after geometry IV

AFTERGEOMETRY IV

Dessau International Architecture School Anhalt University of Applied Sciences Department of Architecture Bauhaus strasse 5 06846 DESSAU Phone +49(0) 34051971531 dia-architecture.de afg-hs.anhalt.de Special Thanks to Prof. Peter Magyar

Arch. Stefano Larotonda for the critic inspiration Sian Atherton for english translation Editing and layout Attilio Terragni info@studioterragni.com www. studioterragni.com Copyright DIA Graduate school of arcrchitecture Anhalt University of Applied Sciences The author Prof. Arch. Attilio Terragni DAAD Guestprofessor DIA Master studio Second semester 2015-2016 ISBN-..........

AFTER GEOMETRY IV STUDIO TERRAGNI SELECTED STUDENT WORKS

â&#x20AC;&#x153;ANOTHER MASTERPIECE WAS BORN! THANK YOU! ENJOYED EVERY PAGE OF IT!â&#x20AC;?

Dear Attilio! Another masterpiece was born! Thank you! Enjoyed every page of it! One gave me a great laugh: you invented a sometimes very appropriate word: democrazy! My plan is, to give a title to my lecture, as follows: DIAspora -how the seed of the BAUHAUS spread, and eventually resurrected in the Dessau Institute of Architecture.

So all of the volumes you did, and some of my notes are really timely to illustrate my (very short) presentation. Thank you. Will of course give all the appropriate credit to everybody involved (Alfred!!!)! I do always enjoy, immensely, our collaboration! With warm regards, Prof. Peter Magyar

“TEN BRAVE PROJECTS, WHICH OPEN THE CITY TO NEW URBAN SCENARIOS.”

Visions on Como Attilio Terragni proposed his students to work in one of the most significant areas for the requalification of Como’s urban centre. On one side, the area relates to the lake landscape, on the other, to Piazza del Popolo, which is delimited by three of the landmark buildings in the province: the Duomo, the Teatro Sociale and the ex Casa del Fascio. A continuous front of ‘70s buildings on one side and the railway on the other define the site’s borders along the length. Nowadays, Como turns out to be a deeply changed town since the historical image of lake capital and city of silk. The trains and cars infrastructure has developed a divide, progressively moving the city away from the lake. Water and Monumentality are the conditions students have to face. The project provides the opportunity to open a new corridor between these two realities. A pattern stands as an outline in order to develop the propositions around the project.

One idea is to establish a dialogue with the monumental buildings; conversely, another one is to avoid the confrontation and to multiply the sculptural units that define a new landscape. Someone uses the new buildings covering as paths for the community; someone else attempts a relationship with the lake by opening new water flows. The strong directional drive of the project site favoured a longitudinal path orientation, rather than a transversal one. The atelier projects turn the existing road into a new inhabited space, and they suggest a new liveliness, totally indispensable for the city of Como. Ten brave projects, which open the city to new urban scenarios. The model helps to grasp the proportions and the hierarchies between what already exists and the interventions; the images help us to dream new urban identities for Como. For the Como I wish. Arch. Stefano Larotonda

“PLUNGE INTO THE MIRROR OF WATER THAT CONSTANTLY TRANSFORMS THEIR POWER AND THEIR FATE IN A FLUID AND REFLECTIVE SUBSTANCE.”

Welcome to After geometry IV where you can see the work of the studio in the city of Como. LEARNING FROM WATER STEEP GREEN MOUNTAINS PLUNGE INTO THE MIRROR OF WATER THAT CONSTANTLY TRANSFORMS THEIR POWER AND THEIR FATE IN A FLUID AND REFLECTIVE SUBSTANCE.

The project involves an initial phase of historical and geographical study of the water of the lake as a material and as psychological element for an architectural composition. Think of a beverage of success like the Coca Cola. What is it? It is a mixture of substances that colors the water giving it a unique and recognizable flavor, new and old. The right combination for the success of a new taste! Attilio Terragni DAAD Guestprofessor DIA

STUDIO TERRAGNI ARCHITECTURE: WHAT GOES ON (WHEN YOU ARE THINKING) / WHAT GOES ON (WHEN YOU ARE THINKING) ... ..BETWEEN SCIENCE AND DREAMS, BETWEEN THE BOOK OF CERTAINTY AND OF THE IMAGINATION. IN MUSIC, AS IN ARCHITECTURE, IT IS TO RECOGNIZE, IN EACH AUTHORS INFINITE VARIETIES OF EXPRESSIONS,THE INDIVIDUAL PECULIARITIES,THE UNMISTAKABLE PHYSIOGNOMY AND SPIRITUAL VALUES OF MOZART, BEETHOVEN, CHOPIN AND SO ON. BEFORE THE FIFTH SYMPHONY WAS MADE,THAT WORLD DID NOT EXIST.

A SONATA BY MOZART WAS BORN BETWEEN FOUR NOTES THAT INDIVIDUALLY DO NOT WANT TO SAY ANYTHING, BUT PLACED IN A PARTICULAR SEQUENCE BEGIN TO EXPRESS THEMSELVES, AND THEN, STILL

ARCHITECTURE IS ALL THAT YOU SEE, WHEN YOU INTEND TO SEE ARCHITECTURE.

USING THESE FOUR NOTES, MOZART ACHIEVES AN ENTIRE PIECE, VARYING THEM AND MAKING THEM DEVELOP IN NEW AND UNPREDICTABLE WAYS .

THE WORLD, LIKE A ROOM, IS A SPACE THAT REPRESENTS ANOTHER AT DIFFERENT SCALES AND IN A PARTIAL MANNER. THOSE WHO ENTER MAY EVEN ADAPT IT A LITTLE TO SUIT THEMSELVES, AND USE A LITTLE

IN ARCHITECTURE THERE ARE NO NOTES, BUT BEAMS, COLUMNS, WALLS AND OPENINGS TO DEVELOP

ACCORDING TO THEIR NEEDS IN ORDER TO INHABIT CREATIVELY.

ITS RHYTHM AND MELODIES. IN THE MEDICI CHAPEL MICHELANGELO, THESE ELEMENTS WERE THE FOUR BASIC NOTES COMING FROM GREY MOLDINGS THAT DEFINE THE EDGES AND LINES OF THE BUILDING:

WHILST LISTENING TO LUCIANO BERIO; WE KNOW IT IS TRUE THAT ARCHITECTURE HAS CHANGED

WHAT AN EXTRAORDINARY EFFECT OF TRANSFIGURATION OF EVERY ELEMENT FROM ITS DEFINITION AS

BECAUSE OF GLASS AND STEEL, AND THAT, SIMILARLY, MUSIC SHOULD CHANGE AS A RESULT OF NEW

A SINGLE NOTE!

TECHNIQUES TOO, THE COMPUTER BEING ONE OF THESE. ARCHITECTURE IS CREATED USING CHANGES. SOMETHING HAS TO CHANGE OVER TIME, BY FLUIDITY, BUT I STILL BELIEVE THAT IT WAS THE ARCHITECTURAL THOUGHT, WITH ITS VAST DETERMINATIONS AND

IMITATION, ANALOGY, RULE, RHYTHM, REPETITION, ADDITION AND BI-LOGIC. EACH CHANGE FLOWS ON

FUNCTIONS, THAT REALIZED GLASS AND STEEL. LIKE THE MUSICAL THOUGHT OF THE 50â&#x20AC;&#x2122;S THAT RAISED

FROM ONE ANOTHER, REACTING TO EACH OTHER IN AN OPEN PROCESS AND IN A PRACTICAL WAY.

AWARENESS OF THE OSCILLATORS AND TONE GENERATORS IN A COMPOSITION, WHICH WERE ALREADY THERE JUST AS GLASS AND STEEL WAS FOR ARCHITECTS.

THE GREAT PIANIST, RICHTER, REINVENTED EVERY KIND OF MUSIC; MEANING SCHUBERT WAS NO LONGER THE SCHUBERT WE KNEW BEFORE HIM. AND HOW DID RICHTER ACHIEVE THIS? HE SAYS THE ONLY THINGS TO AVOID TO BECOME A GREAT PIANIST ARE ANALYSIS AND AUTHORITY.

THOUGH WE HAD FORGOTTEN THIS, IT WAS ALREADY KNOWN BY VITRUVIUS: ARCHITECTURE IS THE EMOTION WE FEEL WHEN WE VISIT A PLACE, IT IS THE SENSATIONS ON OUR SKIN GENERATED FROM THE SPACES SURROUNDING US. IT IS A PARTICULAR EMOTION, AS ARCHITECTURE IS THE ONLY EXPRESSION OF MAN WHERE THE EXCITEMENT IS ALL AROUND US PHYSICALLY, AND IT IS THE ONLY SITUATION IN WHICH COUNTLESS FEELINGS CAN COME FROM ANY DIRECTION, OVERLAPPING EACH OTHER. I CAN WRITE A WORD, AND THEN REWRITE ANOTHER WORD IN ITS PLACE; BUT WRITING THESE OVERLAPPING MESSAGES CAUSE THEM TO MINGLE, WHILE SPACE ITSELF CAN OVERWRITE ANY KIND OF EMOTION WITHOUT WRITINGS CHRONOLOGICAL ORDER.

WATER AND ARCHITECTURE Darwin and D’Arcy Thompson wrote in their famous Growth and Form, 1942: “The variety of forms seems frightening, almost anything is arbitrary”. This describes an extraordinary theory of transformations of forms in geometric and mechanical terms. The idea that a mineral is amorphous like a rough stone, a cluster of clouds, and agitated waters, is connected on one hand to the concept of primordial chaos, from which the divine breath would suddenly live through composed and ordered structures. On the other hand, and in more recent times, it has been developed together with the concept of evolution by natural selection. Inorganic matter does not play and does not multiply, and therefore cannot qualify for the reason imposed on living things from the “survival of the fittest.” These non-living forms, however, are precise, elegant, complex and free from those creases, distortions and forfeitures that forms with life have as part of their essential character. A snowflake, a rainbow, a spiral galaxy and a humble sketch of milk are complex configurations, perfect and recurring. All crystallography is a perfect invention of solid geometry, of exquisite and shiny textures, with inexhaustible multiplicity from compulsory regulations. These mineral matters are not only the creators of precision, but the delicate painters of free and elegant forms, such as the veins flowing through marble, the jets that create fountains, and the soft brushstrokes that form clouds. These mineral forms sometimes come together, and in the most remarkable way create the plants and animals that share this world with us.

THIS BINDING POWER IS SOMETHING WE SHOULD LEARN FROM THE WATER; A MAGICAL, LUMINOUS ELEMENT THAT CAN KNEAD AND RISE DIFFERENT ELEMENTS THAT MAKE UP THE SPACE OF OUR PROJECTS.

Similarly, water has both a formal imagination and a material imagination. The water remains as a whole despite all of its containments. It is necessary for us to find a material that gives its same poetic form and depth. In architecture, water begins the blend of materiality’s, creating the mixture of earth, cement, sand and water, which when combined is the basis of the scheme of the field of architecture. A material that simultaneously resists and yields welcomes all bivalence. We do not stress the concept of fluidity enough when creating an architectural project. We should consider the ability of water to combine with the other elements and give those materials form. This binding power is something we should learn from the water; a magical, luminous element that can knead and rise different elements that make up the space of our projects. A composition in which the elements assume their shape through many trials, and then lose it amongst the amalgamation that replaces the pure and tired solid volumes with a deep metamorphosis through physically contact, acts as a universal binder between action and vision, between geometry and after the geometry.

A PUDDLE CONTAINS THE UNIVERSE..........

SOME POETIC FORMS FEED ON A DOUBLE SUBJECT, A DOUBLE MATERIALISM THAT PROCESSES THE PHYSICAL IMAGINATION. WITHIN THIS DOUBLE, IT SEEMS THAT EVERY ELEMENT EITHER GENERATES A UNION OR A CONFLICT WITH ADVENTURES THAT EITHER SUBSIDE OR EXTOL IT. WATER IS THE ELEMENT THAT INFORMS THESE TRANSITIONS, THE BASIC SCHEME OF EACH MIXTURE.

a b s o r b s light and makes a world.it WATER ABSORBS LIGHT AND MAKES IT A WORLD

Water includes all of the images of purity. It is an example of a natural moral that we learn through the meditation of a fundamental substance. The lake holds great serenity to the eye. It absorbs light and forms itself into a world of its own. Beyond the lake, the world is already covered, already represented. Next to the lake there is the old physiological theory of active vision. For our active vision, it seems that the eye projects light onto things in order to clear up its own images. We can appreciate how the eye has the desire to see its own visions, through contemplation and will. Immobilizing the image of the sky, the lake creates a heaven in himself. The water in its fresh limpidity is a sky in which the stars are inverted into a new life.

ARCHIWATER.... INTO A LAKE INTO A LAKE.........

WHEN EXPERIENCING THESE MIXTURES, THE WATER CLEARLY APPEARS AS THE MOST DOMINANT MATTER. AND TO SHOW THE ABILITY OF WATER TO CONSOLIDATE WITH OTHER ELEMENTS,YOU HAVE TO REMEMBER THAT THE REAL TYPE OF COMPOSITION IS, FOR THE MATERIAL IMAGINATION, THAT OF WATER AND EARTH.

THE REAL EYE OF THE EARTH IS WATER. IN OUR EYES, THE WATER HOLDS DREAMS.

ARE OUR EYES THEN NOT AN UNEXPLORED POOL OF LIQUID LIGHT AT THE BOTTOM OF EACH OF US?

EVERYTHING THAT THINKS CAN BE FOUND ARRANGED AROUND THIS. THE BEING THAT EMERGES FROM THE WATER IS LIKE A REFLEX THAT GRADUALLY MATERIALIZES: IT IS THE IMAGE BEFORE THE EXISTENCE, THE THING YOU DESIRE BEFORE IT BECOMES THE IMAGE.

ALLTHEPROJECTSHASTHEAMBITIONSOFAPROCESSWHEREEVERYEVOLUTIONISALSOACO-EVOLUTION,SOTOSAYSTILLOPENFORSOMEBODYELSETOWORK.

THE FORMAL IMAGINATION NEEDS THE CONCEPT OF COMPOSITION. THE MATERIAL IMAGINATION, ARCHITECTURE, NEEDS THE COMBINATION CONCEPT. WATER IS THE MOST SUITABLE ELEMENT TO ILLUSTRATE THE THEMES FROM THIS COMBINATION. IT ASSIMILATES SUBSTANCE, ATTRACTS AND WELCOMES WITH EQUAL EASE THE OPPOSING MATERIALS, SUGAR AND SALT, IMPREGNATED WITH ALL COLOURS, ALL FLAVORS, ALL SMELLS. THE SCENTS WATER FEEL GOOD ONLY AT NIGHT. THE SUN HAS TOO MUCH ODOR BECAUSE THE WATER GIVES US HIS. AND WE ABSORB THE NIGHT WITH THE WATER IN US. THE UNION OF WATER AND EARTH PRODUCES A DOUGH. THE DOUGH IS ONE OF THE BASIC PATTERNS IN WHICH THE FORM IS EXCLUDED, REMOVED AND DISSOLVED, FREEING OUR IMAGINATION FROM THE CONFINES OF FORM. THE PROBLEM OF THE FORMS THEN FADES INTO THE BACKGROUND. THE MIXTURE THEN PROVIDES A PRIMARY EXPERIENCE OF MATTER. IT BECOMES A BODY OF ENERGY AND NOT AN ORGAN OF THE FORMS. THE HAND SYMBOLIZES THE IMAGINATION OF FORCE.

THE MEASURE OF FREEDOM LIES IN THE COMPLEXITY OF THE BREATH OF OUR BRAIN. â&#x20AC;&#x153;THE FAULT DEAR BRUTUS IS NOT IN OUR STAR BUT IN OURSELVES, THAT WE ALLOW OURSELVES TO SUBDUE. (SHAKESPEARE)

MATERIAL IMAGINATION IS ALWAYS IN PLACE BEHIND A CONSCIOUS PLAY OF FORMS..........

WATER CITY

THE MIXTURE PRODUCES A DYNAMIC HAND, ALMOST THE ANTITHESIS OF THE GEOMETRIC HAND OF HOMO FABER.

TTHE FORMAL IMAGINATION NEEDS THE CONCEPT OF COMPOSITION. The material imagination, architecture, needs the combination concept. Water is the most suitable element to illustrate the themes from this combination

. It assimilates substance, attracts and welcomes with equal ease the opposing materials, sugar and salt, impregnated with all colours, all flavors, all smells.

DESIGN STUDIO RITUAL FOR DEMO-CRAZY GATE-VISON MEMORY MEETING CULTURE PREY MEDITATION POLITICS ART BUYING SELLING SKY COLORS SOUND FOOD SCULPTURE COMUNICATION RELAX TRAGEDY HAPPINES BODY MARRIAGE OLD NEW EX NEXT LANDSCAPE PRODUCING

ARCHITECTURE FOR DEMO-CRAZY GATE-LANGUAGE DIMENSIONS VOID LIGHT SHADOW STRUCTURE ENTRY EXIT GEOMETRY TIME NETWORK OUTSIDE INSIDE LAYERS FAÃ&#x2021;ADE STAIRS PASSAGES GROUND FOUNDATION MATTER SECTION NATURE ROOF CORNERS FLOORS OUTSIDE SPACES ROOMS HALL HORIZONTAL VERTICAL PRECISION

21ST CENTURY RELIGION, AIDA ROSDI, 2017

OUT OF SPACE, DAVID CAFFELL, 2017

THE TRAIN: DIKCHYA PANDEY, 2017

VIRIDIDYSPHAGIA: IVAN RIBEIRO KUHLHO, 2017

THE REVELATION: JEAN ZINO, 2017

RESONANCE: JOAO PEDRO HAUER, 2017

THE GATE, KYRYLO SLEDZ, 2017

LIVIA ZAFFALON, THE LINE PATH, 2017

MICHELLE CHUNG, BLURRED BOUNDARY, 2017

SENTA ELISABETH PATSCH, STINGRAY, 2017

SIAN JOSEPHINE ATHERTON, SHIBBOLETH, 2017

STUDIO LIFE