Something is framing

SOMETHING IS FRAMING

SOMETHING IS FRAMING

SELECTION OF ARCHITECTURAL IMAGES WHOM SUGGEST A KIND OF FRAMING. 1

Manuel Minto

SOMETHIG IS FRAMING SELECTION OF ARCHITECTURAL IMAGES WHOM SUGGEST A KIND OF FRAMING

SOMETHING IS FRAMING

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ARIADNE‘ S THREAD, A GUIDING LIGHT FOR THE ARCHEOLOGICAL PARK IN AQUILEIA p. 8

STANZA PER UN UOMO, FRANCO ALBINI AND THE EVERYDAY STAGING p. 10

S. PATH, THE CONTEMPORARY EVERYDAY STAGING p. 12

BAROQUE, SPACE‘S EXPANSIONS AND COMPRESSIONS, READING LUIGI MORETTI

PORTFOLIO Manuel Minto Venice, 2016 Licensed under Creative Commons 2

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COLOURFUL GAUGIN

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ENGAGING LISBON

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THE RUINS’ LINE, THE NEW STEP AFTER THE EARTHQUAKE p. 22

TUGENDHAT HOUSE. A TERRACE

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ABSTRACT

SOMETHING IS FRAMING In a foggy day, S. Maria della Salute, after praying.

Venice [IT], 2011 photo by M.Minto

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THIS IS A SELECTION OF IMAGES I PRODUCED IN MY ACADEMIC YEARS. I FOCUSED ON ISSUES LIKE FOREGROUND AND BACKGROUND; COMPARED ONESELF TO THE OTHER IN ORDER TO DEFINE MY KIND OF STAGE, WHAT I MEAN FOR “SHOW SOMETHING”.

I GUESS EXHIBITIONS

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SHOULD INTRODUCE ART TO PEOLE IN A CONTEMPORARY WAY, WITH NO SPOOF FOR PASSED TIMES. SCENES FOR PAINTINGS, SCULPTURES, VIDEOS AND INSTALLATIONS HAVE TO ENGAGE PEOPLE AND GIVE THE SENSE OF SOMETIHNG THAT IS MISSING.

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ARIADNE‘ S THREAD, A GUIDING LIGHT FOR THE ARCHEOLOGICAL PARK IN AQUILEIA

by M.Minto, B.Zanotti University Iuav of Venice prof. S.Maffioletti renders by M.Minto 2013 6

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ARIADNE‘S THREAD, A GIUDING LIGHT FOR THE ARCHEOLOGICAL AREA IN AQUILEIA

The new museum is a great stratified road that gives various views and perceptions of the archeological landscape.

A gap between the ramp-basement and the museum volume define a fenêtre en longueur that is the only view of the archeological park from the museum.

Evidences can be exhibit on steps along the ramp to enter in the archeological area.

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SOMETHING IS FRAMING

STANZA PER UN UOMO, FRANCO ALBINI AND THE EVERYDAY STAGING model / scale 1:20

by M.Minto, F.Soffrizzi, W.S.Toccaceli University Iuav of Venice prof. E.Mantese, G.Rakowitz, C.Eusepi photo by M.Tarlà 2012

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STANZA PER UN UOMO, FRANCO ALBINI AND THE EVERYDAY STAGING

The box is a experimental room for a XX century man to live in a minimum space. Forniture define spaces and different steps of privacy.

Everything is functional, changeable and shimmering: wardrobe is a step to reach the bedside, lights can be move everywhere on guides that are useful by courtains too.

Materials are all artificial except for the background stone-wall.

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S. PATH, THE CONTEMPORARY EVERYDAY STAGING model / scale 1:20

by M.Minto, F.Soffrizzi, W.S.Toccaceli University Iuav of Venice prof. E.Mantese, G.Rakowitz, C.Eusepi photo by M.Tarlà 2012

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S.PATH, THE CONTEMPORARY EVERYDAY STAGING

A narrow corridor brings to the frame of a room, the contemporary room for a human.

Throug the stones, pillars of a bigger world. We lay at the bottom, on a carpet waiting for the clouds to be moved by the wind, waiting for the sun to pass the day.

The sense of a heavy space where only souls could rise up is give by the shelving height, the fabric deep and the shimmering light.

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BAROQUE, SPACE‘S EXPANSIONS AND COMPRESSIONS, READING LUIGI MORETTI model / scale 1:20

by M.Minto,W.S.Toccaceli University Iuav of Venice prof. V.P. Mosco photo by M.Minto 2013 12

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BAROQUE: SPACE ‘S EXPANSIONS AND COMPRESSIONS, READING LUIGI MORETTI

The Caravaggio work on volumes is a great example of what Baroque teach to us. Luigi Moretti saw history of architecture dividing operas in two groups: what is according Baroque and what doesn’t do this. The sense of compression and expansion of space make space complex and dense and stratified. curves cause shadows and chiaroscuro.

How to translate baroque lessons into contemporary architecture is the question led.

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COLOURFUL GAUGIN M.Minto University Iuav of Venice preliminary project for a Gaugin’s painting exhibition at Gallerie dell’Accademia (Venice) 2014 14

COLOURFUL GAUGIN 1

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1 Vision After the Sermon (Jacob wrestling with the Angel) P.Gaugin, 1888 oil on canvas, 72x91 cm National Gallery of Scotland, Edinburgh 2 Where Do We Come From? What Are We? Where Are We Going?

P.Gaugin, 1897-1898 oil on canvas, 139x374 cm Museum of fine arts, Boston

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3 Contes barbarian(Barbarian tales) P.Gaugin, 1902 oil on canvas, 131x90 cm Folkwang museum, Essen

The idea was to create many rooms, dividing periods and shades of issues.

The central idea of the exhibition is the one that match the venician history of art: colours.

Gaugin worked with saturated colours, combining primary and complementary hues. Different colorured panels with various deeps and fixing system make people focus on paintings’ core and then on the context: in that way we suggest an analytic view.

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by M.Minto, F.Soffrizzi competition org. Archmedium sketch by M.Minto 2014

Study sketch of an interior window of the São Vincente de Fora monastery.

The space of the outside view is composed with a figure that frame the window-hole and can be used as seat to read.

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ENGAGING LISBON

SOMETHING IS FRAMING

ENGAGING LISBON

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THE RUINS’ LINE, THE NEW STEP AFTER THE EARTHQUAKE

by M.Minto, F.Soffrizzi, W.Toccaceli University Iuav of Venice prof. F.Doglioni, M.Galantino, M.Milan 2014 18

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THE RIUNS’ LINE, THE NEW STEP AFTER THE EARTHQUAKE

After the 2012 earthquake San Felice sul Panaro (MO) lost its church. The roof, the vault and the upper part of wall smashed down.

To stabilize the exhisting walls (that cannot take no more loads) we designed a new backgroud concrete wall that is alligned with the past cornice.

A wooden removable hat cover the nave and brings light on the ancient walls.

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SOMETHING IS FRAMING

THE RIUNS’ LINE, THE NEW STEP AFTER THE EARTHQUAKE

The new chapel and baptistery at San Felice sul Panaro church is connected to the altar by a wooden corridor that brings, at the end, the XV century altarpiece recuped after the earthquake.

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University Iuav of Venice study travel in Wien and Brno sketch by M.Minto 2012

When I visited Tughendhat house in Brno I was captured by the role of the garden and the view in the house. The living room is projected outside, glass walls disappears in the basement.

Then I get outside: I notice that even the house was a landscape project: different glass layers defines trees volume in a strong exchange between artificial and natural.

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TUGENDHAT HOUSE. A TERRACE

SOMETHING IS FRAMING

TUGENDHAT HOUSE. A TERRACE

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licensed under Creative Commons

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