Interior Architecture in context

CONTEXT+ ENVIRONMENT

09.10.2018 ARCHITECTURAL JOURNAL

19.03.2019

CONTENTS

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Freud and the Memory Map 01.

Architecture and the senses 02.

Venice and the “Theory of the Dérive”

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Studio Aalto House

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The Gig

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Hannah Hock and Frida Kahlo in “The New Woman”

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Architecture and the senses

“The body knows and remembers.

Architectural meaning derives from archaic responses and reactions remembered by the body and the senses.”

J. Pallasmaa

Perception and so, human experience, in architecture is one of the major factors to consider when designing.

In the Eyes of Skin, Pallasmaa enhances the importance of phenomenology as follows: "Every touching experience of architecture is multi-sensory; qualities of space, matter and scale are measured equally by the eye, ear, nose, skin, tongue, skeleton and muscle." 1 Thus, each space and experience must involve our senses and create perceptions, which have a personal “touch” for each person and yet, "enable us to structure, understand and remember"2 our being in the world, creating a consciousness of present and past

moments, but especially consciousness of oneself within the space.

Reflecting on the phenomenology's role of the spaces, I then created a collage of what I personally think is a very atmospheric and pleasant space in Nottingham: the Italian restaurant, Osteria Botti di Mamma.

Formed of three different rooms with yet, three different atmospheres, the most significant and iconic space is undoubtedly the new extended room.

Suffused lighting, Italian radio in the background and rows of small wooden barrels all scattered around, all collaborated to create a very rustic and relaxing atmosphere, typical of any Italian osteria – a food and wine bar.

1 (Pallasmaa 2012, p.41)

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2 (Pallasmaa 2012, p.76)

Heart of the space is, indeed, the giant wood-fired oven in the middle of the room which, alongside the eye satisfaction, touches every other sense all simultaneously.

As in the tea ceremony described in The Book of Tea mentioned in Pallasmaa's book 3, different emotions and memories are evoked from the kettle singing; in this scenario, a flashback of different moments can be revoked too within personal interpretations: childhood memories, family's dinners, grandparents' house and so on.

As stated by Pallasmaa, “The nose makes the eyes remember” 4, and in such a way nothing more than the cheerful and mouth-watering smell, the crackling and ticking sound of the wood burning fire and yet the rich taste of the food cooked in it, would better enhance a sensation of “home feeling” to me.

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3 (Pallasmaa 2012, p.48)

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4 (Pallasmaa 2012, p.58)

*1 Collage (Ferraro, 2019) *2 Osteria Botti di Mamnma (Ferraro, 2019)

“Like lost children we live our unfinished adventures.”

Guy Debord

02.

Venice and the “Theory of the Dérive”

Similar to the figure of the Flaneur described

by Baudelaire, like the one of a gentleman who gets lost in the city while observing; the Derive is an aesthetic, psychogeographic theory based on a new perception of a space with the aim of fully understanding it in a more subjective, critical and deep observation 1.

ously visiting open spaces, besides the buildings, encounters, smells and sounds prevail.

Extending this concept in architecture, within the support of recorded pictures, sketches and emotions, I then realised an unconventional map of the city of Venice which shows the course of my Derive.

To better understand the concept, the Dérive happens only if we forget the conventional ways of exploring, by spontane1 (Menard, 2011) *1 Dérive in Venice (Ferraro, 2019)

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With the station (01) as point of departure, observing from the height of a few little steps, alongside the shouting of gondoliers, encounters with people (02), the big green dome of San Simeon Piccolo Church (03) and the pigeons (04) in the middle of the square; the first big picture of the city comes in.

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Water is everywhere and cars do not exist: we are in the city of canals.

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It is after crossing loads of little lanes (05), that we encounter Ponte di Rialto (06) and from there, we reach the immense San Marco square by water (07/08).

Therefore, with the Derive, we have the chance to fully live and understand a city, having almost a local perspective of it. The city itself becomes our guide and we, as explorers, have the time to rest, observe and analyse every single detail of it, that then becomes an unforgettable memory and a more valuable finding.

While crossing the city, from one bridge to another, loads of different smells and sounds guide you around giving you the opportunity to get a personal insight of it.

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02.

Freud and Memory Map

Thinking

of the concept of psychoanalysis as a way of digging into someone's mind "to discover fragments of past memories lost in time to then re-assemble them into a cohesive whole" 1 , we then must think of a way of approach.

During the analysis process, that usually happens within a technique of both interpretation and construction, the patient is usually asked to find a more conscious meaning and understanding of their fragmented images which are then "brought to the present and re-lived as memory in feelings"2 .

Therefore, what do I see when I close my eyes?

Excavation and reconstruction of memories and remembrances then happen through a very emotional experience which, alongside the psychological process, found expression also in the architectural design.

Accordingly, I summarised here a graphical interpretation of my personal experience in Venice which relates back to memories of specific moments, encounters and impressions I had while visiting.

I see a projection of images of huge green domes and tall campanili all scattered here and there in the city, flocks of pigeons high in the sky ready to get fed in the big San Marco square, bridges and staircases which connect lands and buildings, further to this, gondolas steered by singing gondoliers in the deep water of Venice.

My approach is all based on reflection, thoughts, construction and de-construction of images which flow rapidly in my mind at the closure of my eyes.

The reminiscence of encounters spontaneously crosses my mind too, towards a more emotional and cognitive insight.

1 (2011) 2 (Freud - p.5)

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As, for instance, the lonely elder man standing on a platform and observing the tourists and the people around him: what was he thinking about? Where was he going?

And yet, the unforgettable memory of an elder woman on a wheelchair who had to cross one of the innumerable bridges of which the city is made of and which are seen, by many, as a way of connection, but also as big obstacles by many others.

I then open my eyes, and there I see the figurative product of the "screen memories" of my psychoanalysis digging, which was all layered in my mind and have now an allegoric and tangible sense.

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I

f we think of sustainability, nature, beauty and light in dwelling we generally think of Scandinavia, but if we go further into the use of natural materials and yet the importance of light in the space and the relation of it with its function, we then just think of one person: Alvar Aalto.

Father of the sustainable Finnish design, embracing the concept of "Forms follows function" 1 , Alvar Aalto embodied the principles above mentioned in all of his works insisting on the importance of the organic life and creating an ever-present connection among building, users and environment.

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Studio Aalto

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The Gig House

It is while giving attention to these details that he developed "innovative techniques to bend wood"2 and experienced the freedom of organic geometries in the space, becoming then, the icon of the "Organic Modernism"3.

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1,2,3 Sustainable Finnish Design

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*1 Alvar Aalto (Goggle, 2019)

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An example of a simple, intimate space in which light and nature create perfect harmony is the Studio Aalto in Helsinki, which has been indeed very inspirational for my studio project: the gig house.

Located in the beautiful and untouchable landscape of the Suffolk area, the gig house is itself part of the environment and despite its poor conditions, it is a very important element to preserve.

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Therefore, most of the original structure has been kept yet refurbished into a living-working space which, sitting in between the ground and the sky, fully engage with the landscape around, giving a sense of relaxation to the users’ belonging.

*2,3 Studio Aalto (Google, 2019)

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*4 Gig House Plan (Ferraro, 2019)

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Formed of three different main areas (studio, living, sleeping), the most outstanding feature is the lower ground floor, in which light and shadows create an intimate relaxing space, connected to the kitchen on one side, and the garden on the other, by the rhythm of a few little steps.

Furthermore, large south-facing pivoting windows and skylights allows the building to benefit of natural light and yet create a connection with the landscape which then becomes integral part of it.

4 Sustainable Finnish Design *4 Section AA (Ferraro, 2019) *5 Section BB (Ferraro,2019)

Thus, reflecting on Aalto principles, I challenged myself to design in a more sustainable way trying to “work for simple, good, undecorated things, but things which are in harmony with the human being�

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and the planet.

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*6 Relaxing Area (Ferraro, 2019) *7,8,9 Living Space (Ferraro, 2019) *10 Corridor (Ferraro, 2019)

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05.

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Hannah Hock and Frida Kahlo in “The New Woman”

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*1 Hannah Hock (Google, 2019) *2 Frida Kahlo (Google, 2019)

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In

the world of photo-montage techniques, which is the Dadaism, the figure of Hannah Hock stands out as the first woman taking part in the movement but never fully accepted and indeed minimized from those of her own group.

As in the other Dadaist works, Hannah was promoting the anti-art concept in which chaos, irrationality and nonsense prevail and for which personal interpretation must exist.

Well known for bringing a very feminist note to the movement, Hannah fused together the figures of male and female bodies enhancing the woman figure as a central motif and indeed promoting the concept of "New Woman" 1, in which themes alike sexual freedom, independence and gender equality were important.

1 Hannah Hock

*4 Dadaism and Frida Kahlo Ferraro, 2019)

Feminist, independent and active revolutionary, Frida was the “New Woman” of the surrealist time who was “painting herself in her own reality” 2 and made from her body a real manifesto, here depicted within my personal interpretation using a few key themes: politics, gender stereotypes and bisexuality.

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Icon of feminism and innovation, Hannah Hock has been of big inspiration in my work, in which I represented a yet relevant figure who had a very important impact in the society at the time: Frida Kahlo.

2 Frida Kahlo, 2017 *3 Untitled (Google, 2019)

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Claiming herself as "daughter of revolution", Frida was politically active and took part in the Mexican Communist Party here pictured by the red colour-field background, Diego Rivera's arm raised and the yellow symbol on Frida's forehead.

Despite her femininity awareness expressed with bright colourful

dresses and flowery bands on her hair, she defied the gender stereotypes.

Therefore, she refused to alter her "masculine" features as, for instance, her mono-brow and faint moustache, along with other things unusual for a woman of the time like smoking, drinking tequila and dressing like a man.

Alongside all above, Frida had also a very passionate, intrigued, happy and heart-breaking love life in which after the infidelity of her husband and “universe� Diego Rivera, she had several affairs with other men and women – among others, Chavela Vargas who is illustrated here.

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tic path that any woman, of any time, ought to embrace 3.

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3 Frida Kahlo, 2017 *4,5 Illustations (Ferraro, 2019)

Symbol of change, rebellion and opposition to an unfair society of the time, Frida and Hannah have consequently made a difference in the society which is still seen today as an inspiring, respectful and authen-

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Pallasmaa, J., 2012. The eyes of the skin: architecture and the senses [eBook]. 3rd ed. Chichester: Wiley. Available via: http://resourcelists.ntu.ac.uk/items/EC3764BB-FF31-CB1B-3151-67452AD14E27.html [Accessed 11.11.2018]

Anon. Alvar Aalto. Art Icons [online]. Available at: http://www.articons.co.uk/aalto.htm [Accessed 05.02.2019] Anon. Sustainable Finnish Design. Visit Finland [online]. Available at: https://www.visitfinland.com/article/sustainable-finnish-design/ [Accessed 12.02.2019]

Venice and the “Theory of the Dérive”

Hannah Hock and Frida Kahlo in “The New Woman”

Melard, M. 2011. Flâneur’ vs. ‘Dérive. Wordpress [online]. Available at: https://melaniemenardarts.wordpress.com/2011/01/21/flaneur-vs-derive/ [Accessed 13.12.2018]

Herndon, C. Hannah Hoch. Wordpress [online]. Available at: https://utopiadystopiawwi.wordpress.com/dada/hannah-hoch/ [Accessed 02.03.2019]

Debord, G., 1898. Theory of the Dérive. Barcelona: Actar/Museum of Contemporary Art.

Youssef, E., 2017. Frida Kahlo: an Icon of Feminism & Freedom. Elephant Journal [online]. Available at: https://www.elephantjournal.com/2017/02/ frida-kahlo-an-icon-of-feminism-freedom/ [Accessed 02.03.2019]

Anon, 2012. Proyectos 3 grupo E. Wikipedia [online]. Available at: http://citywiki.ugr.es/wiki/Proyectos_3_grupo_E/trabajos_11-12/ procesos_creativos/enunciado_deriva [Accessed 06.01.2019]

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Studio Aalto + The Gig House

Anao. Hannah Hoch. The Art Story [online]. Available at: https://www.theartstory.org/artist-hoch-hannah-artworks.htm#pnt_5 [Accessed 03.03.2019]

Freud and the memory Map Pragier, G., Bokanowski, T., and Lewkowicz, S., 2011. On Freud’s Constructions in Analysis [eBook]. Routledge. Available at: https:// ebookcentral.proquest.com/lib/ntuuk/detail.action?docID=709521 [Accessed 23.01.2019]

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01 BIBLIOGRAPHY 02

Architecture and the senses

*1 Google, 2019. Alvar Aalto. *2,3 Google, 2019. Studio Aalto. ** Illustrations and drawings curated by Ferraro Martina

Venice and the “Theory of the Dérive”

Hannah Hock and Frida Kahlo in “The New Woman”

*1 Ferraro, M., 2019. Dérive in Venice. Unpublished. ** Illustrations and drawings curated by Ferraro Martina

*1 Google, 2019. Hannah Hock. *2 Google, 2019. Frida Kahlo *3 Google, 2019. Untitled ** Illustrations and drawings curated by Ferraro Martina

Freud and the memory Map ** Illustrations and drawings curated by Ferraro Martina 37

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** Illustrations and drawings curated by Ferraro Martina

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VISUALS 01 02 03

Studio Aalto + The Gig House

Architecture and the senses

Curated by Martina Ferraro