Carmelite Sinkhole Convent: A Game of Palimpsest is a winner in the Emergent Talent category of the Morpholio Inside 2013.
http://mymorpholio.com/site.php/home/inside2013
http://mymorpholio.com/site.php/home/inside2013
Thursday, August 22, 2013
Inside 2013Tuesday, March 12, 2013
Capriccio 1.
The Capriccio is a desire for hyper and symultaneous reality, and therefore a sublime fantasy.
It is a representational mode that collapses both space and time, in which everything is possible and nothing is negated. Its origins are found in the 17th century Grand Tour and spring out of necessity.
During their journey, and passionate to take a timeless record of it, the wealthy traveller, in the absence of unlimited digital photography, would commission a painting that would collapse their itinerary and favorite sites which he had visited into one synthetizing view. In other words they tried to get "more ruins for your buck". In the process, some of the greatest illusionary views in the history of painting were born: non-chronological, full of allegory and deeply modern in their agency.
My journey and Capriccio start here...
Giovanni Paolo Panini_Capriccio
The ruins of the crystal-like, diagonal embrassing and ortho defying structures of today and yesterday.
On a second thought, a ruin capriccio should not be made in a lifeless setting like the snows of the north pole, it should be in a place full of life to counteract with the lifeless, forgotten and broken ruins. Jungle will be next.
Wednesday, July 18, 2012
Bramante
This is a quick study I did at work on the topic of Rest, Relax, Repose and Relieve.. Thought that while these words are usually associated with the human body, they could try to address other entities as well. Bramante's Tempietto appeared to me then when i was thinking about something that is tortured, uncomfortable and needs relaxation. The description follows.
Bramante’s Tempietto of 1502 presently stands inside a contortionist box, under stress and with severe tension.
The powerful muscularity of its solid, molded and Rorschach-like masses clash intensively with the planar, orthogonal and claustrophobic surfaces of its oppositional confinement, the small courtyard inside which it has resided for over 500 years. This, the longest prison sentence in history, will end. The Tempietto needs to REST. It will RELAX and REPOSE. We will RELIEVE.
Working within the boundaries of the compact existing courtyard, two strategies have been implemented.
1_ Sweater/Contour: Introduced the perimeter colonnade that is contoured to its geometry so as to hug and cocoon. The divisive line becomes the threshold for the iconic views, and the resulting poché is transformed into the site for the intervention.
2_Adjustable View Chambers: Created to direct the layering of the mythical views of peripteral columns seen through peripteral columns (Bramante’s instructions). These chambers become instructive devises that direct symmetrical views along the lines of perfect symmetry, create asymmetrical snapshots at the moments of intense asymmetry in the plan, and in ironic ways, reveal a desire for invention over rules.
Bramante’s Tempietto of 1502 presently stands inside a contortionist box, under stress and with severe tension.
The powerful muscularity of its solid, molded and Rorschach-like masses clash intensively with the planar, orthogonal and claustrophobic surfaces of its oppositional confinement, the small courtyard inside which it has resided for over 500 years. This, the longest prison sentence in history, will end. The Tempietto needs to REST. It will RELAX and REPOSE. We will RELIEVE.
Working within the boundaries of the compact existing courtyard, two strategies have been implemented.
1_ Sweater/Contour: Introduced the perimeter colonnade that is contoured to its geometry so as to hug and cocoon. The divisive line becomes the threshold for the iconic views, and the resulting poché is transformed into the site for the intervention.
2_Adjustable View Chambers: Created to direct the layering of the mythical views of peripteral columns seen through peripteral columns (Bramante’s instructions). These chambers become instructive devises that direct symmetrical views along the lines of perfect symmetry, create asymmetrical snapshots at the moments of intense asymmetry in the plan, and in ironic ways, reveal a desire for invention over rules.
