Venetolandia
2019 - 2022
2019 - 2022
Houses in Veneto as a reflection of the people: simple, geometric, regular, humble; as well as theirs workplaces. Plasters, windows, shutters, railings: the architecture of the building boom at the height of its ugliness, finds its poetic dignity here when it is abstracted from the context, generating geometric compositions on the facade through the most common architectural elements.
The facade is actually the face of the Venetian stereotype. The buildings in this case speak for their inhabitants and somehow describe them despite their absence or implicit presence. Behind these walls, doors and windows lies an experience, a personal story to imagine, a desire for wealth, modernity and emancipation from a peasant origin that was probably never realized.
The photographic project seeks to synthesize this social condition through architecture and its geometries: portraits of buildings and implicitly of the people who live there. The photographed facades are located in Treviso, the city where I come from and a perfect example of a middle-class reality in which the dream of the rich north-east has been shattered or continues to illusively.
The facade is actually the face of the Venetian stereotype. The buildings in this case speak for their inhabitants and somehow describe them despite their absence or implicit presence. Behind these walls, doors and windows lies an experience, a personal story to imagine, a desire for wealth, modernity and emancipation from a peasant origin that was probably never realized.
The photographic project seeks to synthesize this social condition through architecture and its geometries: portraits of buildings and implicitly of the people who live there. The photographed facades are located in Treviso, the city where I come from and a perfect example of a middle-class reality in which the dream of the rich north-east has been shattered or continues to illusively.
Le case venete: occhi che guardano di nascosto, specchio delle persone che ci abitano, barricate dentro guardano all’esterno con sospetto, quasi con timore che qualcuno possa insediargli la proprietà, ciò che “xe mio!”, i “me schei”, i guadagni di una vita passata a lavorare a testa bassa durante l’epoca del miracolo economico, come se tutto ciò fosse un valore, qualcosa di cui compiacersi. Le loro case sono il loro riflesso, semplici, geometriche, regolari, umili; così come i loro luoghi di lavoro: “la fabbrichetta”, “el capanon” o la “bottega sotto casa”, ancora più scarni ed essenziali, costruzioni in cui tutto ciò che non è necessario è un semplice fronzolo, un orpello. Intonaci, finestre, tapparelle, ringhiere: l’architettura del boom edilizio all’apice della sua bruttezza, trova qui una sua dignità poetica quando è astratta dal contesto, generando in facciata composizioni geometriche attraverso gli elementi architettonici più comuni.
La facciata è in realtà la faccia dello stereotipo veneto. Gli edifici in questo caso parlano per i loro abitanti ed in qualche modo li descrivono nonostante la loro assenza o implicita presenza. Dietro questi muri, porte e finestre si cela un vissuto, una storia personale da immaginare, un desiderio di ricchezza, modernità ed emancipazione dall’origine contadina probabilmente mai realizzato.
Il progetto fotografico cerca di sintetizzare questa condizione sociale attraverso l’architettura e le sue geometrie: ritratti di edifici e indirettamente, implicitamente, delle persone che li abitano. Le facciate fotografate si trovano a Treviso, città da cui provengo e perfetto esempio di piccola realtà borghese in cui il sogno del ricco nord-est si è infranto o continua illusoriamente a perseverare.
Grisa
2018
2018
The Temple of Monte Grisa is a Roman-Catholic church located at an altitude of 300 metres north of the city of Trieste: it's a landmark overlooking the Adriatic Sea.It was built between 1963 and 1965 at the initiative of Antonio Santin, Bishop of Trieste and Koper since 1938. The temple was designed by Antonio Guacci, after sketches by Santin. The triangular structures should evoke the letter M as a symbol of the Holy Mary.
The Temple was designed with the canons of classical beauty: the golden section, the triangle of Euler, the beautiful proportions of mathematics and the square root of 5, with a harmonious and proportionate balance of the parts. The author, inspired by the diamond set on the ring, has intended to draw everyone's gaze towards the temple. It is one of the first buildings in reinforced concrete, modular, self-supporting. The module used is the isosceles triangle, with the base equal to the height, geometric figure that gives the structure a great stability.
The triangle in the biblical symbolic language represents the transcendence of God and recalls the first truth of faith, the Trinity.
The Temple was designed with the canons of classical beauty: the golden section, the triangle of Euler, the beautiful proportions of mathematics and the square root of 5, with a harmonious and proportionate balance of the parts. The author, inspired by the diamond set on the ring, has intended to draw everyone's gaze towards the temple. It is one of the first buildings in reinforced concrete, modular, self-supporting. The module used is the isosceles triangle, with the base equal to the height, geometric figure that gives the structure a great stability.
The triangle in the biblical symbolic language represents the transcendence of God and recalls the first truth of faith, the Trinity.
Doors
2014 - ongoing
2014 - ongoing
Doors, in their dual function of opening and closing…they may hide a mystery or at the same time reveal a content, they are in a sense the re-reading of the concept of Yin and Yang in architecture.
Windows
2014 - ongoing
2014 - ongoing
Are we the observer or the observered? Windows are some kind of eyes for walls and in some case they generate compositions.
Walls
2014 - ongoing
2014 - ongoing