After geometry 6

DIA series © 2018 - City XXI - Studio Terragni

DIA series © 2018 Anhalt University Department 3

AFTER GEOMETRY VI CITY XXI

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 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 First semester 2017-2018 ISBN-..........

AFTER GEOMETRY VI STUDIO TERRAGNI SELECTED STUDENT WORKS

“SO I BAPTIZED THESE THOUGHT-CONDENSATION PRODUCTS AS PLOTCLOTS. THEY ARE, LIKE THIS NEW WORD, STRANGE, UNFAMILIAR, YET CURIOUSLY APPEALING! LIKE THE SONGS OF THE SIRENS!” CLOTS.

Oh, how do I mourn the last…the last of everything!

coveted quality, a timeless circumstancial singularity!

The last issue of “After Geometry”, the last opportunity to feel the fresh breeze, the “clouds”, the smiles of Attilio Terragni’s students!

Every earlier attempt to name this process in a simple way, failed me. Finally I got across a pair of twin words, which – with the extended universe of their meanings – make it easy, to remember this above described method.

As many times I was privileged to attend, I was searching, to find the proper expression for what I experienced there. After a while, it came to my mind: “sensory allegories”. All, what was present on Sandro Botticelli’s paintings, and very rarely since! Breeze and smiles, and beautiful music of forms.

First the words, grammar comes afterwards.

In architectural design, we have to unify knowing and feeling! Have to exhaust as many potentialities as possible, to arrive to a condensed entity, which latently contains the essences of several previous and future nonverbal thoughts.

Design is, even in its embryonic stage, a thought condenser process. Most probably we can not know these densified thoughts, but certainly could feel them. Pending from the intensity of the heat of our passion of the distillation phase, from the patience and the precision of this translating act from spirit to matter, our design might acquire a most

PLOT has among these lesser used meanings plan, design, dream-up and construct.

CLOT has much less, but concentration, coagulation and knot are acceptable.

So I baptized these thought-condensation products as PLOTCLOTS. Many, if not all of the projects I witnessed in Attilio’s studios during the years are fitting easily into this category. They are, like this new word, strange, unfamiliar, yet curiously appealing! Like the songs of the Sirens!

I will be forever grateful, that in a very small way, was able to participate, and perceive these magical vibrations!

Dr. Peter Magyar, AHA, F-RIBA

“CAUTION: OBJECTS IN THIS MIRROR MAY BE CLOSER THAN THEY APPEAR!”

The primordial landscape of the cities Caution: objects in this mirror may be closer than they appear!

Every place preserves a mental image that conforms, in our imagination and arbitrarily, a spatial form. This form is virtually free and indefinite, explorable and unknown, always fecund and ready to receive new models of space.

The landscape, by itself, has always enclosed this essential place: the architectural thought.

That’s a new beginning every time.

The architecture coincided with the landscape, with the mental conformation of the big space, with the overall vision of the site, up to its geographical prefiguration.

The places are ancestral everywhere, from the canyons to the glades, from the chasms to the cities, from the interlocked squares to the bases from where to admire the panorama; from the strange shapes of the mountains, to the rooms that look at horizons or roofs.

Then, the orbiting satellites and again, we are in the caves and in the unknown spaces of the residues or deserts of the urban parabola.

Everything is landscape, everything is architecture.

Exotic and crystalline places that free up our minds in an overall experience close to rêverie, to a primordial dream of space.

Platonic places that remind us of the City of the Immortals by J.L. Borges, environmental fragments that catch again the forma urbis, generating new natures as in a stream of solidified thoughts. Inhabited mountains or forests appear, just like the natural ones that multiply space in pure experience, discovery and wonder.

They are the new paths of the cities, those of a powerful and mythopoeic acoustical glance.

The architectural experiments that took shape in the study directed by Attilio Terragni with his polyhedric students at DIA of Dessau, are as evidence or attempts of imagination, are the result of plastic manipulations comparable to the most complex charades. Thus, some works rediscover a sort of urban undergrowth that is turned over to the large scale.

New formal models are emerging, in abandoned areas, in urban voids ready to welcome a genetic modification of the city.

I often think of a phrase by John Cage: “From any point of it and arriving to the end, you find yourself thinking to the next step in that direction. Perhaps you need materials, new technologies, you have got. You are in the world of X, of chaos, new science”.

All projects start as a kind of rewriting of the basic letters of the geometry code. These letters are gradually eroded by the look, and they are scrambled, manipulated to provide the logical small bricks of a language as smooth as oil.

Some drawings generate entire geographies, beautiful landscapes of plasticity. Other projects automatically generate small worlds, perfectly closed in themselves (which are repeated in themselves) and at the same time, they seem to reflect the firmament. Others projects define impossible intersections and concentrate on the particular of apparently possible buildings. In some cases, the architectures designed, produce a real theory of the “Cadavre exquis”.

The distant and the close are confused with an urban landscape that gives the impression of being iridescent with the passing of the hours, not only in its light and color changes, but also in its form. They are urban rivers, karstic reports.

Here are Romantic places, where for Schelling, “the inorganic form of art, or the music of plastic arts, is architecture”.

Prof. Arch. Corrado Di Domenico

“IT TRANSFORMS ONE FROM A MERE EXECUTIONER INTO AN EXPLORER.”

Dear Attilio, I was lucky enough to be a part of the studio not once but many times and it has been the most liberating journey…

It transforms one from a mere executioner into an explorer.

As a part of the studio in more than one role, I had the privileged to find that ‘‘doing architecture’’ is not about coming up with the best answers fast enough but rather having the courage to allow the encounter with the “new and the unknown” every time one sits down in front of a blank page. That one does not need an excuse to be curious and that creating is not the same as forcing.

In a field that is desperate to produce originality, it seems to me that architecture is choking on infinite repetitions of recent clashes, all seemingly so diverse in form but similar in nature. This puts true creativity in danger.

That is why I find the work that has been done through all the years that I have been a part of the studio so significant and inspiring.

To me, After Geometry is a place where architecture is not reflexive. It is a place full of questions and doubts, where one does not have a premade template to follow. It is a place where one is not allowed the comfort of resolved intelligence and digested knowledge.

Where rational reduction is kept on a safe distance and is quietly waiting its turn till the

“potion stops brewing”. It is a place where one treats architecture more like a “witchcraft” than a strategically calculated mission.

It is a place to observe and notice, a place where the human and the machine clash and where the tools we use are not glorified to become enslaving. Instead, they are treated as “any other toy”.

I myself have goon through it all… the unknown dark forest… to discover not all the things I could do but all that I did not suspect I was capable of.

And now I am more than sure: the genius in anything worth doing is only found on the edge of catastrophe…

And maybe, it is this type of special “catastrophes” that we were trying to come up with: experiences complex enough to allow infinity in a finite space.

Arpy Mangasaryan architect assistant A.G. studio

“ IT IS PRECISELY THIS TRANSGRESSION THAT IS THE SENSE OF ARCHITECTURAL WORKS, AND NOT A VAGUE SEARCH FOR APPROPRIATENESS, POLITENESS AND CORRECTNESS, WHICH HIDE CONFORMISM AND OFTEN LEAD TO PASTICHE OR PURE ABSTRACTION.”

Welcome to After Geometry .

The studio program is related to the fact that any works of architecture has relations with the cultural context by analogies.

When one has to design a building, usually the city and the site have particular situations and very often are already determined by the urban planning or by the client.

By knowing the local types and languages, it is possible to criticize them by investigating new strategy of transformation, avoiding consolatory adaptation to specific situations and conditions.

In the studio After geometry we believe that is precisely this transgression that is the sense of architectural works, and not a vague search for appropriateness, politeness and correctness, which hide conformism and often lead to pastiche or pure abstraction.

The new proposals have great freedom to express themselves, between theory and practices.

To reflect about the past is a key strategy only if we are looking to the historical architectural structure as an expression of new ways of thinking.

architect Attilio Terragni DAAD Guestprofessor DIA

“HOW DO WE PUT ORDER IN CHAOS WOTHOUT THE DICOTOMY OF WALLS? HOW DO WE CONFIGURE A PLACE OF ANAOLOGIES FROM ANY TERRAIN?”

WALLS DICOTOMY TO ANALOGY Let’s start from the Parthenon, the ancient Greek temple of Athens.

The Greeks built most likely to give a place to live in the free spirit of their deities.

To do this, they had only stones and bricks, and therefore only with these materials they had to realize the temple. It was their only chance.

The task of the architects was therefore very clear, transforming the heaviness of the stone so that the temple would not be seen as a huge stone, like a heavy ship anchored to the ground, like the ancient ziggurat.

From their struggle to transform the heaviness of the stone, the architects invented the study of proportions, the orders, the rhythm of the columns so that the final result was in perfect static rest, so that the architecture seemed to be there on the Acropolis as if it had been propped up from above, like a work of divinity itself, which certainly knows nothing of the force of gravity.

The columns are juxtaposed to the walls to remove the closing effect of the inner wall of its cell. The columns are grooved with shadows and lights, enriched with bases and capitals to hide the constructive truth.

The structural intersections and each functional element take on figurations and decorations to eliminate the meeting point between the columns and the trabeation, between the columns and the floor, between the trabeation and the roof, all to make the stone pleasing to the eye, despite its limited constructive possibilities.

It is a very difficult undertaking that receives its most grandiose and successful realization in the Parthenon and in a few other cases.

Their perfect static rest still attracts millions of visitors, thanks to the fact that all the elements have a suitable form and placement to

express the achievement of a motionless perfection in the midst of the chaos of everyday life.

The temple gives the illusion of a dream, where the stone is silent, in which every effort is canceled, like today in films, in which frenetic rhythm can be repeated on the screen going back and forth in time, slowing down and upsetting its real and chronological flow, as it happens in every enchantment of divine origin.

At the beginning of its thousand-year history, the wall therefore presents itself as an indispensable tool to defend the divine city, to build a clear division between the sacred and the profane, between friends and enemies.

In ancient times the wall seems to be part of architecture only in its relationship with the divine and never involved the questioning of the division between inside and outside, but a perfect execution that isolates the Acropolis from the outside, as the internal cell isolates the place where the divinity stands.

Since the time of the Greeks, the stone wall has remained this protective structure, homogeneous and unitary, devoid of geometric articulation.

The emptiness that finds its “materialization” in the stone always aims to create a closed space, where the interior is isolated, well defined and complete, as in the enveloping rooms of every age, made physically and psychologically spaces isolated from each other and from the outside world.

How do we put order in chaos without the dicotomy of walls?

How do we configure a place of anaologies from any terrain?

The ancients,as we see, have responded by drawing a line, separating an inside from an outside, that which is authorized by that which is forbidden.

“DIVIDING HAS ALWAYS THE FUNCTION OF SACRALIZING TO SAFEGUARD THE EXCEPTIONAL NATURE OF A PLACE, A PERSON, A FORM AGAINST THE CHANGING AND VOLATILE TIME OF LIFE.”

It is the idea of the ​​ frontier.

And our legends such as the Old Testament, the Iliad or the Aeneid, highlight this inaugural gesture of demarcation.

Inevitable to define and proportion things, as recounted in Genesis where even God to put an end to the chaos separated the light from darkness on the first day, separated the water from the earth and called the dry earth and the fluid sea water.

Borders separate things from the undifferentiated background, by dividing them, or by creating differences from something that already exists, as did God who created Eve by taking a rib from the body of Adam.

In the various societies are the priests, the judges, the kings, who set the boundaries of things and between things. In fact, walls and doors has been always considered sacred things, with the minimum of openings to clearly define all the dichotomies for which they are built.

This idea of separating ​​ one thing from another, for example, the civil architecture from the religious one, has always the presence of simple architectural tools as steps, palisades, an access space, a peristyle, a cavea, a parapet, all with a double function: that of isolating and marking the difference between everyday life and the extraordinary, creating the illusions that really exist places, raised and slightly offset from reality.

In short, dividing has always had this function of sacralizing and safeguard the exceptional nature of a place, a person, a form against the changing and volatile time of life.

Also before the Greek we can see this primordial desire of men to build temples as places of dicotomy hospitality.

The Babylonians, for example, built large staircases to the top of their ziggurats, where

they placed an empty temple perfectly equipped for the arrival and stay of the god.

And with an extraordinary imagination they believed that the divinity, after resting on the top of the temple from his journey, would come down to the city, when he wanted, to talk to them.

So they prepared a kind of Temple hotel for the god to stay as divinely as possible, and built huge staircases, impossible to climb to the man, but adequate to the immense divine proportions.

After the Babylonians the Greeks replaced the hotels witha luxury prisons. Here they closed the divinity to keep it inside their own city but also inside a well-closed cell with small-sized doors compared to the dimensions of the divine statue to make sure it could not get out.

The Greek divinity is isolated from the world and the noise of everyday life that could make him\her become furious, bringing the city into the chaos of the stories and adventures of these crazy lords of the world.

The temple, like every good prison, is therefore isolated on the Acropolis, a place at the same time inside and outside the city, a large fenced hill with amputated top and flattened to control the gods, make them stay there without any possibility of going out and outrage city.

However well in sight to terrorize the enemies, who frightened by the sight of that hillside considered the symbol of the secret conversation between the god and the city defenders, an alliance between the city and the divinity and therefore a prove of their strength.

At one point christianity came around the word with a book that talks about borders but also expands the space by looking for a conjunction between heaven and earth.

“FROM THIS TIME ON THE LANGUAGE OF ARCHITECTURE BECAME ANALOGY”.

Christianity opens up a vertical space that become part of the experience of the ancient horizontal dichotomies between light and shadow, masculine feminine, heaven and earth.

The dome offers its shape to the medieval abbey as well as the bell tower in the town hall.

Architecture is still an organized system but it does not close up anymore because its presence is connected with the infinity of the other.

Christianity seems to doubt the ancient certainty, of dicotomy, doubling the figure of a person as a being that is invaded by the divine presence.

The invasion by the infinite began within the person. Basically it’s like having a camera installed that constantly resumes people life, that knows exactly everything I do, and therefore poses itself as an alter ego.

It is not a split personality, but it is just someone else who puts himself at the center of my person.There is no clear and precise demarcation.

The narcissism of differences ends when the neighbor, the one next to me, puts me in a crisis just because we both have an equal invasion inside our person.Then everything centered with natural diversity, divisions, separations, all speeches, experiences, all life, collapse with science and knowledge aspiration to change any ancient horizon.

Here is born a new idea of “border deficit“ that we still use today as an icon of men, and not god, power.

At this point it is still necessary to grasp something not visible, beyond the natural boundaries..... the invisible illuminated by the scientific mind, and allowed it to defeat any myth, including the truly impressive one of the effects of classical monumental architecture, in a liberation against the old stereotypes.

“THE COMBINATION OF ANA AND LOGOS IS, THEREFORE, TO SAY THAT RATIONALITY, THE LOGOS, WHICH IS A SLOW PROCESS, HAS THE POSSIBILITY OF ACCELERATING AND GOING BEYOND PURE LOGICAL RATIONALITY.”

From the medioeval to scientific time, architecture is in between the Full and the Void, so to say, it is between invisible and visible, in the unclear division between the constructive elements, between roofs and floors, between arches and times.

in its specific contents because the subject is not simply in front of the object as its alter ego, but it reflects it in the living rhythm of its logos and, therefore, reunites it in the fluidity of an analogical thought, not closed or established in a priori formulas.

In this perspective every type of dualism is described within unitary and unifying and therefore analogical paths and even architecture is not simply the theoretical and practiANALOGY cal activity that constructs a building, but is the activity of the ana logical dimension, in The word analogy in Greek is analogos, where the which the work reaches out to a future logos means discourse, reason and Ana, on or past space, and can never be closed in a the other hand, has two meanings: the first definitive logical form. is “go beyond”, that associated with logos means going beyond the rational dimension, But what are the ways in which a modern the second “going backwards”, that analogical path is built? associated with logos is a sort of recovery, with greater awareness, of something that We identify for the modern analogy three rationality has already proved in the past. forms of relationship, or rather of paths: From this time on the language of architecture has became analogy.

The combination of ana and logos is, therefore, to say that rationality, the logos, which is a slow process, has the possibility of accelerating and going beyond pure logical rationality, both with reasoning about the future and the past. The analogy therefore presents itself as a quick means of treading the thought of rationality in a more synthetic and less analytical way.

We also know that Logos is the Word and in this sense analogy means going beyond the word, in the profound meaning of going towards the primordial of a civilization, to the origins of its rationality.

In the twenties the philosopher Giovanni Gentile identifies this going beyond logical rationality as the eternal rhythm of the intellect, and expressing its essentiality as a process of knowledge always made current by the thinking of the present.

In the Gentile logic the thinking subject can no longer be identified in any closed form, except in that which he gives himself with his cognitive process, which is always different

1- Similar path from one content to another content in the absence of a common form: 2- A similar path from one form to another form if they are completely distinct: 3- A similar path from the content to the form when it comes to creating a new shape.

As we can see immediately the existence of analogy provides the essential abstract link between form and content no longer has its stability because everything is in progress between these two extremes that come together without being trapped in the idealizing abstraction of infinite subdivisions of the philosopher Zeno (who do not allow Achilles to reach the turtle).

The philosopher Antonio Banfi, when he deals with this theme of the analogical relationship between form and content, adds an important aspect.

For him, rationality is expressed in relational structures of forms and contents that are much more complex and dynamic than what the world offers us.

“ AFTER GEOMETRY.”.

The analogy therefore not only guarantees the best integration with the world, but overcomes its possibilities because it succeeds with its rationality to simultaneously see a content in the constitution of the form and a form in the constitution of the content.

GEOMETRY

For Banfi the superiority of analogical reasoning on the figurative one of nature is seen above all in the architecture that provides the safest and most concrete example of the dynamic between forms and contents because his art is born from the hard trunk of concrete need, from the “scandal” of the functionality that removes any possibility of autonomy to the architecture in which, unlike the other arts, also the functional moment must appear solved.

If you have geometry at the beginning of designing with its presence it would block any possibility of having a poetic because it would establish a method, a closed and dichotomous reasoning in which space would be imprisoned by an ever present metaphysical guide.

Architecture is therefore the true art of analogical thought that has its own efficacy precisely when in it the analogical paths between forms and contents lead to the resolution of the concrete plane of reality in the abstract, that is to a path of functional artisticity.

A construction becomes architecture when it is a suspended space in time and because it renounces to the initial organization of geometry.

The problem of geometry is another and transcends any possibility of investing it of an apriori role that historically almost certainly has never had.

Geometry “serves to control and not to guide in the study of a facade or a plant “.

It is a dematerialization that is added to that of matter, a split that reaffirms a continuity with tradition, only if it leaves the space in a poetic suspension where materials become almost phantasmatic, and does not evoke any contemplative fixity.

The suspended dimension is, contrary to the perspective one, a primordial objectivity that is also the most striking expression of subjectivity, but not an idea of primordial ​​ as a return to a state suspended beyond the risks and responsibility, but “the recognition of a trend that profoundly informs the contemporary and historical world of itself, in normal manifestations and that the magic of everyday life sets in image.”

Architecture of suspended spaces over the time do not therefore have any relation with its geometric origin.

Geometry comes later and has the task of putting the space of architecture in tension with its historical form.

“IF YOU HAVE GEOMETRY AT THE BEGINNING OF DESIGN, WITH ITS PRESENCE IT WOULD BLOCK ANY POSSIBILITY OF HAVING A POETIC BECAUSE IT WOULD ESTABLISH A METHOD, A CLOSED AND DICHOTOMOUS REASONING, IN WHICH SPACE WOULD BE IMPRISONED BY AN EVER PRESENT METAPHYSICAL GUIDE.”

DESIGN STUDIO

“BY KNOWING THE LOCAL TYPES AND LANGUAGES, IT IS POSSIBLE TO CRITICIZE THEM BY INVESTIGATING NEW STRATEGY OF TRANSFORMATION, AVOIDING CONSOLATORY ADAPTATION TO SPECIFIC SITUATIONS AND CONDITIONS. “

This semester we have worked on the theme of the “Palazzo Milanese”.

The studio has proposed two different actions: a close up reading of some modern masterpieces and a project with the after geometry strategy.

The area selected for the project is the abandoned Porta Romana railway station in Milano, one the new big development in the city.

The studio program is related to the fact that any works of architecture is in relation with the cultural context by analogies for development of new proposal of architecture within the urban.

Thanks to the works of master who built architectures that represent the Milan approach to modernity, we have selected cases to be studied because of their original approach, with a close up reading in terms of language, structures, architectural elements, compositional mechanisms, in search of transformation of them in the contemporary world of the After geometry.

Adopting it is more than knowing.

The building is redesigned in all its analytical, dimensional, compositional components, then its geometry and his system of proportions is related to some fundamental themes of architecture, such as: coverage as a weapon of protection, the union between different forms, the disposition in the pre-existing space as a formulation of an idea of city. ​​ In particular we have looked to these example: Casa Rustici, Casa lavezzari, Casa dell’artista, Casa del fascio by Terragni, Casa Andreae by Minoletti,Condominio XXI Aprile and Casa in via Lanzone by Asnago e Venders, the Complex in Corso Italia by Luigi Moretti, Casa Rasini by Ponti and Lancia, the complex in Via Broletto

by Figini and Pollini, the Edificio residenziale in via Ippolito Nievo by Caccia Dominioni.

Every project begins with the study of the site plan at Porta Romana, a vast place where the railroad tracks will no longer function in the future.

Traced the perimeter of the place each student has superimposed digital drawings made by hand with different techniques.

The drawings are intended to represent the complexity of the contemporary city and to bring out the fluid organizations for the project area.

These initial drawings have been redesigned with cad programs, transporting the graphic lines in vector lines, with the fondamental task of trying not to lose the complexity of the two dimensional and three dimensional initial design (graphic diagram).

This semester one of the main features we wanted for our project is to find architecture by intersecting drawings, by their interaction, that can be established at any levels between distinct graphic options.

Basically each student selects their graphic diagrams and places them on top of each other lokkin for a three dimensional structure in their open possibiliuty of a third dimension.

Traditionally, architecture comes from a design that is extruded upwards in three-dimensional shapes, with an organization that has a privileged direction from the bottom upwards.

We have tried to overcome this ancient habit and looking for an architecture that arises from the intersection of at least two drawings, as a negotiation between two open but different organizations.

ADOPTED BUILDING LUIGI MORETTI - EDIFICIO IN CORSO ITALIA ASNAGO E VENDER - CONDOMINIO XXI APRILE CACCIA DOMINIONI - CONDOMINIO VIA NIEVO FIGINI E POLLINI - CASA IN VIA BROLETTO FIGINI E POLLINI - INA CASA GIUSEPPE TERRAGNI - CASA RUSTICI GIUSEPPE TERRAGNI - CASA DEL FASCIO DI COMO CACCIA DOMINIONI - PIAZZA CARBONARI LUIGI FIGINI - VILLA UNIFAMILIARE GIUSEPPE TERRAGNI - CASA DELL’ARTISTA GIUSEPPE TERRAGNI CASA LAVEZZARI RENZO PIANO - SEDE DEL SOLE 24 ORE

LUIGI MORETTI - EDIFICIO IN CORSO ITALIA

ASNAGO E VENDER - CONDOMINIO XXI APRILE

CACCIA DOMINIONI - CONDOMINIO VIA NIEVO

FIGINI E POLLINI - CASA IN VIA BROLETTO

FIGINI E POLLINI - INA CASA

GIUSEPPE TERRAGNI - CASA RUSTICI

GIUSEPPE TERRAGNI - CASA DEL FASCIO DI COMO

CACCIA DOMINIONI - PIAZZA CARBONARI

LUIGI FIGINI - VILLA UNIFAMILIARE

GIUSEPPE TERRAGNI CASA LAVEZZARI

GIUSEPPE TERRAGNI - CASA DELL’ARTISTA

RENZO PIANO - SEDE DEL SOLE 24 ORE

SITE MILANO SCALO PORTA ROMANA

SHOCKWAV, SENTA - ELISABETH PATSCH, 2018

th Patsch 4055014

SHOCKWAVE

AFTER GEOMETRY VII

a - Elisabeth Patsch 4055014

SHOCKWAVE

Senta VII - Elisabeth Patsch 4055014 AFTER GEOMETRY

SHOCKWAVE

AFTER GEOMETRY

Senta - Elisabeth Patsch 4055014

SHOCKWAVE

AFTER GEOMETRY VII

- ELISABETH PATSCH 4055014

SHOCKWAVE

SENTA - ELISABETH PATSCH 4055014 AFTER GEOMETRY VII

SHOCKWAVE

AFTER GEOMETRY

MARINA PANCERI, FESSURE DI LUCE, 2018

WORKING WITH GEOGRAPHY ANOMALIES VALMIR KASTRATI, 2018

RACHEL CHONG, SKIE(‘)S, 2018

THE COHERENCE OF VOIDS , PHILIP LAM, 2018

SCIROCCO, INA VECANI, 2018

FOLLOWING , YULIIA SUROVA 2018

CONCRETE UTOPIA, MARALTUYA AMAR, 2018

THE INVITATION, VALENTYNA BONDARENKO, 2018

SQUARE-1, KHRYSTAL FALI ASIEDU, 2018

CAOS TO LIVABILITY NILANG MINSTRY, 2018

REVOLUTION OF INTERSECTION, LADA MITKOVETS, 2018

PIAZZA DELLA LANTERNA MAGICA, MUSHFIQUE AHSAN, 2018

STUDIO LIFE