Architecture

"Where do the wild roses" _ monumental Need to Servino

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"Where do the wild roses" _ monumental Need to Servino it has been modified: 2013-05-03 di Mario Ricci (AtelierTransito)

"Always choose the most difficult" Mother Teresa of Calcutta

Aphorism or aphorism sm Maximum, sentence, definition, which in short and juicy words summarizes and contains the result of the above considerations, observations, experiences, [...] which condenses - similar to the ancient Latin phrases - a specific substance or a more general philosophical knowledge or morality, as well as a wise rule or a practical rule of life: collection of aphorisms; speak in aphorisms.

"The design is an aphorism"

Monumental need, the latest book by Benjamin Servino, is a book of signs: the fact of aphorisms written with shapes and colors, and with written words. Published by 22 Letter of Syracuse, is a refined object, easily comparable to certain sought-after artist's books - the graphic design is the same Servino - in it overlap the two scriptures, Untranslatable into each other (in fact, the term, "language", can only be used in this sense as a metaphor). Scriptures also translating unabated in contemporary times, a sort of archetypal tradition. There are drawings illustrating, but digging and affect. Apology of the layer: in these drawings the architect Caserta puts into his own modus operandiThrough a litany. Disturbing, free and anarchists: shout their doubts about a flattened reality and sluggish energy. Drawings as daily exercises to refine their senses and their interpretive tools, where play and extent, reproduce a horizon imaginary over the real one, in which visions roam unabated: a horizon of hand. Amalgam of technique and poetry, these designs always reveal their references. "Then the design becomes a poster"

"Translation, Tradition and Betrayal"

In translating his aphorisms in other languages, or in reproducing the enlargement of the detail of another design, the separating layers or rewrite them with digital signs, Servino loses something and find something else. "I like it - says Benjamin Servino - Feel the text I love through my voice, it's a way to take possession of an object, to make it right through the rewriting ". The tradition, evidently, is not in this case, something to return to, but an objective to pursue, to be built layer by layer. It is constantly translated and betrayed: it is desired. Servino seems to offer (and a-reason) that the contemporary, being contemporary, does not mean co-affect perfectly with their time, but rather, it means to be outdated, inopportune in space and time. Untimely, as the one who wants to "take a stand" in relation to this, no adapt to his claims, and for that, thanks to this anachronism and this gap, he is capable of perceiving more than the others and affirm his time. Inopportune is wishful. Here's how you explain the build up scraps or fragments, and the insistence of his work at the margin, from which, through the breadth of its orbit, he is allowed to see more. Here's how to explain his march for "zigo zago", between the cultured and the popular, between childhood and maturity, crossing all the "layers." And the layers are made of his drawings, as the real, of a succession of transparencies. And note well, that transparency is there, not what is perfectly clear, but rather, what is clearly complex.

The architect is a builder who knows Latin.

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"Necessity monumental landscape of abandonment"

Tradition and monumentality, then, are the same thing, does not exist prior to the design process but must find: you want. The need monumental architect Caserta also located in the landscape of abandonmentWithout this finding her work is incomprehensible. More an urban or rural area is left to himself, abused, abandoned, seems to affirm Servino, and is more suitable for developing this type of antibody: a monumentality that is formed starting from elementary archetypal elements, and returning to score after through a process of rewriting, the territory itself that created them. And 'the "picking" (admission elementary and primitive, usually of rural use, built with minimal means and waste materials) to become a monument, installed, for addition Over abandoned automotive viaducts (contemporary monumental excellence of the beautiful country), or looking out over the edge of a quarry, that the landscape has, itself, reshaped (devastating it?). A job at the edge that recalls from afar operations Gilles Clement, but the sense of which is folded in its tragic and uncanny transformative intent: in this case, just the preserve and restore in search of the mythical original condition, it makes sense to destroy and devastate the tradition. It is the picturesque, then (with all its corollaries), to be listed as dangerous contemporary rhetoric. Monument as a reference to the work of memory; Monument as a measure to put order into chaos; Monument as a vehicle of political thought.

Monument as memory and re-interpretation of the contemporary.

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"The éphémère east éternel"

Only that which flees and remains tough: it is the "strum" "Manifesto of appropriation of popular archetypes "Ephemeral artifact and a thousand variations, which becomes monument. A warning imperishable, we presume, the transience of being human. All that remains translate quietly and without anguish: an act of love with which to inject into the contemporary such stresses, "from one body to another ... from one time to another." While aspiration, the difficulty lies in the invention of a new type. Servino seems at ease -a difference of most Italian contemporary architects - in transit incessant (a constant coming and going) on ​​the bridge that joins unstably old concepts to new tasks. The architect is here engineer Memory: "One who builds pandering to universal principles. He who knows and uses the archetypes to transport them from one time to another ". He affects the ground with his thoughts: projecting a sense of an absence. Enriching the poverty of the stimulus with the cognitive hypothesis.

"Beauty is in the area"

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Danse Macabre [The new monsters]

"The tragic hero - Franz Rosenzweig wrote - has only a language that suits him perfectly: the silence (...) .Tacendo, the hero breaks the relations that unite it with God and with the world." The texts in the form of aphorism, the few words, the self-effacing attitude with which Servino comments on his work, perfectly befits dry powerfully simplified vocabulary and grammar through which the architect sets a multitude of variations, with mastering mastery skinny elements. The temptation is to keep quiet, but this tragedy, but melts in the personal drama, lived in: rhapsodic in the narration of the same content. The World in - "bring it all back home." The poetics (research and professional practice) architect Caserta comes from a sense of painful abandonment. Raffaele Cutillo, commenting on a famous drawing of Servino, spoke of the "scourge" as a measure of urban space, the "Redemption of Misery through Architecture". Arduous task, "improbus labor", without spectators, that does not allow spectators. Task that requires, more than ever, a large dose of irony, "because irony means insistence in questioning, and detachment and extent of pathos" [Cacciari 1995]. And finally, the monument will be rebuilt, busy, retranslated, will be a layer on which edificarne other.

Extreme and disturbing, this inhospitable, are the places where such visions can afford to take root and grow.

"Very easy"

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Mario Ricci (© AtelierTransito)

http://ateliertransito.com/2013/03/23/dove-nascono-le-rose-selvatiche_-necessita-monumentale-di-beniamino-servino-where-the-wild-roses-grow-_monumental-need-by-beniamino-servino/

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