vent”

For the last five years the Basurama festival in Spain has been exploring garbage. More precisely, it explores the idea of garbage (basura), waste and recycling.

Designer Ben Castro, one of the organizers, explains, “The main idea behind the festival is facilitating a forum for open discussion about the multiple processes that generate waste, and to think about the real possibilities of recycling.” In a positive sense, the festival is ‘scrappy’. “The festival has got no shape,” says Castro, “and is a mixture of workshops, lectures, film projections and specific projects.” These conferences, screenings and photographic marathons allow Basurama to provide new meanings, objects and ideas from the ‘scraps’.

Image ecology Basurama is not just about conventional waste modern societies produce, but also about ‘virtual’ waste. “We try and think about waste in the conceptual sense of the word,” says Castro. “We know that apart from the ecological implications, waste has got a lot of other different faces, ranging from the artistic to the economic. It’s an issue for every big city in the world.”

What the Basurama festival highlights is that recycling is at the core of creativity. As guest speaker Lewis Blackwell argues, “Creativity lies on the borderline of the language you understand and new languages you haven’t found the rules for yet. Creativity is about recycling and remaking in new ways.”

One of the activities, called ‘Ad 2 x1.5’, is driven by the idea of image ecology. An image from Getty Images, which has been recycled by the typographic artist Ezba, serves as the starting point for a debate on advertising excess. Ezba takes the image of executives on stage, and recycles it as pop grafitti. Joan Baez loved Bob Dylan and recycled him.

He was her lover, and she was his interpreter. She covered his songs and popularized him with the folkmusic public. Many argue that Dylan recycled Baez through her early influence. David Catalán, a graphic designer at Pepe Jeans, recycles the idea of business as a jungle. Behind the screen, the executives are animals.

“What we see isn’t always the true reality,” says Catalán. “I transformed the characters, showing the animal side.” In creating a boundary between front of stage and backstage, Catalán’s work literally visualizes the borderline of repetition and creative recycling, between the rational and the irrational. Meow! gettyimages.com

Je suis fou Image Remix Exhibition Festival BASURAMA 2005 Kursaal Museum (San Sebastián) Casa Encendida (Madrid) CREDITS | Basurama, Getty Images |

Nanomesh micro-structural roof systeme Pacific Place Mall Contemporisation Hong Kong, 2006 CREDITS | Specialist Structure : HDA | | Architects : Thomas Heatherwick with Wong and Oyuang |

Pacific Place, in the heart of the central district of Hong Kong comprises four mixed use towers with hotel, office and service apartments atop a shopping mall plinth. It was constructed by Swire Properties in the late 1980â&#x20AC;&#x2122;s with the architects Wong and Ouyang and became an icon of modern shopping and Hong Kong urban culture.

Swire have engaged London based designer Thomas Heatherwick to contemporise the mall, so that it can adapt to current fashion trends and public demands. In addition to internal facilities upgrading, the project involves the creation of a new restaurant on the vehicle access level, a continuous canopy providing pedestrian links between the different towers as well as a new footbridge to link the mall to future harbour front developments.

The Heatherwick studio design is based on the concept of sinuous vertical ribbons, inspired by the distinct curvilinear character of the existing mall. For the restaurant roof the ribbon steel blades one arranged as terraces constituting a shell structure for the roof and become glazing supports for the peripheral canopy.

HDA are specialist design consultants to Swire Properties providing conceptual technical design assistance to the Heatherwick studio including structural analysis and detail development of the structural and glazing components.

Pacific Place Restaurant micro-structural roof systeme Pacific Place Mall Contemporisation Hong Kong, 2006-2008 CREDITS | Specialist Structure and Facade Design Counsultant : HDA | | Architects : Thomas Heatherwick with Wong and Oyuang |

Sheffield Iconic Bridge Open Competition England, 2008 CREDITS | Design : HDA | | Text : Hugh Dutton |

Driving into Sheffield from the M1 on a misty day an elegant array of masonry supports growing out of the bank appear from a distance. Gesturing their tips like earthy sculptures, they suggest an arch over the roadway. Intrigued by the unusual sight the viewer, once having approached closer, discerns a smooth curved deck flanked in rusting steel finish rising out of the bank floating on the spindly branches.

The branches are in high performance fibre reinforced concrete coloured to recall with possible additives of fragments of local stone.. A gesture symbolizing the mineral sources from the earth on which the city grew and was built. Cantilevering from foundations under the ground, they taper to delicate tips to support the deck. They are arranged in a sculptural sequence, lengthening and inclining as they approach the roadway, expressing the crossing.

The deck is pre-cast concrete slab with recycled glass fragments giving the aggregate a slightly translucent nature on a structural steel skeleton.. Intended as a smooth ribbon it floats in an effortless wave from one bank to the other on the tips of the branches. On the edges, a 600mm high balustrade is in diagonal mesh, forming a truss to provide the necessary inertia to span between the branches without thickening the slab of the ribbon itself. [...]

This elegant technologically refined bridge attempts to be more than just a utility structure but rather an iconic scultpure symbolizing a rebirth of Sheffield. The earthy branches expressing the mineral foundation the delicate filigree mesh in Corten expressing the steel heritage.

What if the very idea of growthâ&#x20AC;&#x201D;accumulating riches, destroying the environment and worsening social inequalityâ&#x20AC;&#x201D;is a trap? Maybe we need to aim to create a society that is based on quality not quantity, on cooperation and not competition.

Serge Latouche

And finally the economical smash came to make the world better.

We can clearly see that ecological issue is not a side problem of the system or something we should try to cope with if we are good persons. Latest economical events confirm that we assist to a global breakdown of the whole model.

On the other side, technological development and web communication revolution are building a radically new system of thinking, based on participation and collective intelligence.

While this cultural revolution is growing and changing the way we approach to the world and problems solving, we observe that in architecture, sustainability and ecological growth concepts are still used as ridiculous publicity spots to keep going on with the present system based on money.

We believe that architecture is not anymore about form and/or/.../ function, but that it is about relations.

The development of network systems shows us that the power resides in links and connections.

Architecture cannot solve the contemporary enigma without creating relations with environment and between people. The figure of architect has to deal with spaces, society, energy, internet, and politics.

We aim to create a new model for society and not just a building.

Our project is about economic decrease.

We imagine the growth of interconnected social spaces and a completely transparent model of energy and production. Raised housing units are pixilated in order to create a shared landscape that alternates private and public places; this is a base which will create a collaborative and social entourage. Ground level is free from construction and dedicated to cow graze and cultivation.

From the bottom to the sky, the succession of relational function is (-1) commerce /// (0) landscape and food production /// (2) housing /// (3) social public places and /// (4) energy collect.

We are proposing a decentralized mode of living that group together production and consume. This is to promote a transparent hyper-localized society and culture, where inhabitants can develop a public consciousness about

For all the cows Open Competition Dallas, USA CREDITS | CTRLZ Architectures ( Francesco Cingolani, Massimo Lombardi ) |

Tutto quello che è scomodo o triste per favore lo prendi, lo metti via e poi insieme lo nascondiamo dietro un bel lenzuolo di candida e superficiale spensieratezza. Qui nel tuo paesino felice, secondo un’infallibile e impercettibile meccanismo sociale, i problemi esistenziali, le gioie, l’infinita bellezza delle cose, i piccoli drammi quotidiani, le grandi riflessioni e i pensieri veloci sono banditi dai canali di comunicazione tradizionali. I pensieri infelici sono soffocati e va tutto bene. I pensieri felici sono invece incomprensibili follie. In una società che rifiuta ogni difetto, l’imperfezione e l’insoddisfazione diventano mostri relegati all’ombra, al silenzio, alla notte, alla solitudine. Un curioso clima di probizionismo del brutto e dell’infelice, in un epoca nella quale il concetto di privacy è rivoluzionato e in cui i reality show e i bloggers rivelano una sorta di saggezza perversa mettendo in mostra la semplicità del quotidiano con sfacciataggine e violenza. In questo contesto, THE BIG REAL resuscita una serie di frammenti di comunicazione parallela chiamata MICROLETTERATURA che contiene i pensieri – cattivi, dolci, graffianti - che sono stati censurati e sono andati a finire dentro gli SMS dei vostri telefoni cellulari.

Queste parole nere su giallo vi appartengono, e allora prendetevele. Sono da mettere vicino al cesto della frutta, mentre il sole splende e voi siete felici.

Nell’era contemporanea, caratterizzata dalla rivoluzione dei sistemi di comunicazione, la realtà tende a configurarsi come una struttura che percepiamo come multistrato, di cui la fisicità non è altro che uno dei tanti livelli.

L’ipotesi dell’esistenza di fattori non fisici del mondo non è chiaramente una novità della nostra epoca; piuttosto, quello che sta cambiando è che questi elementi volatili diventano sempre più strutturanti per la percezione della realtà e dello spazio. Le micro-comunicazioni si moltiplicano, e con esse i contenuti che costituiscono la realtà.

Una grande parte dell’universo di impressioni che sono tradizionalmente state considerate come appartenenti alla sfera privata, si trasformano oggi in contenuti di comunicazione che viaggiano - circolano - per mezzo di diverse tecnologie, tutte con un valore di pubblicità più o meno elevato. Questo trasferimento ci porta a concludere che la tradizionale contrapposizione fra l’intimo -privato- e il pubblico, su cui si basa la definizione riportata sopra, risulta oggi antiquata. Il modello binario di opposizione privato/ pubblico lascia spazio a un modello di spazi compenetrati.

Tratto dall’intevista “Spazi Pubblici Ibridi”

THE BIG REAL SMS reali di persone reali “OPEN SMS” Speculation and Public Spaces Exhibitions Intelligent Information Filters as an artistic approahc to #overload issues Porto Potenza Picena, Italia 2008

CREDITS | In collaboration with Manuele Baldoni | | Algomas Arte Rivoluzionario www.algomas.net |

MANIFESTO Algomas è un gruppo artistico che pretende di funzionare come un processo vivente che si autoregola. Un giorno è nato, adesso sta vivendo e cambiando, e magari un giorno morirà. Partendo da alcuni concetti chiave per un nuovo approccio alla realtà e all´arte, Algomas si propone di condurre un´esistenza fatta di cambiamento permanente.

Non potete dire che cos´è Algomas, ma potete guardarci dentro per vedere che cosa vi sembra a voi. |contenitore sistematico| Algomas è un contenitore vuoto, costituito da significante puro: Algomas è niente. È solo una scatola dove buttare tutto per studiare le reazioni che potremmo ottenere.

Algomas è contenitore sistematico: tutti possono metterci dentro tutto. È un luogo dove poter mettere i pensieri senza spazio, quelli che di solito si perdono nell´aria: ARTE! Adesso tutti questi pensieri possono stare insieme e mescolarsi e creare Algomas.

Algomas nasce e crea un contenitore. Il contenitore raccoglie gli oggetti-senza-spazio. Gli oggetti ri-creano Algomas. Algomas cambia e ricrea un nuovo contenitore... |quotidiano| Per Algomas l´arte è quotidiana e l´atto artistico appartiene a tutti. Tutto è arte. Anche tu sei arte. L´art est n´importe quoi! |partecipativo| Un carattere fondamentale di algomas è dunque la Partecipazione. Algomas, essendo vuoto, non esiste senza la gente.

La gente è il contenuto di Algomas. Tutti i progetti relizzati da Algomas si fondano sulla partecipazione.

Algomas è interattività totale. Algomas è gente: sei tu. |obiettivo: irrazionale| Lo scopo di Algomas è quello di re-introdurre nei principali campi della vita (arte, commercio, società, lavoro, amore) il fattore irrazionale, creando un sistema che renda conto della dualità dell´uomo (razionale+irrazionale).

Il fattore aleatorio permette di creare prospettive altrimenti inimmaginabili.

L´aleatorio, il caos, l´irrazionalità, sono per Algomas uno strumento capace di introdurre imprevisti, novità e fenomeni incontrollabili, inducendo il sistema a una crisi e a un cambiamento permanenti. |mondo relazionale| La struttura e il funzionamento del nostro mondo celano una sorta di presunzione razionalistica, secondo la quale l´uomo sarebbe capace di stabilire, indipendentemente da elementi contingenti, la verità o la falsita di un´affermazione, assumendo come infallibile il processo dell´astrazione, quando invece la sua validità nel dominio della realtà, diverso da quello delle idee, resta assolutamente discutibile. In un contesto differente, che qualcuno ha chiamato “pensiero sciamanico”, e che noi denominiamo mondo relazionale, il solo tentativo di stabilire la verità o la falsità di un fenomeno, non ha semplicemente senso.

Un termometro, tentando di misurare la temperatura dell´acqua ne altera necessariamente il valore. La realtà vera non esiste. |arte relazionale| Partendo da questa interpretazione del pensiero, Algomas propone un´arte completamente irrazionale, partecipativa e relazionale. L´arte relazionale considera il processo di creazione relazionale (io+tu+...) come l´interesse vero dell´arte. Algomas è l´unica arte che se non la fai tu non ha senso e ti fa schifo. Il prodotto del processo rappresenta non un risultato, ma il punto per l´inzio di un nuovo processo.

Se con un dito punti la luna, noi ci metteremo a guardare il dito, e non la luna, per cercare di capire che vuoi dire. Io creo A, tu prendi A e lo rendi B, lui prende B e lo rende C, io vedo C ma credo che sia D cosî creo E...Algomas..

Se volete sentire il sapore del mare, Algomas vi mette la sabbia in bocca.

L´arte è ovunque e sempre. Fate, in quantità.

ALGOMAS ARTE RIVOLUZIONARIO Arte relazionale sperimentale aleatoria, quotidiana Autopubblicazione Sperimentazione sensoriale Italia, Francia, Spagna 2005 CREDITS | In collaboration with Domenico Di Siena, Alfonso Sanchez Uzábal Manuele Baldoni | | Algomas Arte Rivoluzionario www.algomas.net |