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INDEX Concept
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Trailer
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.02 Cultural references
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.03 Cases study
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.04 Project development
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Maquette
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.06 Sitography
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Eros has a duality: it can be explicit or hidden. The expicit part is the one that is naturally showed to the others. The hidden side is like a secret that has to remain in the darkest area of our mind. It’s a pulsion that must be unveiled because it’s considered dangerous or negative. This becomes the important side of eros as it’s so personal that can’t be shared with no one. Humans try to control, forget and cover this side of eros, but the result is only its growth and its tranformation into obsession. For this reason: Eros is occult.
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0.1 TRAILER This short video it’s a metaphore of the duality of Eros. It’s composed by two types of scenes: the representation of an elegant dinner is interrupted by frenetic scenes. One of the protagonists of this video is acting normal showing a perfect hability to control her real feelings. The anxious frames of the trailer reflect the intention to eat all the food on the table without leaving anything. It represents the erotic pulsion that has to be repressed.
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01. TRAILER
PART 1
These frames represent the appearance of a perfect dinner. Everything seems perfectly armonic and ordinary.
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TRAILER .01
PART 2
These scenes represent the real intentions of the character. All the frames are related to the uncontious part of the brain.
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.02 CULTURAL REFERENCES The project starts from the theories of Sigmund Freud and their connection with the art world. The work of Salvador DalĂŹ and Giorgio De Chirico are the examples of a visual materialisation of the unconscius.
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02. CULTURAL REFERENCES
Counscious and uncoscious in Sigmund Freud In his theories he divides psyche in two elements: the conscious and the unconscious. The conscious part is easy to express while the unconscious is the big hidden container that secretly controles the conscious part. Dreams, nightmares, desires and fantasies lie in the unconscious, but they remain active and affect the conscious activities.
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“The unconscious is the larger circle which includes within itself the smaller circle of the conscious; everything conscious has its preliminary step in the unconscious, whereas the unconscious may stop with this step and still claim full value as a psychic activity. Properly speaking, the unconscious is the real psychic.” From “Dream Psychology: Psychoanalysis for Beginners”
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02. CULTURAL REFERENCES
Surrealism // Salvador Dalì Surrealism takes part of its inspiration from Freud’s theories: for the artists of this cultural movement the unconscious is the base of imagination. This art becomes a way to connect the conscious side with the unconscious one trying to mix together fantasy and reality. An emblematic artist is Salvador Dalì that wanted to impress the observer with fantastic scenarios full of symbols and replacements of objects. The aim is to give a representation of dreams and the unconscious.
Dream caused by the flight of a bee around a pomegranate a second before awakening, Salvador Dalì.
Dream caused by the flight of a bee around a pomegranate a second before awakening, Salvador Dalì.
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Melancholia Giorgio de Chirico 1916
Metafisica // G. De Chirico The scenes of his paintings are focused on cities that are the simbolic reinterpretations of classical architecture. De Chirico’s cities and urban landscapes refer to the psychologic and interior dimension of the moder humanity. Silence and mistery with an alternance of light and shadows between the arches reflect the unconscious side of the human brain.
Top: TurĂn Spring Giorgio de Chirico 1914 Bottom: The Enigma of a Day Giorgio de Chirico 1914
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.03 CASE STUDY The next examples refer to the use of arches in ancient and modern architecture, but also talk about the idea and the symbol of the well. These elements are the case study of the shape and of the meaning of the maquette.
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CASE STUDY .03
Hidden underground The dungeons were a sort of “behind-the-scenes” of amphitheater. The ring on which fights between animals and gladiators were staged was a simple wood layer, sometimes removable and customizable according to different needs, supported by a double order of arches and vaults. This underground area was the place where beasts were trapped, where athletes of gladiators games used to wait for the fight, but also where all the machines and elevation systems needed to complete the scenographies and special effects were kept, together with the toolmakers and all the staff in charge of the operations. Hidden to public, therefore, fear, hunger and the most ferocious instincts used to stirr and scream.
Dungeons of Anfiteatro Flavio Pozzuoli Middle of 1st century d.C.
“Hidden to public, therefore, fear, hunger and the most ferocious instincts used to stirr and scream.” EROS IS OCCULT
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03. CASE STUDY
The well The well, in addition to collecting water, has a deep symbolic value in many cultures, it becomes the place where you can perform rites of purification. There are also many legends and superstitions as regards confiding secrets and wishes to “wells of desires” where to throw a coin to achieve what you aspire strongly. “La luna nel pozzo” is also a popular expression that is used when someone wants to fulfill a wish of difficult realization.
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Sou Fujimoto // Mirage The proposal for the commercial building complex considers two options that reveal the versatility of the project. both include different sizes of arch modules, which are stacked one on top of another. The structural system organizes the entire site, contributing to its unmatched yet timeless architectural expression and aesthetic coherence. The superposition of small spaces creates a perception of continuum and a multidimensional sense that a number of infinite different worlds are adjacent and interrelated. The diverse quantity of proportion and dimension creates overlapping layers of differently scaled squares. The overlay reveals a bubble-like expanse of fused geometrical elements. ‘A ‘forest-like’ place that I often refer to is a perfect example of a place with such multilayered scale that offers multilayered experiences one after another.
Mirage Sou Fujimoto 2013
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03. CASE STUDY
The arch as a form with no age The arch owes its origins to the Etruscans. This constructive structure allows to realize more resistant and larger masonry, ensuring undeniable dignity and aesthetic value. These elements have been identified and summarized with the words “firmitas, utilitas e venustas”, that is “solidity, utility and beauty”, by the Roman architect Vitruvius. The arch underwent diachronic and geographically universal development and diffusion. In fact, it has been exported and readapted by people from different cultures and religions. Recovered and developed in a systematic way by the Latins, it was subsequently acquired by Arabs who made it an essential element of their architecture. Later it has been used in Christian churches in the Gothic style, before arriving at the Renaissance and, finally, at the Neoclassicism of the nineteenth century with the introduction of new materials.
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The Labyrinth Home Xavier Corbero, Barcellona, 1968-2008
“The arch underwent diachronic and geographically universal development and diffusion.”
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Relativity Litograph 1953
Belvedere Litograph 1955
Maurits Cornel Escher Escher’s work consists on the use of architecture, perspective and the creation of impossible spaces. The observation of the world around us mixed wih the expressions of his own fantasies are the base of his artistic production .
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.04 PROJECT DEVELOPMENT
For the realisation of the maquette was important the use of different machines and instruments. The wood hasn’t changed his characteristics, but it has only been
cut, sanded and assembled with no changes at touch or sight. The backstage’s photos show the key steps of the process that lasted for 12 days.
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04. PROJECT DEVELOPMENT
Vertical Drill 26
PROJECT DEVELOPMENT . 04
Circular sanding machine EROS IS OCCULT
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04. PROJECT DEVELOPMENT
Band saw 28
PROJECT DEVELOPMENT . 04
Jigsaw EROS IS OCCULT
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04. PROJECT DEVELOPMENT
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PROJECT DEVELOPMENT . 04
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.05 MAQUETTE In this section are shown several pictures of the final model. In this way is possible to understand the difference between the two parts and the symbols that are hidden in them.
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The model is in the ground As the model is divided into two different parts, the bottom is conceived to stay in the ground, under the soil, that covers it, hidden the secrets that are trapped in the structure.
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MAQUETTE .05
Appearance and reality The maquette is divided in two main areas: the upper level is the visible part and it’s a representation of the consious side of the brain while the other part of the structure is underground and it’s a materialisation of the unconscious. The difference of dimension between the two parts it’s a symbol of the vastity of the hidden pulsions and desires because only a small part of them are shown to the others.
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05. MAQUETTE
The hole The model has a vertical orientation: a central hole connects all the structure and represents an ideal well. This creates a game of light and shadows between the arches and the columns: the sunlight enters from the top and gradually illuminates the underground level. The lower floors are surrounded by dark.
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Arch and obsession Geometry and arches are the base elements of the model. An alternation of 3 types of arches express a sort of obsession and anxiety that refers to the repression of the unconscious eros. Starting from the top and reaching the lower floor, the alternation becomes more random and confused and the number of arches increase.
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05. MAQUETTE
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MAQUETTE .05
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05. MAQUETTE
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.06 SITOGRAPHY Treccani.it, Eros, seen on the 10th of March, 2018, http://www. treccani.it/enciclopedia/eros/ Mcescher.com, Impossible construction , seen on the 10 of March, 2018, http://www. mcescher.com/gallery/impossibleconstructions/ Fondazionedechirico.org,
De Chirico. Il sentimento dell’architettura, seen on
the 12 of March, 2018, http:// www.fondazionedechirico. org/de-chirico-il-sentimentodellarchitettura/ Thedaliuniverse.com, DalĂŹ, biografia, seen on the 12 of March, 2018, https://www.thedaliuniverse. com/itv Designboom.com, Sou Fujimoto master plan with outlook tower, seen on the 20 of April, 2013, https://www.designboom.com/ architecture/sou-fujimotomaster-plan-with-outlooktower-10-26-2013/
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Noemi Castelnovo
Giulia Cimenti
Valeria Pernice
Laura Polvara
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A.A. 2017/2018 •Eros is occult • N. Castelnovo, G. Cimenti, V. Pernice, L. Polvara DESIGN IS EROS Ephemeral/Temporary Spaces 2 A.A. 2017/2018 Professors: Michele De Lucchi, Francesca Balena Arista, Mario Greco Assistants: Marco De Santi, Marta Elisa Cecchi, Giuseppe Arezzi