Despite all transformations and technological innovations affecting and conditioning our daily activities, the deep reasons that guide us, as designers of living spaces, do pertain, even today to the relationship between the physical and the material world of construction and the phenomenal dimension of perception. The objective of this process being the generation of spaces where physical and mental well-being conditions can be enjoyed, considering that well-being plays a leading role in making our existence happy. Now, more and more frequently, especially young students from the architecture faculty are so ensnared by the virtual power that they forget heeding attention to the physical world surrounding them. In so doing, they fail to study and analyse it, not only in its features pertaining matter but also in all those aspects, which are very much related to the emotional dimension, resulting from practice and everyday use of spaces. Even architectural studies seem to undergo deep changes, thus obliging us to focus on the anthropological results of those transformations. The easy access to information made possible by internet does not go hand in hand with the acquisition of knowledge and above all awareness. On many occasions easiness translates into trivialisation of processes, with no sedimentation of knowledge and awareness of choices. In such a critical scenario, which makes teaching architecture complex, the project of a small building that can be designed on a small scale, highlighting the distinctive features as part of the whole building, can make it possible for young adults to feel exactly what the imagined architecture would be in the real physical world. In fact, in a micro architecture project, one can understand- in a unequivocal fashion- the real and bijective relation between containing shell and contained space, where the limit between outside and inside lies, acting as invention place as well as space-functional and atmospheric connotation. It is on this scale that one can immediately perceive the connection between internal space and image, being it such an important link for the creation of architecture easy to be understood in its formal importance and reasons and so difficult to be seized on a big scale. The inside is clear to the outside and determines the surfaces from a figurative standpoint, clarifying the entire complex system of relations and meanings binding the form, the structure and the use of space in what can be defined as "the architectural phenomenon" . Over the last few years, after the “bigness” and mega architectures’ stage defined by. R. Koolhaas, the small scale topic, that is of the project to be compared to the handcrafted dimension, regained a discrete visibility thanks to a renewed focus on environmental topics and found in David Chipperfield an expert theoretician and connoisseur that with his book entitled Theoretical Practice made a true apology. This is a text of paramount importance for our “small scale” discussions, which has also led Fulvio Irace to write:" the small scale (...) leads us to focus on the meaning of materials and the almost handcraft dimension of space whereby stone, wood, glass etc. are not only used as nouns and adjectives to describe a surface but are primary elements, characterised by their own weight and specific volume".
Nonostante tutte le trasformazioni e le innovazioni tecnologiche che influenzano e condizionano il nostro quotidiano, le ragioni profonde che ci guidano come progettisti di spazi abitabili, attengono ancora oggi al rapporto tra mondo fisico-materiale della costruzione e dimensione fenomenica della percezione. Il fine di questo processo continua ad essere quello di generare spazi in cui vivere in condizioni di benessere fisico e mentale. Benessere che è parte essenziale di una esistenza felice. Ora, sempre più spesso, soprattutto i giovani studenti di architettura, sono irretiti dalla potenza del virtuale e dimenticano di prestare attenzione al mondo fisico che li circonda, evitando di studiarlo ed analizzarlo, non solo nelle sue caratteristiche materiche ma anche in quegli aspetti più legati alla dimensione emotiva che scaturisce dalla pratica e dall’uso quotidiano degli spazi. Anche lo studio dell’architettura sembra subire dei profondi cambiamenti obbligandoci a prestare attenzione ai risultati, oseremmo dire antropologici, di tali trasformazioni. Al facile accesso alle informazioni, consentito dalla rete, non corrisponde una reale acquisizione di conoscenze e soprattutto di consapevolezza. La facilità troppe volte si tramuta in banalizzazione dei processi, senza sedimentazione del sapere e consapevolezza delle scelte. In questo quadro di criticità per l’insegnamento dell’architettura, il progetto di un piccolo edificio, consentendo di disegnarne l’insieme ad una scala di dettaglio, approfondendone i particolari come parte di un tutto, può avvicinare i giovani a sentire ciò che quell’architettura solo immaginata sarà poi nella realtà del mondo fisico. Nel progetto di una piccola architettura si comprende infatti senza alcuna incertezza la sostanziale e biunivoca relazione tra involucro contenente e spazio contenuto dov’è il limite tra interno ed esterno a porsi quale luogo d’invenzione e connotazione spazio-funzionale nonché atmosferica. È a questa scala che si percepisce con immediatezza il legame tra spazio interno ed immagine esterna, legame così importante per la creazione di un’architettura comprensibile nelle sue ragioni e valenze formali e che negli organismi di grandi dimensioni è difficile cogliere. L’interno si palesa all’esterno e ne connota figurativamente le superfici esplicitando tutto quel complesso sistema di relazioni e significati che legano forma, struttura ed uso dello spazio in quello che possiamo definire “il fenomeno architettonico”. Negli ultimi anni dopo la fase definita da R. Koolhaas dei “bigness” e delle mega architetture, il tema della piccola scala, del progetto cioè che si confronta con la dimensione artigianale del suo farsi, ha recuperato una certa visibilità dovuta anche ad una rinnovata attenzione per le tematiche ambientali, ed ha trovato in David Chipperfield un valente teorico ed estimatore che, con il suo libro Theoretical Practice, ne ha fatta una vera e propria apologia. È un testo fondamentale per i nostri ragionamenti sulla piccola dimensione di cui Fulvio Irace ha scritto: “la piccola scala (…) porta a concentrarsi sul significato dei materiali e sulla dimensione quasi artigianale dello spazio in cui la pietra, il legno, il vetro ecc non sono solo delle aggettivazioni di una superficie, ma elementi primari dotati di un proprio peso e di uno specifico volume”. Come ha scritto Jan Kaplicki dello studio Future Systems, “È importante la qualità, la funzione e la relazione con gli uomini che vivono sulla terra, non la dimensione del progetto”.
Micro architetture o dell'apprendere dalla piccola scala / Grimaldi, Andrea. - STAMPA. - (2016), pp. 33-44. [10.4458/8081].
Micro architetture o dell'apprendere dalla piccola scala
GRIMALDI, ANDREA
2016
Abstract
Despite all transformations and technological innovations affecting and conditioning our daily activities, the deep reasons that guide us, as designers of living spaces, do pertain, even today to the relationship between the physical and the material world of construction and the phenomenal dimension of perception. The objective of this process being the generation of spaces where physical and mental well-being conditions can be enjoyed, considering that well-being plays a leading role in making our existence happy. Now, more and more frequently, especially young students from the architecture faculty are so ensnared by the virtual power that they forget heeding attention to the physical world surrounding them. In so doing, they fail to study and analyse it, not only in its features pertaining matter but also in all those aspects, which are very much related to the emotional dimension, resulting from practice and everyday use of spaces. Even architectural studies seem to undergo deep changes, thus obliging us to focus on the anthropological results of those transformations. The easy access to information made possible by internet does not go hand in hand with the acquisition of knowledge and above all awareness. On many occasions easiness translates into trivialisation of processes, with no sedimentation of knowledge and awareness of choices. In such a critical scenario, which makes teaching architecture complex, the project of a small building that can be designed on a small scale, highlighting the distinctive features as part of the whole building, can make it possible for young adults to feel exactly what the imagined architecture would be in the real physical world. In fact, in a micro architecture project, one can understand- in a unequivocal fashion- the real and bijective relation between containing shell and contained space, where the limit between outside and inside lies, acting as invention place as well as space-functional and atmospheric connotation. It is on this scale that one can immediately perceive the connection between internal space and image, being it such an important link for the creation of architecture easy to be understood in its formal importance and reasons and so difficult to be seized on a big scale. The inside is clear to the outside and determines the surfaces from a figurative standpoint, clarifying the entire complex system of relations and meanings binding the form, the structure and the use of space in what can be defined as "the architectural phenomenon" . Over the last few years, after the “bigness” and mega architectures’ stage defined by. R. Koolhaas, the small scale topic, that is of the project to be compared to the handcrafted dimension, regained a discrete visibility thanks to a renewed focus on environmental topics and found in David Chipperfield an expert theoretician and connoisseur that with his book entitled Theoretical Practice made a true apology. This is a text of paramount importance for our “small scale” discussions, which has also led Fulvio Irace to write:" the small scale (...) leads us to focus on the meaning of materials and the almost handcraft dimension of space whereby stone, wood, glass etc. are not only used as nouns and adjectives to describe a surface but are primary elements, characterised by their own weight and specific volume".File | Dimensione | Formato | |
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