OASI DEI GOLOSI
OASI DEI GOLOSI
WIP - Coming soon!
WIP - Coming soon!
“Marble Salad” is the main of three spatial still-lifes that have been developed throughout a month-long artist residency at Masseria Cultura, an old vernacular mansion situated in the middle of the countryside in Puglia, Italy.
The project reuses marble debris, collected from various refineries, located in neighbouring villages - then manually interlocked to compose a 4x4m solid platform on the ground. The surface could act as a walkable floor - a stage - or just as a contemplative device - an horizontal tactile and colourful canvas. The precise definition of its borders clashes with the wilderness of the open fields in the backyard of the mansion that surround it.
This area will be soon cultivated and transformed into a vegetable garden - rows of zucchini, aubergines, tomatoes, peas, carrots and purple cabbages will become the updated bucolic frame of the platform.
It’s almost a process of inverted mimesis: the marbles’ polychromy anticipates the organization of the vegetables - the artifice discloses nature.
The notion of time has been fundamental for the artworks, dealing with it in different ways. “Marble Salad” will act as a proper still-life, a permanent frozen snapshot immersed within an iteratively changing environment - the hortus. The other two interventions are instead more ephemeral: “Tra-Forato” is a totem made of hollow bricks, a stage-set for the landscape, a portable scenery flat to frame and construct specific viewpoints; “Red Carpet” was our first spatial intuitive rehearsal in the Masseria, an ironic commentary on the re-usage of humble debris.
The context allowed you to be immersed in nature, fostering both a metaphorical and physical dialogue with the landscape: this dictated not only the timing of the project but also defined the way we used certain materials - exploring issues of permanence, ephemerality and construction rhythm.
The three installations are the result of the collaboration with local old crafters, becoming almost built embodiment of the precious relationship we managed to establish with all of them.
Designed and constructed by
Letizia I. H. Tueros
@Larnaca international competition
The proposal aims to work with and enhance the main characteristics of the plot, both physically and conceptually, to achieve a composition in the form of a large three dimensional mosaic or tapestry.
There are three main threads in which we researched and unpicked the site and its history: -A former tree/flower nursery for the municipality; -The infrastructural antiquities found hidden under or emerging from the ground which show Larnaca’s rich history and importance in the ancient world; -The inherent etymology “Salina” as a place to harvest and store salt in mount forms which are recorded in paintings and drawings until the 17th century.
It is along these threads that our proposal weaves and layers a variety of systems of gardens and public activities, sewn together in an interplay of colour, size and geometry, to celebrate the multi-cultural past and present of the city as a port: a place of import and export, a cultural hub of multiplicities and nationalities, gathering around the Mediterrenean coast.
The synthesis of the organisational system of the park uses a grid of watering infrastructures emanenting from the ancient aquaducts of the area and incorporates all the existing trees, embedding them into the backbone of our landscape whilst meeting the practical/ technical requirements. The system is a working motherboard or green lung which aims to give back to the city and its people.
Space syntax and compositional method. From notation to architectural plan: -The plot is a canvas. From its inception, the proposal attempts to incorporate the existing natural characteristics and planting which assume a primary role in the composition. These trees become preliminary nodes in the evolution of the drafting and compositional system of the proposal. -A bold continuous loop takes form around the park boundaries, weaving the entire site as one generous simple gesture that seeks to define the space. This becomes the main access route and the synthetic element along which our proposal evolves. -The circular motion creates two opposite diagonal subdivisions that we envision as a rock garden. These spaces offer a natural low maintenance setting. -A horizontal frame is applied to highlight the existing perimeter path and to restore the existing circulation route of the plot. -The horizontal bead or threads of the frame extend from west to east to add an element of rhythm, distance and scale. This becomes part of the system and practical logic for the design of the park that incorporates water systems and determines distances for its planting by adding structure and color. We connect this system to the existing trees to organise the core of our archipelago. -An archipelago of islands are therefore anchored along the horizontal grain of the tapestry and incorporate the existing geometries of the space, as well as trees, which we studied during our visit to the site. The goal is to tease out the concept of land management, ‘archeology’, of tree nursery and garden. The islands introduce varieties of field typologies, vegetation, colours and activities in the park, amalgamating in the composition.
The planting scheme establishes a natural design which includes and respects the native species and the existing vegetation. The proposed vegetation is resilient to Cyprus weather, in particular the drought of summer months. One of the main features of the proposal is its materiality, inspired by the geology and history of the city of Larnaca. Raw materials and materials from the earth, are managed with different techniques and energies to create a new topography with parallels to quarries, the Salina and the gardens.
In any form of artificial garden or partially landscaped garden there must be an underlying structure; a canvas or grid geometry to define and structure the systems. This is also similar to the natural weaving of a piece of wallpaper but also the creation of a multidimensional landscape composition that incorporates structure, depth and colour to make it understandable and beautiful. Visitors are free to roam and immerse themselves in this rich, thick tapestry of composition, with paths of experiences and scales that bring elements of Larnaca as a natural landscape into a miniature cartography, a physical archive to be mentally absorbed in its entirety and for one to dwell upon.
Love19 is an inhabitable, performative sculpture with a multiple nature: a table at the scale of architecture, a scenographic shelter, a permeable enfilade, made of hollow columns to be climbed - a roof to sit on, to admire the city and landscape from a unusual perspective.
Each column opens upwards, transforming itself into a lightweight fan vault: all together, juxtaposed and intersected, they give life to a shaded corridor, in which the light playfully manifests itself between the ribs and the curtains. The columns build an horizontal thick surface, flattened in the part facing the sky, at a height of 3.15 m As suspended garlands, each module is in fact composed of 48 flags of various shapes, in translucent white fabric, which wrap two rows of tennis referee chairs and support two sequences of green metal sunburst sticks.
This hanging elevated table - a geometric interweaving of 912 artificial foliage - features considerable dimensions: it's 17.35 meters long and 5.60 meters wide. Below it, between 40 and 50 people can linger simultaneously. At the table, however, there are only 19 seats. The exception creates the entrance, otherwise each diner sits 2.60 meters from those in front and 1.60 meters from those on the sides.
These are the dimensional parameters that quantify the artefact - the result of a diligent reflection on the current times. However, Love19 offers an alternative to the sadly recurring ready-to-use solutions - those that attempt to change directly and quickly certain rooted behaviours, established over time. Bodily relationships can be designed, rethought, even fabricated, but - fortunately - not controlled. They can't be measured in centimetres.
Love19 does not try to constrain, to adjust: it re-shuffles the proportions between space and objects, it aims to alter the foundations of perception and motor coordination that regulate the ordinary - it claims to stimulate a radically new use of the body. Love19 is designed to suggest, but it opens up to instinct, intuition, a physicality free to transform itself. Love19 invites - with pragmatic optimism - to rethink, creatively, movements and devices for the public space.
@Mextropoli Festival (1st Prize)
"La comida, más que las especulaciones místicas, es una manera segura de acercarse a un pueblo y a su cultura" Octavio Paz.
Alameda Central, once an Aztec marketplace, today becomes the context for the Gastronomic Palapa: a temporary polysemic place a public chillies dryer a cathedral of sounds and colours a convivial collective mesa
Octavio Paz describes how through the art of cooking we can talk about cultural identity. What we eat and how we relate to the food and resources we have today defines a cultural and historical debate. Completely made by Chiles Secos, the triangular-shaped dryer is constructed with a series of wooden arches forming an inverted thatched roof that acts as a communal palapa.
3500 bunches of chillies become the main elements to inform the materiality of the pavilion. They’re attached progressively to each wooden arch, creating a colourful sequence to walk through. The lowest entrance is at 2.50m from the ground, while the peak is at 6.5 m. The pavilion covers an area of 108sqm2.
The chillies knotted together define a variegated cloister where glimmers of light draw shadows on the ground made of recycled clay tiles, inviting the visitor to smells and colours in contrast with the jacaranda trees. Guajillo, Pasilla, Puya, Arbol chillies will be hung inside of the pavilion, safe from birds, but hot enough to dry throughout the days of Mextropoli2020.
The audience will participate in the drying process from arranging the chillies in green bunches, to observing them slowly turning into a bright red colour during the exsiccation. The last day, the pavilion will be deconstructed directly by the public who wish to take a bunch back home. Throughout the days, the chilli will become brittle to touch and their seeds will be heard inside when shaken.
The sheltered space communicates to the exuberant Alameda through a series of tables. La Mesa as a medium to connect interior and exterior, providing a fertile ground for spontaneous gatherings. Gastronomic palapa is an architecture to be bodily consumed.
Directed by Arquine
Curated by Lemonot
Ten meters high, Tribal Candela is a form of permanent ars topiaria, an habitable metal sculpture, covered with the purple flowers of jacaranda trees which help to mitigate the environmental pollution and introduce buffering microclimatic variations in the city by nature.
Among the crowded streets, tribal candela becomes a shaded space to hide from the chaotic noise of the city. An urban soft canopy which resembles the thin shells, popularly known as cascarones, designed by Felix Candela.
The curve that rises upwards becomes a point of reference and meeting place - a spatial and sensorial experience through strong colours and smells. It is an architecture that makes you want to look up, through the opening cone to the sky.
Tribal candela invites you in, capturing your gaze in ordinary moments: from the outside it moves as if it was breathing, the leaves change color and are shaken by the wind, catching the viewer’s eye - framing the environment and the sky around
Tribal candela is a piece of work which becomes interactive through the users moving throughout the piece, changing character depending on the needs of the people. A space for the community to be used yet intimate and unique.
Once you enter, the sound of the frenetic city outside is muffled. You can use the space as a moment of peace, of play, of conversation or waiting. Tribal Candela is also a platform for observing people wandering from one sidewalk to another, shops opening and closing, cars and street vendors. A platform to observe daily rituals in Mexico city. A place to enhance everyday life; in a space that changes and evolves daily, where the users are the main protagonists.
The petals of the vaulted dome are constructed with a reticular steel structure, cladded with colourful and crafted textiles. The dome supports an actual topiary piece made of thin steel cage which lets the jacaranda flowers grow naturally through time.
INDA workshop and exhibition
“The Chinatown effect” is a temporary installation at the ATT19 gallery designed and constructed in four weeks by INDA students in Bangkok. The project starts as a site-specific stage set, a series of props and composite videos investigating the notion of commonality and stereotype - in relationship to the world of Chinatown(s) as social typologies. When analysed through the Chinese cultural attitude towards reproducibility, the proliferation of Chinatowns reveals a network of what we define “authentic trans-territorial clichés”. We need to craft challenging techniques for the legitimization and preservation of such a specific yet diffused identity: Chinatowns are constantly reconstructed and experienced in different parts of the world, growing into a familiar system of habits, reminiscences and iconographical values that became a simulacrum of a sophisticated, layered domesticity for everybody.
Once inside the pavilion, the spectator, through videos on multiple screens, inhabit a “Chinatownised “ world made of communal rituals. The stage set itself, through its materiality, structure and ornaments, is a spatial manifestation of stereotypical yet identitarian forces: an inhabitable red folie, a dragon, a votive pavilion - a purposely recognizable architectural cliché. The project was first conceived and exhibited in Bangkok, then it will travel around the globe, to be showcased in the Chinatowns of different continents.
The Oxford Dictionary defines “Chinatown” as “a district of any non-Chinese town, especially a city or seaport, in which the population is predominantly of Chinese origin”. However, some Chinatowns may have little to do with China, while they certainly have in common with other Chinatowns in different locations. Indeed, if one hand these communities were able to resist and preserve their cultural origins more than other ethnic enclaves, they were also subject to a natural process of diffusion, exposure and commodification - that witnessed the rise of a worldwide shared "Chinatownised" identity. Travellers find there secure places where to recollect memories and authentic experiences. Clusters of exotic stimulating clichés - goods, signs and behaviours - that trigger an intuitive sense of familiarity and international domesticity.
The Chinese have two different concepts of a copy. Fangzhipin are imitations where the difference from the original is obvious. These are small models or copies that can be purchased in a museum shop, for example. The second concept for a copy is Fuzhipin. They are exact reproductions of the original, which, for the Chinese, are of equal value to the original. It has absolutely no negative connotations. The discrepancy with regard to the understanding of what a copy has often led to misunderstandings and arguments between Chinese and Western culture. Especially for Europeans, it’s difficult to accept that identity and renewal can be not mutually exclusive. Instead, in the Chinese culture - where continual reproduction represents a technique for conservation and preservation - replicas are anything but mere copies.
Taught and curated by
@Festival of Creative Urban Living
Milton Keynes ‘s community will soon experience a set of urban mirabilia: roundabouts will be turned into agoras, crossing lines into playgrounds and parking lots in gathering compounds.
In such a context we propose an inhabitable festive object. An optimistic round shape to attract and cuddle the visitors, a lightly monumental framework to strengthen the celebratory apparatus of this festival.
A temporary structure that is indeed ephemeral and utopian. Feel free to walk through it or to stay for longer - a pleasant breeze will blow filtered by the hanging telescopes. A rigid basement which acts as an urban carpet - punctured by three different paths: from two sides extravagant portals are welcoming pedestrian, fast bikers, and slow thinkers while a tiny path entering from the small mouth of the balloon is large enough just to crawl in. A privileged door only for curious children.
Once inside, the basement itself becomes a smooth bench; then, rings of soft seats arise from the perimeter, framing a 360 intimate theatre: a place to rest alone or to laugh together. Eventually, anchored on top of everything, this colorful balloon stands silently: an architecture to be questioned - impalpable yet very present.
Exhibition and Performance
@Low Fat Art Festival
"Memory is not an instrument for surveying the past but its theatre. It is the medium of past experience, just as the earth is the medium in which dead cities lie buried. He who seeks to approach his own buried past must conduct himself like a man digging." - Walter Benjamin
The Thang Nguan Vintage House is a place where time freezes: from its decadent walls and faded colors to its neighboring communities, you suddenly find yourselves in another era. Once inside, after the narrow staircase that gives access to the terrace, visitors are immersed within layers of objects, still imprinted with collective personal memories.
The project, developed through a series of ephemeral rooms, does nothing more than emphasizing and creating a path between these fragments that were once used and nowadays are still intact: the aim is to preserve their peculiar value through pure matter within a theatrical space. The exhibition has been designed as an architectural still life, where, through delicate surfaces and heterogeneous openings, you are able to be face to face with these objects. This curated space is a point of departure to be part of someone's recollection of playing - eating - travelling.
As architects, we not only assembled personal relics, images, photographs, and other documents but we became archivists who, shaping the geometry and the materiality of the rooms, were able to frame multiple views on this intimate past. For the first time, this private space is open to the public, which becomes the main actor, in dialogue with belongings and pieces of uncle Poonsak's story.
During the festival the deck of this house became a meeting point for all the people of the neighborhood, with events during the day and concerts in the evening. After the dismantling of the exhibition, the stage set has been used for performances by local artists.The whole structure is super light, composed of three metal curved rails, coloured in bright pink, holding white translucent curtains to frame three different spaces - punctured by an intricate path made of terrazzo-like rubber scrap. This linear carpet guides through the objects on the floor, leaning also towards the central table – a sculptural piece constructed with inverted traditional Thai wooden trusses, found on site.
Designed and directed by
Workshop and exhibition
@AAvs El Alto
Crucero del Sur _ El Alto,
The AA Visiting School El Alto questions the ideas of identity, folklore translated into architecture – that becomes thus a collision among multiple symbolic fragments, far beyond its disciplinary boundaries and conventional testing grounds.
Act 1 - Defragmenting We started constructing a new architectural artefact in a chaotic process of fragmentation and re-assembly, transfiguring each element we would use, charging it with symbolic and aesthetic sense regarding the cultural power of the “Diablada of Oruro”. In the process of understanding this, we dived into the first week of the workshop to dismantle our own, identitarian fragments and combining them with a protagonist of the Diablada that was assigned to each one of us. The task was to take the essence out of the characters and ask ourselves: what defines that persona? Is it something visual, symbolic or both at the same time? What does that mask transcend in human nature? How can we make an ancient dance contemporary?
Act 2 - The Kingdom of Fragments The elements we selected and arranged did not work in a vacuum. We are all part of a bigger picture. The process of designing continued with the production of the surroundings. The context, made out of ceramics became our frame to play within. Each one of us had its own totem shaped out of geometrical cones, in different shades and sizes. Through these totems we fueled the design of the entire ground, where synthesis and syncretism aroused.
Act 3 - Assembling the choreography The last week we worked in one of the cholets of Freddy Mamani Silvestre. The place itself suggested us to make a centerpiece as in each of its buildings, the shapes and columns meet and intertwine almost in a knot right in the centre of the rooms. This centerpiece involved the assembly of the miniatures in a series of stages that resemble the sequence of building up any architectural project. The action of translating and appropriating objects, placing them in a new context gave a new symbology for our ground. We used objects as a medium to construct architecture. The whole project got unveiled through a performance, revealing the meaning of this ground: an inverted ceiling with a complex chandelier in the middle. Our painting became a fresco, our centerpiece – a chandelier, our totems - ceiling lights and our movements were trajectories to our ideas
Taught and curated by
Ronal Grebe Crespo
Freddy Mamani Silvestre
Sabrina Morreale and Lorenzo Perri are architects, educators and founding partners of Lemonot – an open platform to seek and design built worlds, born in London on June 24th 2016, the day of Brexit, and now fluctuating among Europe, Bangkok and Latin America.
Sabrina graduated at the Architectural Association in 2016, awarded with the AA prize. She’s currently teaching in the Foundation course at the AA and in the School of Architecture in Reading.She has taught in Cambridge, while collaborating with various magazines (Rivista Studio, Cartha, Elle), with the RIBA as curator assistant and with multiple architectural firms in London (OMMX, The Decorators and Office S&M), Her projects always explore notions of fragmentation, assembling techniques and authorship.
Lorenzo graduated with Honours at the Architectural Association in 2016. He’s currently teaching at the University of Applied Arts in Vienna and he’s a consultant for Experimental 9 at the AA. While participating in several competitions with international firms (Amid.Cero9, Elemental), he co-founded the research-based Plakat Platform and the architectural studio Ecòl. Obsessed with geometry and aesthetics, precision and expression, he studied engineering and classical piano before working in architecture.
Through Lemonot, they operate in between architecture and performative arts – using them as devices to detect, celebrate and trigger the spontaneous theatre of everyday life. Spatial production is neither the beginning nor the end of their stories, rather it’s a filtering framework to grasp reality. Architecture becomes a medium to produce heterogeneous outcomes: from story-telling to still-lifes, from pastry tools to embroidered garments.
Their projects have been exhibited and awarded worldwide – at the 14th Venice Biennale, at the YTAA (Young Talent Architecture Award) 2016, at the ATT19 Gallery in Bangkok, at the RIBA (Royal institute of British Architects) Live Drawing Marathon and at Mextropoli 2020 in Mexico City among the others.
Hungry observers and compulsive collectors of anthropic mirabilia, they’re interested in all those iconographic gestures that enable the mutual immanence among objects, bodies and rituals. In particular, their work attempts to define peculiar architectural settings for updated gastronomic performances, with the aim of revealing the symbolism behind food preparation and consumption.
They have been teaching together at the AA Summer School since 2016. In 2018 and 2019 they taught as Adjunct Professors at INDA in Bangkok and they’re now programme Heads of the AA Visiting School El Alto (Bolivia).
Their academic research focuses on contemporary folklore – as a trigger for unconventional spatial languages, between geometrical abstraction and material figurativism.