Page 1


The Story of Mr.K and Mr.B.

future family memory

Introduction

Description of the main characters

Prelude :

Mister B. Mister K. first meeting

15th of march, h 13.01.55 how Mr K, in need of building an architecture, and Mr B, in need of a job, met.

Chapter 1 : glossary

A About sublime and architecture?

B about tangibility and it’s meaning

C about meaning to assess to art through psycoanalitical thought

D about libido in architecture

E about unheimlich and architecture

F about individual and collective sight of art H2 about Weltanschaung

I2 narrative

H about aesthetics as research of riconstruction of reality

I about art as act of freedom

L About time and style

M about presence of the past

N about the need of place ourselves and make a choice

P about shape and its dangers

G about reality between conscious and unconsious

P about function in architecture and shape in movement

P1 about free image composition

h 17.32.09 end of first meeting

1


Chapter 2: map

15 july h 13.19.46 When Mr. B talked about the places where he wanted to build

Geography Profitable space Terrain

1_The stratified city.

2_The eccentric city.

3_The infrastructural city.

4_The abyss city.

h 21.00 end of second meeting

Chapter 3 : sketch

15th september ore 10.09.56 when Mr.K shows Mr.B his architectural phatasie

h 12.34.21 end of third meeting

Chapter 4 : architecture

1st october h 18.09.01 maybe a bit on late when Mr. B finally exhibit his upshot founded on Mr. K. suggestions

Conclusion.

The Caravaggio

The Mill

The Trellis

The Dress

2

- introducion -


The Story of Mr.K and Mr.B.

future family memory

1


- introducion -

2


The Story of Mr.K and Mr.B.

future family memory

Introduzione All’origine del lavoro svolto stanno le ricerche sul tema dell’estetica. Tale definizione è utilizzata nella consapevolezza dell’ampiezza e complessità del tema, per esplicitare, in modo generico, l’interesse per l‘“aisthesis” come scienza delle percezioni e del segno. Particolarità appartenente alla percezione estetica e’ la registrazione di sensazioni senza precise e definite regole, nell’altro verso, la percezione attraverso i sensi può, per ogni individuo, rivelarsi differente e diversificata. Il fenomeno della percezione è indipendente dal soggetto ed esistente indipendentemente dalla coscienza e dalla volontà. Inoltre le nostre percezioni possono essere influenzate da infinite esperienze del vivere,e oltretutto è possibile che, associati a questi, si pongano aspetti oggettivi i quali l’uomo, grazie alla sua capacità singola, riesce a rendere consci. La percezione dei segni produce delle visioni che, senza troppe operazioni mentali, possono essere riconosciute e ricondotte alla memoria. Con queste premesse si costruiscono nell’uomo le facoltà di collegare concrete rappresentazioni, separarle in singoli elementi e associarle in una nuova ideale unità soggettiva. All’interno delle percezioni s’includono, insieme a quella estetica, anche quella morale e intellettuale, ciò esemplifica lo scopo ultimo della pratica estetica,

1


- introducion -

2


The Story of Mr.K and Mr.B.

future family memory

ovvero l’interrogarsi sulle ragioni del contenuto emozionale e ideale dell’opera d’arte. La disciplina estetica necessità di un diretto legame tra teoria e pratica,essa non sussiste infatti senza il tramite dell’esperienza. E proprio l’esperienza diventa tramite tra le riflessioni architettoniche a quelle estetiche. Pensando all’architettura come disciplina ibrida, umanistica artistica e tecnica, che coniuga, teoria e pratica, necessità artistica e tecnica. La possibilità dell’architettura sovrapponendosi con la disciplina artistica dare luce ad opere d’arte viene determinata durante il processo della sua creazione e progettazione, in quella ricerca che tenta di coniugare la forma con il significato, il pensiero con la pratica, il progetto e il sogno.

_ About

ARCHITECTURE

_ About

trauma-traum schock-dream

as therapy

ARCHITECTURE

as therapy

L’espressione “opera d’arte” definisce, in questo caso, più un’intenzione che un giudizio, meglio descritta da “kunstwerk” e dipenderà dal processo attuativo della stessa, e dalla sua necessità di trasformare il pensiero in forma. Il kunstwerk rappresenta la nostra immaginazione attraverso una creazione e un segno percepibile. Per questo sono da separare la sua forma esteriore e quella interiore solo rispetto ad una analisi ma sono

1


_ About

BEAUTY,

witch will save the world

riassunte nell’unita’ dell’opera

Si ricollega perciò alla ricerca estetica la ricerca del “vero”. Per “vero”s’intende, in questo specifico caso, un processo d’interrogazione, dedito alla formulazione delle giuste domande - piuttosto delle giuste risposte – come strumenti di definizione della realtà, - piuttosto che della verità -. Il giudizio e la formulazione di risposte vengono perciò sospesi per dare spazio alla pura osservazione delle cose.

WHAT?

WHAT?

la

2

pratica

estetica

- introducion -

Considerando


The Story of Mr.K and Mr.B.

future family memory

come una pratica che, coinvolgendo la percezione, i sensi e la memoria, coinvolge gli occhi, le orecchie e l’immaginazione, essa verrà utilizzata come un modo per analizzare e raccontare la realtà. La narrazione viene perciò adottata come strumento di ricerca per descrivere queste visioni, personali ma condivisibili proprio attraverso il racconto, come un soggettivo ritratto al di fuori della coscienza.

HOW?

Affinché la descrizione della realtà comprenda numerosi e diversi aspetti e possa definire al meglio il cosmo che va componendosi, l’osservazione verrà posta tanto su fenomeni d’aspetto esteriore - l’ambiente nel quale l’uomo vive, e’ cresciuto, le voci che lo hanno influenzato, i libri che ha letto, i paesaggi che ha visto - quanto anche a quella interiore - come pensare, provare, sentire che al meglio descrivono le azioni dell’uomo.

HOW?

myths

L’individuo percepisce una realtà definita dalla sua esperienza all’interno del mondo e della società in modo inconscio, nello sviluppo

personal history

1


del sentimento estetico , morale intellettuale individuale ideologico si cercherà di rimettere in ordine e percepire il proprio rapporto con le cose.In questo senso l’atto estetico si occupa di rispecchiare la ricchezza del singolo individuo visto come un microcosmo, un mondo in piccolo che include aspetti del mondo in grande.

- introducion -

che la realtà sia un sistema di relazioni le cui componenti non sono esistenti di per sé, ma solo nel rapporto che stabiliscono tra loro e con la totalità in cui si collocano; da ciò la necessità di sostituire in ogni disciplina lo studio coordinato all’analisi singolare delle varie parti.

ABOUT?

Altra questione posta è quella del legame tra arte, bello e riconoscimento dei segni da parte dell’uomo. Ciò risponderà a caratteristiche soggettive come anche collettive. Il riconoscimento del bello non_ verrà pertanto definito attraverso un giudizio ma sarà ciò che, filtrato, in modo talvolta inconscio e casuale, tra l’infinita varietà e possibilità

ABOUT? About

HISTORY _ About

as collective and personal sequence of ev

HISTORY

Collective History as collective and personal sequence of events Collective History

.. ....

.... .... .... ....

2

.... .... .... ....

Personal History

....

.


The Story of Mr.K and Mr.B.

future family memory

di caratteristiche umane, morali, caratteriali, qualità, forme, colori, prodotti umani e della natura, verrà osservato ed interrogato. In questo senso grazie alle capacità percettive estetiche, si osserva il mondo – o quantomeno una porzione di esso – e facendone “esperienza” – più che traendone conoscenza – si tenta di rendere queste soggettive ma condivisibili informazioni , accessibili agli altri. Esistono dunque in questo caso 2 aspetti: l’individuo e la collettività,tuttavia le caratteristiche individuali possono connettersi con quelle collettive L’opera d’arte deve esser un unita’ di generale e particolare casuale e determinato tipico e individuale Elementi concreti, visibili e definiti vengono nella norma, riconosciuti rapidamente grazie alla loro alla loro immagine. Contemporaneamente essi rappresentano per lo spettatore un significato, più o meno esplicito.

_ About

MONTAGE vs CODE

_ About

MONTAGE vs CODE

L’immagine delle cose e’ definita dalla loro forma, dalla scelta del colore, dalla scelta del soggetto, dalla funzione che esso ricopre.

VS

VS 1


La determinazione di tutto ciò porta con se - in modo più o meno esplicito una storia, una tradizione. Queste caratteristiche – sia quelle tipiche che individuali – possono definirsi come rappresentazione delle caratteristiche individuali e tipiche dell’uomo singolo e dell’uomo come parte della collettività. E’ così che partendo da un piccolo dettaglio si può spiegare l’intero.

integrandosi con la coscienza, vengono continuamente rielaborati, si rafforzano, si indeboliscono e possono anche morire. La facile riconoscibilita’ di essi

esprime la loro chiarezza e li rende allo stesso tempo innovativi e tradizionali. Per attuare questo processo di rielaborazione ed innovazione delle forme tradizionali archetipe si

2

luis kahn scharoun vittoriano aldo rossi gabriel garcia marquez quenau perec odissea eneide herman hesse monumental cimitery memory collective individual hearth simplicity experience kindness necessity affection health vanity ethic nostalgia sadness aggression freedom prejudice religion goodness virtue lies love fight world reason desire dreams grammatik time unknown composition meme monads platone monster decoration elsa morante rodari methafor irony allegory paragon metonymy colours familiarity collection almanac libretti tassonomie sammelsurium ekphrasis sublime

intuition

- introducion -

Non verra’ percio’ trascurata nella composizione delle architettetture la ricerca sull’immagine in quanto superficie bidimensionale che nel caso sell’architettura incarna anche la tridimensionalita’ e in più racchiude una narrazione.Per fare questo si utilizzeranno forme archetipe in quanto gli archetipiconcetto che racchiude allo stesso tampo sia un’aspetto psicologico/ percettivo che architettetonico,

LIST: magic realism painting 400 rafael metaphysics barock brutalism statue fascism piranesi kitsch structures details animals robot machine pray caravaggio art nouveau alvar aalto light roma layers fragments vinicio capossela animal collective gio' ponti carlo scarpa gardella torre velasca leonardo evolution surrealism hans hollein rem koohlaas 2d 3d fable epic myth novel tragedy geometry past mannerism baptistery stiloforo telamon caryatids columns protiro pulpit moretti bbpr piacentini ridolfi fiorentino russian skyscrapers villa adriana st maria di castello in genoa eur


The Story of Mr.K and Mr.B.

future family memory

1


- introducion -

2


The Story of Mr.K and Mr.B.

future family memory

1


2

story

of

Mister

K.

and

Mister

B.

- introducion -

The


The Story of Mr.K and Mr.B.

future family memory

1


Sunto

2

- introducion -

Per prima cosa avverrà la raccolta di numerose immagini. Queste, che rappresentano diversi aspetti archetipi attraverso oggetti, forme, architetture, natura, metodi di rappresentazione, icone etc., mescolano riferimenti culturali e visuali in un grosso archivio il cui inizio e la cui fine rimangono indeterminati. Esse traggono ispirazione dalle più disparate fonti dalla cultura classica, al quotidiano, a quella pop. Inoltre compongono, un glossario, che definisce, attraverso un collegamento non binario tra immagine e significato, il rapporto con le cose e l’atteggiamento d’osservazione che stanno alla base del lavoro. Le immagini saranno utilizzate come riferimenti per la determinazione delle forme plasmate, forme perturbanti e riconoscibili allo stesso tempo. I riferimenti delle immagini non veranno tuttavia utilizzati attraverso un codice o una regola, al contrario saranno difficilmente definibili.Così mescolati tra loro renderanno ancor più difficile la stessa definizione di queste “creature”. Ognuna di essa porterà più di un messaggio con se, più di un significato, più di una verità e lascerà grossa libertà di interpretazione allo stesso spettatore. Esse potrebbero essere qualsiasi cosa, rimandando a diverse e numerose referenze visive e inconsce, come degli oggetti che interagiscono con la coscienza. A questo punto questi oggetti “misteriosi” sarranno definiti nella la loro funzione,dimensione , funzionamento e la loro posizione in modo da renderle credibili come architetture. Si definiscono quindi i luoghi di questo cosmo, essi sono reali ma geograficamente distanti, la planimetria disegnata rappresenta allo stesso tempo la realtà e l’immaginazione. I luoghi sono reali ma filtrati dall’osservazione, e dall’inte rpretazione,rappresentano la ricerca di uno spazio utile e possibile nel quale collocarsi. L’architettura si mescola con altre discipline in modo radicale, non rimane isolata e viene addirittura influenzata da essi e si rivela solo alla fine del suo processo formativo. Si occupa delle percezioni e dell’ inconscio grazie alla sua materialità, non sceglie un linguaggio stilistico preferenziale al contrario cerca di coniugare le contraddizioni e comporle in un’unità.


The Story of Mr.K and Mr.B.

Intro

Dia-logos

through the argument

Description of the main characters

1_ Mister K.

there was Mr K,he was definitely a peculiar man, wearing a papillon with white pois on a black background, a pocket handkerchief, silver pants and a tiny pink pin. Having waited twenty minutes and for a while now he was asking himself which type of architecture he could commissioned to the young architect he recruited. Supposing he had enough money to build it, supposing the condition to build it were on his favor, supposing it was possible to realize what he wanted, what did he actually want? He commissioned Mr. B because he was young. And hopefully pure. He didn’t wanted a famous and affirmed architect, he needed a young hopeful man, who was able to listen to him because he had big plans. Actually, maybe not too big, but he needed someone who had time, who gave him time, and he was sure about one thing: time was the only instrument able to allow the two of them to understand each other. It had been now days, months he kept asking himself those questions;he was wondering what the buildings had to represent, buildings developed into their exterior image as well as into their function and use; what was their meaning, were they to be just buildings? Just objects to be used? Or something else? What kind of reaction would they engender inside of the city, from a formal point of view as well as social and narrative? And even now, while waiting, he was thinking, sipping a drink so bitter to be almost too sweet.

2_ Mister B. Then there was the architect, doubtful and confused: Mr B. Quiet and modest, he had tried to be dressed appropriate for the meeting, having chosed a blue t-shirt with a denim jacket, even though weather was quite warm outside; he had combed his hair that morning. He had just graduated. The architect degree was a scientific career, at least that’s what people had told him: being a responsible and conscientious boy he had always tried to deal with the function, technique and technicality, not loosing himself into frivolous and pointless things. And now he had to look for a job, he had to improve his speed in design, he had to think about a career, he had to produce good ideas and doing it fast, he thought… And besides, he thought that had been built enough things around the world, that maybe it wasn’t necessary to compete for this objective, that maybe it wasn’t necessary to prove your own value being faster and faster, achieving more skills, click, click, click, click, the sound of the mouse. But by then, once he had chose to be an architect, he had to work. That’s what he had studied for and that what he had become: an architect. He put those doubts aside and went to the appointment, sweaty and combed.


That’s how Mr K, in need of building an architecture, and Mr B, in need of a job, met. It was clear that this client was different, he didn’t say straight from the beginning where and how the building had to be done, he didn’t try to do everything as soon as possible and without many questions; on the contrary he demanded Mr B for long and endless arguments and discussions… it was hard to understand what Mr K really wanted...

Prelude : 15th of March, 13:01:55 how Mr K, in need of building an architecture, and Mr B, in need of a job, met. Mr K and Mr B decided to meet at a little kiosk, in a street without traffic but very crowded. Mr K parked his car and before entering he stopped a bit and petted a snorting horse outside. Mr B arrived walking, through a scent of spices and smell of dirt, ten minutes early which is something quite unusual for him. He couldn’t imagine Mr K was twenty minutes early, and not by accident. They immediately recognized each other, being the only two clients at the kiosk. They sat around a small table on high and uncomfortable stools, and asked for beverages and food with mysterious names.

Dialogue


Chapter 1 : Glossary


The Story of Mr.K and Mr.B.

Chapter 1 : glossary A About the sublime and architecture?

K. “If I were to make a wish, being in the position to do so, I’d almost say the architecture we’re referring to should represent a mixed pleasure of agreement and disagreement, a battle between pain, nature and spontaneity, a fusion of sense and sensibility.”

B. “You’re talking about abstracts Mr. K maybe you don’t know architecture is made of bricks and mortar?” B about tangibility and its meaning

K. “On this matter I cannot deny you’re right, but I’m not an expert on bricks and mortar, I’m just an onlooker who enjoys the space around me, I’m thus concerned with highlighting the importance of irrational forces such as feelings and emotions that hopefully will be transmitted through cement itself, through stone.” C about Assessing to art through psychoanalytical thought

B. “If I got it right, you’d want me to deal with your unsettled desires in order to make them come true”

K. “Dear Mr. B, would you think that’s such a weird request? Isn’t the artist, the architect or the poet, throughout these conflicts, the one able to realize desires, first as the creator, and later on as the listener and the viewer?” D about libido in architecture

B. “your wish, if I’m not wrong, is it for therapy, I mean art, to connect desire and reality, to express unconscious concepts making them milder, hiding their origins and giving pleasure?”

K. “well , certainly ,architecture should serve something, produce impulses” “You’re asking me to investigate secret places, witch are invisible, personal and not jet discovered!”


E about unheimlich and architecture

K. “Exactly, I wish you could represent those things witch are invisible and inexplicable, scary and fascinating, unknown and familiar, archetypical and enigmatic” F about the individual and the collective character of art

B. “Mr. K, you’re asking me to dive into my experiences and to deal with my world. How else shall I do it? I can try to become the interpreter of a culture, of a moment, of a tiny spot of the universe, of a past, but our reference are completely different, thus I cannot be objective.”

K. “Who asked you so? How would I make you reveal your own identity by asking you to deal with certain matters.” H2 about Weltanschaung

B. “You’re then asking me to give priorities, delete what’s useless, formalize a language, a personal syntax to create a link between these worlds, mine, yours and the collective one?”

K. “I’m asking you to reorganize, to manage and create a configuration arranged by its contents and composition. To take responsibility, to build or rather to represent a reality not fake, not surreal but wild, pure and free, able to represent what your sensibility and intelligence perceive without filters, I just ask you to be generous” this will require to pay particular attention to what is clear and what is invisible in the world, a fine observation of things, conscious and unconscious.” I2 narration

B. “to do so I should have to focus on shallow things from everyday life, I should narrate about this real world, the visible as well as the invisible one , about this parallel cosmos that joins sensation and objects, I should review everything and be astonished by them in order to make them magic thanks to their normality”

Dialogue


The Story of Mr.K and Mr.B.

H about aesthetics as research into reconstruction of reality

B. “however I wonder risk for in spite

I have a doubt: even though I do understand your point of view, how could I represent what you’re asking me without taking the my vision to be a subjective one or subjectively interpreted of being shared?”

K. “This as well is hidden in the very nature of art, if you’ll pay attention to check out every single character of reality, this will be able to produce a plurality of sensations, experiences and sharing, and this is already enough, more than this I will not and I don’t want to ask you”

B. “Do you mean that architecture, just like a memory machine, could beable to bring back to conscience old experiences?”

K. “yes, and simultaneously, to sum up, it would project towards the future, in order to learn from its own experiences, from its own history, and using always new tools, it would regenerate its self.” I about art as an act of freedom

B. “If architecture could have this strength, this power to tell a history that entails many others, if it were like this, beyond its own being and function it could become free throughout time!”

K. “Can you realize that? if you were able to do this for me, my home would really have a value, a weight, a meaning and it wouldn’t fly away.” L About time and style

B. “So, if I’ll be able to be free time, I’d get rid of style as well, for style being along with tradition is a simplified and univocal representation of an era and unambiguous representation of an era”

K. “So we only deal with TODAY. But not without memory of experiences of course, and not without looking at what comes after.” M about presence of the past

B. “Exactly, I’ll tell you the truth without looking back at the ones that came before me, I don’t feel like continuing.”

K. “Fine then, let’s get everything!”


N about the need to position ourselves and making a choice

B. “Well no, Mr K., I believe you must make choices, we have to give up some elements if we want to be accurate by sending these messages”

K. “I believe that makes sense.”

B. “Excellent, It seams that up until now we may agree on many things, however us architects, as I was telling you, deal with things that are real, physical, formal and functional.” P about shape and its dangers

K. “Let’s talk about Shape!”

B. “Oh Mr K. maybe you ignore it! Shape is illicit! Don’t you know the concept of shape is a very dangerous one?”

K. “Well, we will deal with it, because shape is a meaning in itself, we will deal with morphological aesthetics, shape is something witch doesn’t stand still, it is constantly changing”

B. “I’m telling you, this is a tricky matter!”

K. “Dear Mr. B, I’m not asking you to turn yourself into an over-sensitive beauty or an irrational creative power, I’m asking for your sensitive intuition to go along with an intellectual knowledge and the discovery of technical processes. The concentration of solid materials, and mysterious and creative absence of the spirit.” G about reality between conscious and unconscious

B. “Fine, I believe this is the way we can deal with it, even though it won’t be easy. However we must understand what meaning we want to give to these shapes”

K. “About this I already have an idea. I’d like for my architecture, the one you’ll design for me, to talk about conscious and unconscious matters, like a dream where you know more or less where you are but you’re not completely conscious.”

B. “You’re then asking me to work between conscious and unconscious, reason and dream, desire and reality?”

K. “Exactly.”

B. “We’ll then we need rules, new ones, different ones…”

K. “Right, rules, well, the first one: Freedom I know that if I were to make you do something, we wouldn’t reach good results Second rule: rules, those rules, must be set by you, choose them, copy them, steal them from the past, mix them up, twist them, it’s up to you.”

Dialogue


The Story of Mr.K and Mr.B.

B. “fine, but Mr. K, you still haven’t told me what should we design for you? What are you looking for? A church, a theatre, a museum?”

K. “Don’t worry, I’ll tell you what I need: I need an object able to interact with conscience and sensorial apparatus, an object that can tell a personal story as well as a common one, it must contrast and be on the same page, it must create a breakthrough, an interval, a pause, be weird but familiar.” P about function in architecture and shape in movement

B. “Mr. K, I’d like to ask you things that in my opinion cannot annul architecture, but who lives in this architectures? How big is it? What do you do inside it?”

K. “Unfortunately it is hard to categorize and what is today a museum,tomorrow it may be turned into a dorm, who is a child today tomorrow will be a grandfather, just like a shell turns into a mountain…”

B. “Fine, then we can say that the more architecture changes the more it faces its immutability, thus we should deal with this?”

K. “Yes, immutability, I believe that’s the point”

B. “Innate?”

K. “Innate seems to me a good definition, after all architecture will always look alike itself.”

B. “If I got it right, we should try to generate primary images able to enrich themselves as well as getting rid of common and individual history, myths of tradition and everyday life?”

K. “Yes and once we reach this point, everything will be communicated like a secret , like something one is not able to tell , but maybe just to see and feel.”


P1 about free image composition Mr. K gave Mr. B a sort of catalogue, with images, in no particular order, with a title and subtitle for each single image, so that in a sense you could visualize his intentions, his desires about architecture, everything they talked about during their exhausting meetings. (see pages 34/57)

K. “You see? Look! Pay attention though: images represent a Cosmo, a corner of the world, a reality and an atmosphere - a common as well as an individual story. Images visualize meanings, and show many different ones simultaneously, representing two or three dimensions at the same time. What you see in these images is certainly different from what I see, and this is their strength and freedom. You see, here I tried to take short notes about what I believed was relevant, maybe there will be more, with other opinions and points of view; nevertheless there’s also room for them, because just by existing they increase their own profusion - that, in my opinion, is fed by complexity, dispute and contradiction.”

B. “Indeed, I don’t believe we were referring to an unambiguous reality.”

K. “No! That’s why we’ll use images, because they set us free.”

B. “Well, we will appeal to a visual language and to the strength of meaning that remains manifold and free to be chosen by the viewer. We’ll tell a story, that at the same time holds many others.”

5.32 PM - end of first meeting

They said goodbye when it was already dark outside, it had been a very lengthy discussion. Mr. B was deadbeat, sweaty from head to toe after writing down page after page of messy notes and finally decided to head back home with his pile of papers. Mr K was on the other hand very satisfied and not at all tired, on the contrary he was excited and glad. As a means of farewell, he gave Mr B such a strong pat on the back that the other man almost found himself on the ground and then strode off, whistling.

Dialogue


The Story of Mr.K and Mr.B.

future family memory

1_heroe

During World War II, Major Steve Trevor bails out during an air battle over the Bermuda Triangle, -Paradise Island-. The island is home to the Amazons, beautiful, ageless women with great strength, agility, and intelligence. Amazon princess Diana rescues Trevor and nurses him back to health. Her mother, the Amazon queen, decrees that games shall be held to select one Amazon to return Trevor to the United States, but she forbids Diana to participate. Diana enters the contest in disguise (a blond wig), and ties for first. Her costume is designed to feature American emblems in the hope that she will be accepted in her new home, and her golden belt will be her source of strength and power. She retains her bracelets, which deflect bullets, and also receives a golden lasso which is indestructible and forces people to obey and tell the truth when bound. Diana is now known as “Wonder Woman” and she flies to Washington, D.C. in an invisible plane.

3_machine

automation is the use of control system in concert with other applications of information tecnology , to control industrial machinery and processes, reducing the need foer human intervention4_ archetipi 1.theoriginal pattern or model from which all things of the same kind are copied or on which they are based; a model or first form; prototype.2.(in Jungian psychology) a collectively inherited unconscious idea, pattern of thought, image, etc., universally present in individual psyches.Origin: 1595–1605; < L archetypum an original < Gk archétypon a model, pattern (neut. of archétypos of the first mold, equiv. to arche- arche- + týp(os) mold, type + -os adj. suffix)

1


In greek architecture the coluomn was originally represent the structure of man

6_ethic

Moral: Beauty is a treasure, but graciousness is priceless. Without it nothing is possible; with it, one can do anything. Several different variants of the story appear from classical antiquity trought the medieval epoques one of the most popular versions of Cinderella was written by Charles Perrault in 1697. The popularity of his tale was due to his additions to the story including the pumpkin, the fairy-godmother and the introduction of glass slippers. It was widely believed that in Perrault’s version, Cinderella wore fur boots (“pantoufle en vair”), and that when the story was translated into English, vair was mistaken for verre (glass), resulting in glass slippers and that the story has remained this way ever since. [8] However, the “fur theory” has since been disproven. Another well-known version was recorded by the brothers Jacob and Wilhelm Grimm in the 19th century. The tale is called “Aschenputtel” and the help comes not from a fairygodmother but the wishing tree that grows on her mother’s grave. In this version, the stepsisters try to trick the prince by cutting off parts of their feet in order to get the slipper to fit. The prince is alerted by two pigeons who peck out the stepsisters’ eyes, thus sealing their fate as blind beggars for the rest of their lives. In this story, the prince is tricked twice but is spared by the birds. This lowers the Princes status and he he seems less heroic which can raise Cinderella’s status as a strong and will powered individual.

2

- Cap I Glossary -

5_coloumn


The Story of Mr.K and Mr.B.

future family memory

1


Joseph Furttenbach (1591-1667) spent the majority of his life in Ulm in southern Germany, it was a 10 year stay in Italy in his youth that informed his later professional output as an architect and author. He studied engineering, military architecture and stage design , was influential in promoting design elements of the italian and french baroque schools in Germany,he

 was something of a polymath and held various governmental positions in Ulm , his interests included: cartography, chemistry bridge, ship and organ building as well as elite home garden design.

8_artist

Giovanni da Fiesole,Guido di Pietro 1395–1455.The 16th century biographer Vasari says of him:.But it is impossible to bestow too much praise on this holy father, who was so humble and modest in all that he did and said and whose pictures were painted with such facility and piety

9_tipology

A lighthouse is a tower, building, or framework designed to emit light from a system of lamps and lenses or, in older times, from a fire and used as an aid to navigation and to pilots at sea.

10_fragments

The term Membra disjecta comes from restorer’s terminology . It define the way of using old peaces of doors or manuscripts in the restauration of sequent works.

13_surface

The curtain wall method of glazing allows glass to be used in large uninterrupted areas creating consistent attractive facades

2

- Cap I Glossary -

7_architects


The Story of Mr.K and Mr.B.

future family memory

1


14_representation it’s a mental image,different from the remembrance image, witch is coming up in someone mind Representation describes the signs that stand in for and take the place of something else.[1] It is through representation people know and understand the world and reality through the act of naming it. the poem is wrtitten in the first person and tells od Dante’s journey trought the three realms of the dead , lasting from the night before Good fryday to the Wednesday after Easter in the spring 1300 .Dante’s ideal woman guides him trought Heaven

16_ destiny

The protagonists of the series are the three beautiful Kisugi sistersRui,She is extremely athletic and is proficient in a great number of activities and skills Rui acts as the “mother figure” for her sisters and is very protective of them. She is the only sister who has any lasting memory of their father and mother.Hitomi , is usually the one who actually commits the heists, and is hence uniquely referred to as the Cat’s Eye, and Ai Baby sister of the trio. Ai has a spunky, tomboyish personality and demeanor, and has a genius-level I.Q.The sisters who run a café called Cat’s Eye, lead a double life as a trio of highly skilled art thieves, leaving razorthin “Cat’s Eye” calling cards (adorned with a red cat emblem and capable of slicing through metal, skin and imbedding into concrete walls) at the scenes of their crimes. They steal works of art (mostly paintings) that belonged to their long-missing father, Michael Heinz, who was a famous art collector during the Nazi regime), in the hopes of him contacting them.Michael Heinz was an Wunderkind artistic prodigy in Germany during the 1930’s. He was so gifted that by age 10 he already began composing the beginnings of his impressive art collection,It is not known what happened to Heinz, although many speculations have been offered.

2

- Cap I Glossary -

15_ travel


The Story of Mr.K and Mr.B.

future family memory

1


A cube is a three-dimensional solid object bounded by six square faces, facets or sides, with three meeting at each vertex. The cube can also be called a regular hexahedron and is one of the five Platonic solids. It is a special kind of square prism, of rectangular parallelepiped and of trigonal trapezohedron.A cube is the three-dimensional case of the more general concept of a hypercube.

18_language

In communications, a code is a rule for converting a piece of information (for example, a letter, word, phrase, or gesture) into another form or representation (one sign into another sign), not necessarily of the same type. In communications and information processing, encoding is the process by which information from a source is converted into symbols to be communicated. Decoding is the reverse process, converting these code symbols back into information understandable by a receiver.

19_barocco

The small church is considered by many an iconic masterpiece of Roman Baroque. Borromini avoided linear classicism and eschewed a simple circular shape in favor of a corrugated oval, beneath an oval dome that is coffered in a system of crosses and octagons that diminishes towards the lantern, source of all the light in this dark interior.

20_string course. string corses,alternate glazings , a deep vertical gravure gives light to the ledgesâ&#x20AC;Ś

2

- Cap I Glossary -

17_ cube


The Story of Mr.K and Mr.B.

future family memory

1


The fountain of Trevi represent a combination of classicism and barock, layed on a side of palazzo poli, is dealing with the theme of the see, it is a scenography dominated by a chariot witch has the form of a shell , on top the statue of Ocean on the sides the one of salubrities and abundance, in the fountain barock architecture and sculpture interpenetrate

22_tower

The trellis tower are nit-like galvanized steel structure that support transmitting and receiving antennas for broadcasting and telephone station.. The height of the self supporting tower can vary from 6 to 130 m . Le torri sono generalmente verniciate a bande bianche e rosse sono strutture a traliccio che possono essere adatte a tutte le situazioni

25_ status

The traditional qualitative description of entropy is that it refers to changes in the status quo of the system and is a measure of “molecular disorder” and the amount of wasted energy in a dynamical energy transformation from one state or form to another.One of the simpler entropy order/disorder formulas is that derived in 1984 by thermodynamic physicist Peter Landsberg, which is based on a combination of thermodynamics andinformationtheoryarguments. Landsberg argues that when constraints operate on a system, such that it is prevented from entering one or more of its possible or permitted states, as contrasted with its forbidden states, the measure of the total amount of “disorder” in the system is given by the following expressionSimilarly, the total amount of “order” in the system is given by:

2

- Cap I Glossary -

21_sculpture


The Story of Mr.K and Mr.B.

future family memory

1


In which CD is the “disorder” capacity of the system, which is the entropy of the parts contained in the permitted ensemble, CI is the “information” capacity of the system, an expression similar to Shannon’s channel capacity, and CO is the “order” capacity of the system. the viaduct is a ki viaduct d of vehicular or railway bridge witch has bee viaduct used to overpass a physical albatross The term viaduct is derived from the Latin via for road and ducere to lead something.

27_shape

Parallel to its fishing origins, the trident is associated with Poseidon, the god of the sea in Greek mythology, the Roman god Neptune, and Shiva, a Hindu god. In Greek myth, Poseidon used his trident to create water sources in Greece and the horse (from sea foam in a contest for the name of Athens). Poseidon, as well as being god of the sea, was also known as the “Earth Shaker” when he struck the earth in anger he caused mighty earthquakes and he used his trident to stir up tidal waves, tsunamis and sea storms. In Roman myth, Neptune also used a trident to create new bodies of water and cause earthquakes

2

- Cap I Glossary -

26_landscape


The Story of Mr.K and Mr.B.

future family memory

28_development

Ontogeny (also ontogenesis or morphogenesis) (ontos present participle of ‘to be’, genesis ‘creation’) describes the origin and the development of an organism from the fertilized egg to its mature form. Ontogeny is studied in developmental biology, developmental psychology, developmental cognitive neuroscience, and devepsychobiology Phylogenetics, in biology, is the study of evolutionary relatedness among various groups of organisms (e.g., species, populations), which is discovered through molecular sequencing data and morphological data matrices. The term phylogenetics is of Greek origin from the terms phyle/phylon (φυλή/φῦλον), meaning “tribe, race,” and genetikos (γενετικός), meaning “relative to birth” from genesis (γένεσις, “birth”).

30_measure

Geometry (Ancient Greek: γεωμετρία; geo = earth, metria = measure) is a part of mathematics concerned with questions of size, shape, and relative position of figures and with properties of space.

32_narrative

romance describe the narrative forms witch are carraterised by eroical and mytical caracters, tend to allegory and deal with elements of fantasy. a”narrative” is a story or part of a story. It may be spoken, written or imagined, and it will have one or more points of view representing some or all of the participants or observers

1


The Imaginary order is one of a triptych of terms in the psychoanalytic theory of Jacques Lacan, along with the symbolic and the real

34_truth

A paradox is a statement or group of statements that leads to a contradiction or a situation which defies intuition; or, it can be an apparent contradiction that actually expresses a non-dual truth

35_creation

The shape (from Old English ȝesceap, shap, etc., originally meaning created thing) of an object located in some space is the part of that space occupied by the object, as determined by its external boundary – abstracting from other properties such as colour, content, and material composition, as well as from the object’s other spatial properties (position and orientation in space; size).

36_monster

il termine latino monstrum indica essenzialmente un segno divino , un prodigio, e deriva dal tema di monere , avvisare,ammonire.Il mostro è nel significato irifinario l’apparire, il manifestarsi , il mostrarsi improvviso di qualcosa di straordinario di divino che viola la natura e che e’ un ammonimento e un avvertimento per l’uomo Il presagio suscita un senoso di meraviglia e di stupore e puo’ esere fasto o nefasto geerando percio’ rassicurazione o spavento

2

- Cap I Glossary -

33_order


The Story of Mr.K and Mr.B.

future family memory

1


37_temple

In their distant origins, these usages derived from pagus, “province, countryside”, cognate to Greek πάγος “rocky hill”, and, even earlier, “something stuck in the ground”, as a lan

40_evolution

1.Medusa is a character of the greek mythology,the only one being earth borns.her hair were transmuted from Athena in stones after she discover Poseidon was in love with her.consequently everyone who tries to look at her was as well transformed in stone. The damnation still worked Even after she was killed,she generated red corall and Amphisbaena.2.The Meduse (jellyfish) represent a vital cycle’s stage, witch is concluded after te reproduction with the formation of a polyp.

In geometry, an octagon is a polygon that has eight sides 42_sustain

According to a story related by the 1st-century-bc Roman architectural writer Vitruvius, caryatids represented the women of Caryae, who were doomed to hard labour because the town sided with the Persians in 480 bc during their second invasion of Greece.

2

- Cap I Glossary -

41_magic


The Story of Mr.K and Mr.B.

future family memory

1


Autogrill (BIT: AGL) is an Italian-based, multinational catering and retail company, the world’s largest in the travel dining sector,[3] which is controlled with a 57% stake by the Edizione Holding investment vehicle of the Benetton family.[4] Autogrill runs operations in 40 different countries, primarily in Europe and North America, with over 250 licensed and proprietary brands.[5] Over 90% of the company’s business derives from outlets in airport terminals and motorway service areas.[6]Autogrill was founded in 1977 when SME, a division of Italian state-owned conglomerate Istituto per la Ricostruzione Industriale (IRI), purchased then merged Italian restaurant groups Motta, Pavesi and Alemagna. Pavesi had begun to operate a service area on the Milan-Novara motorway in 1947, replacing it with a bridge structure accessible by travellers in both directions fifteen years later.

45_dreams

The characteristics witch are being associated to the monkey during the dream , became the acess to the aalysis and the comprehension of the oneiric symbol, the shape of it’s body refears to the most primiteve and unsconscious aspects of men , the most instinctive ones like aggessivity and sexuality

46_geography

geo – grafia to write, describe the earth.

2

- Cap I Glossary -

44_multinational


The Story of Mr.K and Mr.B.

future family memory

48_robot

The word robota means literally work, labor or serf labor, and figuratively “drudgery” or “hard work” in Czech and many Slavic languages

49_camouflage

mantodea or mantieses is a oder of insects witch contains approximately 2,200 species.A colloquial name is praying mantis because of the preyerlike stance althought the term is often misspelled as preiyng mantis since mantis are notorius predatory.The word mantis is Greek for prophet or fortune teller.Manties are masters of camouflage, and most species make use of protective coloration to blend in with the foliage or substrate , both to avoid predators themselves , and to better snare their victims .Various spaecies have adapted to not only blend with the foliage , but to mimic it,appearing as either living or withered leaves , sticks , tree bark , blade of grass.

51_alterego

Jem (also Jem and the Holograms) is an American animated television series that ran from 1985 to 1988 in U.S. first-run syndication. The show is about music company owner Jerrica Benton, her singer alter-ego, Jem, her band the Holograms, and their adventures.The series was a joint collaboration by Hasbro, Marvel Comics, and Sunbow Productions, the same team responsible for G.I. Joe and Transformers. The creator of the series was Christy Marx, who also had been a staff writer for the aforementioned programs.

1


The animation was provided by a Japanese animation studio called Toei Doga (now Toei Animation). The show was originally designed to appeal to both girls and boys, with a mix of action/adventure, drama, music, and fashion, however as the show progressed, the audience became almost entirely girls. Mai Kazuki is a 1o years old girl affasinated by magic .daughter of a amagiciasn and a pastry cook she dreams to be a good and famous illusionist,like Emily Howell a fabulous illusioist of ’30 .She became magic as she founded some magic bracelet and a magical mouse who will became her best friend and she started to have a double life.10 years girl and famous illusionist, Emy and Mai.Having come to the point where she couldn’t distinguish realtity and fiction, she decide to give up her second identity , she understood if she really wanted to achive the ability of Emy she shoud do it in the real word, so she said good bye to her friend and went back to reality.

53_cosmos

The word “globe” comes from the Latin word globus, meaning round mass or sphere.A globe is a threedimensional scale model of Earth (terrestrial globe) or other spheroid celestial body such as a planet, star, or moon.

2

- Cap I Glossary -

52_future


The Story of Mr.K and Mr.B.

future family memory

55_behind

The metaphysics paintin tries to represent what is behind fisical apparence of reality, after the sensorial experiences, trieng to forget the originary significance of things.

56_tesion

In physics, tension is the magnitude of the pulling force exerted by a string, cable, chain, or similar object on another object Either acceleration is zero and the system is therefore in equilibrium or there is acceleration and therefore a net force is present.

57_Heimat

is a German word that has no simple English translation. It is often expressed with terms such as home or homeland, but these English counterparts fail to encapsulate centuries of German consciousness and the thousands of connections this quintessential aspect of German identity carries with it

58_scale

the scale of representation is a relation between the dimension of the reality and the one of one her representation

59_composition

Within photography , the term composition means the all creative decision with with a image will be construct.witch relations exist with the context, and the other elements in the scene.

60_place

set of action performed mainly foer their symbolic value , witch is prescribed by a religion or the tradition of a comunity.

1


Drawing is a visual art that makes use of any number of drawing instruments to mark a two-dimensional medium.

64_ex-voto

An ex-voto is a votive offering to a saint or divinity. It is given in fulfillment of a vow (hence the Latin term, short for ex voto suscepto, “from the vow made”) or in gratitude or devotion. Ex-votos are placed in a church or chapel where the worshipper seeks grace or wishes to give thanks.

65_shadow

A silhouette is a view of an object or scene consisting of the outline and a featureless interior, with the silhouetted object usually being black.

66_personality

A portrait is a painting, photograph, sculpture, or other artistic representation of a person, in which the face and its expression is predominant. The intent is to display the likeness, personality, and even the mood of the

69_mamma

Mary (Aramaic, Hebrew: ‫םירמ‬, Maryām Miriam Arabic:‫ميرم‬, Maryam), usually referred to byChristians as the Virgin Mary or Saint Mary , was a Jewish woman of Nazareth in Galilee, identified in the New Testament[2] as the mother of Jesus of Nazareth. Muslims also refer to her as the Virgin Mary or Syeda Mariam which means Our Lady Mary.

2

- Cap I Glossary -

63_hands


Chapter 2 : Map


The Story of Mr.K and Mr.B.

future family memory

4.

1.

2.

1


- Cap II map -

2

1.The stratified city.

2.The eccentric city.

3.The infrastructural city.

4.The abyss city.


The Story of Mr.K and Mr.B.

future family memory

1


Chapter 2: map 15 july h 13.19.46 When Mr. B talked about the places where he wanted to build (see page 62/63) They waited two days before meeting each other again. Mr B tried hard to understand the meaning of all those images and definitions, as well as what Mr K meant exactly. What did those things had to do with architecture? Being a person very precise and rational, he tried to make sense out of those elements - to contextualise them, to create some sort of index of connection. It hadn’t been easy; those images, that text so complex and easily misinterpreted. It seemed that as soon as you put them into a category - a box - they would suddenly move again creating more confusion; they wouldn’t allow a unique interpretation, instead they’d give birth to new ones, new points of view. Anyway Mr B didn’t give in, he knew it wasn’t an easy task but he was intrigued by it, and they were the only information Mr K had given to him. This was his new job, he was paid for it and thus had to do it.

B. “Mr K, excuse the pettiness of my query, but do we have good land on which to build these things you is talking about?

K. “Mr B, you read my mind! Yes, this is exactly what I wanted to talk to you about!”

B. “Ohh, excellent! Where? How big is it?”

K. “It’s everywhere and it has all different sizes”

B. “Mmmm, such as?” Mr B hadn’t been able to finish his sentence or ask all the questions he had in mind before Mr K produced a picture carefully folded in white tissue paper.

2

- Cap II map -

It was sunny but shortly rain was to come, they decided to meet in the garden: Mr K suggested it, tired of being always where air was heavy and the sky was squared. The air was fresh and the lawn was still wet with dew. They sat on a bench. Mr B felt a horrible and overpowering need of being concrete, for over a month he had dealt with the material Mr K gave him; he had applied himself to it and had tried to understand, he had done everything in his power, but he needed the answer to some simple questions. He couldn’t stop himself, he couldn’t even start their discussion with his usual approach, and he got straight to the point. As a matter of fact though, Mr K was not one for simple questions…


The Story of Mr.K and Mr.B.

future family memory

1


The Caravaggio

The abyss city

- Cap IV architecture -

2


Roberto & C. S.A.S. Strada Larzey Entreves La Saxe 23, 11013 The Story of Mr.K and Mr.B. Courmayeur 5.92km 0165-846873

Turistica Mont Piazzale Monte future Courmayeur family memory 6.00km 0165-8

1 di 2

1


K “Look at what I made for you! These are the places I have chosen for my architecture, you know I’m not an architect nor a geographer and I’m not very familiar with maps; because of that I put in this diagram all the information that I felt was important. I hope it is useful.” Mr B was impatient for it to be disclosed, he wasn’t paying too much attention to Mr K’s words because he thought the answer to his questions would come straight from the big picture Mr K was showing him.

K. “Well, I think it would be best to choose a place where to face these arguments, where there is room enough to add another layer to the city - building for the sake of itself wouldn’t make much sense.” Mr B looked around, anxiously unaware, then paid more attention, but he still didn’t understand. He had expected a cadastral map, a land survey, a precise geographical or morphological indication; even an old plan on any scale, but what he saw didn’t bring him back to any of those categories.

K.

B. “Mr K. I was expecting to talk about square meters and authorizations, of chance to access and private property…”

K. “You are right, I forgot about those! Oh well, we will also deal with that, but I thought it was better to agree on the meaning of our action and feel free to think a bit since we will have to deal with enough rules later on.”

B. “You know what? You are right Mr B!” The two man started to understand each other: the poor architect was worn out, he had never seen such a client, usually the discussion was about efficiency on costs or square meters, while now he would have to face things he would have never thought. He didn’t give up, he thought perhaps Mr K was right; after all, it gave him the chance to have a lot of fun doing his job. Maybe he had to take himself less seriously thought Mr B. He went home, wanting to better understand that map or whatever it was; Mr K was most certainly a person quite eccentric! This time he tried to put some order into his ideas, of course because of his own love for all things accurate and concrete, but also because he wanted to bring to life Mr K’s thoughts; it would be a shame for Mr K had imagined to keep being only words, he had taken to heart Mr K’s desires and wanted to satisfy him, although it wouldn’t be easy.

2

- Cap II map -

“I was looking at those places, at the their image, at the real and at the memorized one, as an overlap of forms and meanings of these forms, of tradition and evolution, realized through time, aimed at giving birth to an heterogeneous image. This story, made of gesture, action, tradition and rite, duty and pleasure of people, animals and machines, also entails architecture. I say things that are obvious, I know, but maybe is best to understand what are we actually doing here?”


The Story of Mr.K and Mr.B.

future family memory

1


The Mill

The eccentric city

- Cap IV architecture -

2


The Story of Mr.K and Mr.B.

future family memory

When Mr B talked about the places where he wanted to build

1_ The stratified city. There was an old city made of visible and consistent layers, as if the fit of different pieces was able to create a unique and compact form; even in its complexity and fragility, it revealed its history, its joy as well as its blows and glories. It was thanks to this that throughout time it had learnt to renew itself in a remarkable and classical and out of style way; it wasn’t able indeed to adapt to what was going on around it because of the character itself of its forms, traditions and history, were quite in the way and wouldn’t allow to easily change course from one side to the other: because of this it was like a huge, strong animal - heavy and able to move very slowly, dragging around many things, found or collected. He talked to him specifically about this borough, with the scent of family, ancestor and future, his grandmother and her grandmother herself had lived there: he had never lived there, his memories of it were vague, but he remembered it being a nice and quiet area with the scent of memories, tradition and innovation. It wasn’t for sure a modern borough, but it gave room to thought and you could see it had been designed with care and hope, hope that you could still feel in the air. Mr K talked about a plot, a crossroads. He liked its triangular shape, and that’s why he had invested in that plot. There he planned on building some sort of house, homes for different kind of families, or people that would have lived as a family. So he thought the best solution for the crossroads would have been to pass through it, denying its existence, and giving it a better chance to exist, not just as a boring and prude crossroads. So he explained his intentions: “My grandmother was an elegant woman and used to live in this borough. A quiet area made of beautiful buildings, regular houses and very beautiful sorely because it was designed with love as you could notice by the tiniest detail, like a perfectly fitting dress. I would like for this custom to be kept. The grandma of my grandmother used to live in a palace, descended somehow from a royal family, very royal I believe to be living in such a building. That’s why if I had a family I would love for Mr B to design my home and the building as if he were designing a home for my great-grandmother today.” Mr B was listening to Mr K amazed: buying a plot because it has a nice shape? Absurd! Mr K had to have quite a lot of money, and his way of thinking was always so peculiar it seemed to be coming from another world. The places he had chosen were not nearby the area, but just in his mind, thus he kept going talking about another big city

1


2_ The eccentric city.

3_ The infrastructural city. The third place was a hard one to point out; it was a place between others. To describe it you had to refer to something else: it actually was an infrastructure of places; it built a line parallel to a highway. This highway was in the middle of a level land and linked the airport to centre of a big and foggy city. It was a peculiar and remarkable place, forms and colours were used in a brave or maybe witless way. It was able to be as boring and flat as a highway can be, while hiding at the same time many surprises. This place used to host lawns that now were hidden by huge industrial buildings with the most peculiar forms, with signs that were both functional and for marketing, precise at the same time, able to turn the atmosphere of the area to something entirely unique. It wasn’t a cosy place, it wasn’t pleasant, but it was fun. It was a place to discover with rules, a mix between a wild forest and a fun fair.

2

- Cap II map -

There was a nice river, that often in the past had been its own wealth; it was a complex and diverse city, its variegate history had made it a soul-less city, or better, a multi-soul city unaware of it. It was a city always in action and happy, where people never aged; a generous city in constant change able to be interpreted, a city extremely free as a sand dune that changes along with wind and people’s steps, that cannot be cancelled but can definitely be modified. It’s hardly surprising then to find a river harbour where you wouldn’t expect it to be, able to recall other landscape and eras, similar to a seaport but on a river. The difference was quite clear: it had bank and limits, not the horizon like the sea; this would seem a limit already, but the endless horizon from time to time may be so frightening that it stops and paralyzes more than river banks. This place had been a wood, a forest, and the place where kings would go resting: then nature became more and more artificial, with cranes, machinery and plenty of cars. The bank in front of the harbour was an island hosting a huge and busy highway where nature and artifice met, as well as reality and suggestion. He had chosen this place because a mill needs a river and he needed a mill, and maybe, this place itself was in need of a mill.


The Story of Mr.K and Mr.B.

future family memory

1


The Trellis

The infrastructural city

- Cap IV architecture -

2


The Story of Mr.K and Mr.B.

future family memory

4_ The abyss city. The fourth was a disturbing place that once you had visited you would never forget. It was isolated and forgotten on an island: islands, as someone says, are dangerous places where you know that sooner or later youâ&#x20AC;&#x2122;ll have to sink, and thatâ&#x20AC;&#x2122;s why inhabitants live along with a peculiar resignation. This area, in particular, had already experienced movement, willing to go back to the abyss, and one day spread fear around its occupants while shaking off many towns, people and lives. And as not to go against an unknown will, there had been many ruins of the event, visible and changeable. In the meanwhile another city had been built, with enthusiasm and good will: people were trying to forget that tiny place, those memories, the pain and the melancholy, but they never made it. And even the new hope turned into melancholia. Everyone slowly became sick with unhappiness. People and buildings, the landscape and the animals. Mr B then took the map and all the notes of what he had just heard and decided to reorganize and rationalize that bunch of disordered materials, to understand and to give some sort of geography and orientation to those places.

1


- Cap II map -

2


The Story of Mr.K and Mr.B.

future family memory

1


The Dress The stratified city.

- Cap IV architecture -

2


Chapter 3: Sketch


The Story of Mr.K and Mr.B.


Chapter 3 : sketch

15th September ore 10:09:56 when Mr.K shows Mr.B his architectural fantasies

(see pages 76/87) The two met again, this time in the evening during sunset. The sky turned slowly from blue into orange and then became red: the two men were on a terrace surveying the city from where you could perfectly see this change, able to calm down souls. They had become quite familiar, Mr K for all his austerity was quite informal, with a vitality that was contagious and brave: realizing it, Mr B had been able to control his fears and take courage. Mr K looked like he was again looking for something and Mr B wasn’t sure whether to be happy about it or to be terrified by it, but he showed interest about what his client would get him this time. “You know, since I was young I have been experimenting with drawing and thanks to our long conversations I got some ideas: now I decided to show you these sketches.” He took a big amount of drawings and sketches done on wallpaper, tissues and any kind of paper. Mr B fainted for a second, especially when Mr K said: “I want my architecture to look like this!” Architecture! That’s how he labelled his drawings, you couldn’t even understand from where you were supposed to look at them, which were the side up, if they were upside down, how big where there, and so on… but Mr B, patient, realized that as usual, the only way to better understand what was going on was to keep talking with Mr K and asking him some questions: even thought it may not seem so, Mr K had his logic, and was able to explain exactly what he had imagined. Mr K saw the fear into Mr B’s eyes for what he had shown him and what he was asking him to realize. Thus he tried to reassure him: “Everything is simple, far more simple than it looks like”, he said.

Dialogue


The Story of Mr.K and Mr.B.

future family memory

1


- Cap III Sketches -

2


The Story of Mr.K and Mr.B.

future family memory

1


- Cap III Sketches -

2


The Story of Mr.K and Mr.B.

future family memory

1


- Cap III Sketches -

2


The Story of Mr.K and Mr.B.

future family memory

1


- Cap III Sketches -

2


The Story of Mr.K and Mr.B.

future family memory

1


- Cap III Sketches -

2


The Story of Mr.K and Mr.B.

future family memory

1


- Cap III Sketches -

2


The Story of Mr.K and Mr.B.

future family memory

1


- Cap III Sketches -

2


Chapter4: Architecture


The Story of Mr.K and Mr.B.

Chapter 4 : architecture 1st October 18:09:01 maybe a bit later when Mr. B finally shows what he has come up with

He took some of those drawings and started to talk “Mr B first of all you must not get frightened, even a simple flower if you look at it carefully can be a peculiar object. Fine, maybe what you’re looking at is quite unusual, but there’s an explanation: there’s many actually, and , honestly, I am not here to give you a lesson, but I can tell you what I’ve imagined. You on the other hand must not stop your imagination because if you won’t be generous with your heart and your imagination, well, we won’t be able to help each other”

The Mill Modernity and Tradition “Do you see this – he said with a laugh and eyes that were vibrant and full of joy – this is a building: well, sure, it could also be a teapot… or a dinosaur, a monster or a vacuum cleaner? What do you think? For this matter it will be a building, hoping that once built, once it will become real and concrete, it will leave the observer thoughtful and unsure. Is it a teapot? As long as it is a building, as a space to be used, it will be functional: it’s important for you not to forget this. This will be the office building, facing the river, in other words, a mill. Do you see what I mean? A building that’s simple and modest, recognizable and remarkable: we need to reflect on what has to be done in order for the mill and the modern glass-made building to meet! It will be a building, self-sufficient and independent, free, it will integrate with the landscape by negating it, it will have to be natural, wild and elegant at the same time.”

The Dress Decorum and concreteness “Ah! Look here - and he takes his time to observe something he had never looked at – this is another building, looking like a dress, made of layers: veils that hide, dress and decorate, accurately made so the fit is perfect, with a front and a back, finding itself simultaneously in two different streets and having to have a front and back even though it’s impossible to recognize them: the hidden details are able to give it a softer look, the lining makes it more comfortable, warmer, the veils underneath give it movement. That’s how you must think about this building: here people will be living, everyone beneath the dress.”


The trellis Geometry and nature “But let’s keep going, here is something else I wanted to show you, this is a tower, can you see it? This tower, like crystal, copies the geometry of nature in the landscape, an artificial geometry. It’s like a mountain, made of iron, welcoming anyone willing to escalate it, to own it, to visit it: animals, vegetation, people. It’s an observatory and maybe something more: it’s also a zoo and a botanical garden. Birds asked me for it, they are tired of listening to their grandparents remembering about high mountains and pure air, here they don’t know any of these things: trellises, roofs and drainpipe are their homes, and they asked me to ask you these questions, to ask yourself these questions.”

Caravaggio representation and use “Finally there is a factory, or a farmhouse, between hills, a place to work, meditate, able to set its own time without having to go along with time set by others. It welcomes its guests with strength and irony as to underline its power of inhabiting a desert territory, as a recognition that rebirth is possible. It takes care of nature around, extremely rich, maybe, but surely rich enough and beautiful.” Once Mr B gained all this information, he had to make it, he had to make Mr K’s dreams come true. He had to give an actual shape to what Mr K had imagined, to their functions: thus he started working and producing drawings and visions of potential architecture. “Mr K do you think we have achieved what you set out to? Is this, from a formal and functional viewpoint, the ideal result?” “Dear Mr B, I never thought we were going to get to this! What we have come up with is just one possible solution, it is an attempt, we may have done better, or worse: but what we’re living is just one possible reality, and we would never be arrogant enough to consider it the very best one, and that’s it.”

Dialogue


The Story of Mr.K and Mr.B.

future family memory

1


The Caravaggio

The abyss city

- Cap IV architecture -

2


The Story of Mr.K and Mr.B.

future family memory

1


The Caravaggio

The abyss city

- Cap IV architecture -

2


The Story of Mr.K and Mr.B.

future family memory

9 m 2.2 m 14 m

1.8 m 14 m

10 m

1


The Caravaggio

The abyss city

the Caravaggio

- Cap IV architecture -

2


The Story of Mr.K and Mr.B. prospects 1:250

future family memory

1


The Caravaggio

The abyss city prospects 1:250

- Cap IV architecture -

2


The Story of Mr.K and Mr.B. section aaâ&#x20AC;&#x2DC;1:250

future family memory

1


The Caravaggio

The abyss city

plans 2th,3th floor 1:200

- Cap IV architecture -

2


The Story of Mr.K and Mr.B.

future family memory

20 m 5.2 m 6 m 21 m

24. m

20 m

47 m

27. m

1


The Mill

The eccentric city

the Mill

- Cap IV architecture -

2


The Story of Mr.K and Mr.B. prospect 1:250

future family memory

1


The Mill

The eccentric city prospect

1:250

- Cap IV architecture -

2


The Story of Mr.K and Mr.B. plan ground floor 1:250

future family memory

1


The Mill

The eccentric city plan 3th FLOOR 1:250

- Cap IV architecture -

2


The Story of Mr.K and Mr.B. Section AAâ&#x20AC;&#x2DC; 1:250

future family memory

1


The Mill

The eccentric city Section BBâ&#x20AC;&#x2DC;1:250

- Cap IV architecture -

2


The Story of Mr.K and Mr.B. Section CCâ&#x20AC;&#x2DC; 1:250

future family memory

1


The Mill

The eccentric city

- Cap IV architecture -

2


The Story of Mr.K and Mr.B.

future family memory

12 m

19.5 m

61 m

19.5 m

1


The Trellis

The infrastructural city

the Trellis

- Cap IV architecture -

2


The Story of Mr.K and Mr.B. Prospect1:250

future family memory

1


The Trellis

The infrastructural city Prospect1:250

- Cap IV architecture -

2


The Story of Mr.K and Mr.B.

future family memory

SECTIOn AAâ&#x20AC;&#x2DC; 1:250

1


The Trellis

The infrastructural city

plan 3th floor 1:150

- Cap IV architecture -

2


The Story of Mr.K and Mr.B.

future family memory

27.4 m

8.7 m

4 m

16.7 m

27.4 m

15.8 m

26.4 m

1


The Dress The stratified city.

the Dress

- Cap IV architecture -

2


The Story of Mr.K and Mr.B.

future family memory

1


The Dress The stratified city. Prospects 1:200

- Cap IV architecture -

2


The Story of Mr.K and Mr.B.

future family memory

1


The Dress The stratified city. plan ground floor 1:250

plan 3th FLOOR 1:250

- Cap IV architecture -

2


The Story of Mr.K and Mr.B. plan 2th Floor 1:250

future family memory

1


The Dress The stratified city. Section AAâ&#x20AC;&#x2DC;1:200

- Cap IV architecture -

2


The Story of Mr.K and Mr.B.

future family memory

1


The Dress The stratified city.

SECTIOn BB‘ 1:200

SECTIOn CC‘ 1:200

- Cap IV architecture -

2


The Story of Mr.K and Mr.B.

future family memory

list of images:

-Feather

-Commodore Pet 2001

-Transformers ‘90

-Wonder woman, 1941

-Mantis

-Cathedral, Gio Ponti, Taranto,1964/1970

-Piazza del popolo, Roma

-trans-form, exhibition hans hollein

-Drawing studio alchimia milano

-torre velasca, B.B.P.R.1956/1958

-Learning from las vegas

-detail ,classic architecture’s codes

-Globe

-Cinderella, walt disney film poster

-Emy may cartoon ‘90

-Furtenbach joseph, schloss

-Carlo Carrà 1920

-Beato Angelico l’Annunciazione,1438-46,

-Bolt

-Paul Delvaux The Great Sirens, 1947

-S.Maria di Castello Genoa ‚600

-Raaes, Daniel, L’architecture des phares, 1992

-Il bacio di Giuda, Caravaggio,1602

-A mirror building

-Jem and the Ologram cartoon ‘90

-Villa Planchart, Gio Ponti,Caracas, 1955

-Villa adriana , tivoli

-Cat eyes , cartoon’s poster , 1999

-L.Ghirri, Marina di Ravenna,1972

-Dante Alighieri , La divina commedia

-Ex-voto

,schematic representation of poem’s structure

-Illustration of Maria

-A cube

-Colosseum , monster

-S.Carlo alle 4 fontane, Borromini,Rome

-Illustration of armature’s compostition

1638/1641

-Cultural and sportive Center,Lina Bo Bardi

-Pattern, Monster, Mit press

---Pompéia,Sao Paulo, 1977

-Casa del Girasole, Luigi Moretti, Rome 1949

-Church’s Altar, Sicily

-Fontana di Trevi G.L.Bernini, Rome 1640

-Sicilian guy

-Panoramic restaurant Rome, 1970 ca

-Power Ranger tv serie ‘90

-Pylon

-Piazza del Campidoglio, Rome

-etching g.b. piranesi 1750 ca

-Cave, Genoa via Garibaldi

-clown

Furtenbach joseph,1600

-viaduct

-São Paulo Museum of Art (MASP),drawing Lina Bo

-Barock church sicily

Bardi, 1970 ca

-Tafel, Ernst Haeckel, 1890 ca

-Pasquale de Antonis, La moda nella città eterna

-National Parliament of Bangadlesch, Luis Kahn,

1948

Dhaka 1962 -industrial buildings -The Garden of Earthly Delights, Hieronymus Bosch, 1503/1504 -Caryatid -Temple, Segesta, Sicily -The Garden of France, Max Ernst,1962 -Berliner Philarmon, Hans Scharoun, 1960/63 -Jellyfish -Big pencil, Skidmore, Owings and Merrill, Mario Lanata e Andrea Messina Genova, 1992, -Ugo mulas, picture of milan 1960 ca -Autogrill restaurant Bologna highway -Vittoriano, Rome 1885/88 -Monkey

1


Bibliografy:

2

Editoriale, Milano, 2008 Saine, Thomas P.; Sammons, Jeffrey L.: Goethe – Italien Journey, Suhrkamp Publisher New York Inc., New Xork, 1989 Krauss, Rosalind: The Optical Unconscious, Massachusettes Institute of Technology, Cambridge, 1994 Marc Guberman, Jacob Reidel and Frida Roseberg, Perspecta 40 „Monster“,The Yale Architectural Journal MIT 2009 Bauman, Zygmunt: Modus vivendi- Inferno e utopia del mondo liquido, Editori GLF Laterza, Roma-Bari, 2007 Giussani, Elena: Hans Hollein – Alles ist Architektur, Edizioni Kappa, Roma, 2006 John, Erhard: Einführung in die Ästhetik, VEB Max Niemeyer Verlag, Halle (Saale), 1972 Hildesheimer, Wolfgang: Marbot – Die Biographie, Suhrkamp Taschenbuch, Frankfurt a. M., 1984 Baum, L. Frank: The Wonderful Wizard of Oz, Reclam, Stuttgart, 1994 Berger, John: Das Leben der Bilder oder die Kunst des Sehens, Verlag Klaus Wagenbach, Berlin, 2003 Venturi, Robert: Complessità e contraddizioni nell‘architettura, edizioni Dedalo srl, Bari, 2002

- Cap I Glossary -

Queneau, Raymond: Esercizi di stile, Einaudi Tascabili, Torino, 1983 Bartoli, Sandra; Conrads, Martin; Linden, Silvan; Polyák, Levente; Sevi´c, Katarina: die planung a Terv, Berlin/Budapest, no. 117. June/July 2036, Demax Müvek, Budapest, 2008 Taylor, Mark C.: Il momento della complessitá – L‘emergere di una cultura a rete, Codice edizioni, Torino, 2005 Greenaway, Peter: Voli fatali, Mondadori, Milano, 2005 Bignami, Ernesto: La Divina Commedia – II Pugatorio, Edizioni Bignami s.r.l., Milano, 1979 Yourcenar, Marguerite:Memorie di Adriano, Einaudi, Torino, 2002 Frampton, Kenneth: Storia dell‘architettura moderna, Zanichelli Editore, Bologna, 1993 Deleuze, Gilles: Logica del senso, Saggi Universale Economica Feltrinelli, Milano, 2006 Barthes, Roland: Variazioni sulla scrittura, Biblioteca Einaudi, Torino, 1999 Foucault, Michel: Questo non è una pipa, SE Studio Editoriale SRL, Milano, 1988 Benjamin, Walter: L‘opera d‘arte nell‘epoca della sua riproducibilità tecnica – arte e società di massa, Piccola Biblioteca Einaudi, Torino, 2000 Eco, Umberto: La Struttura Assente – La ricerca semiotica e il metodo strutturale, Tascabili Bompiani, Milano, 2004 Romanelli, Marco: Gio Ponti: A World, Editrice Abitare Segesta spa, Milano, 2003 Caviola, Ernesta: 5+1 AA – Agenzia di Architettura Alfonso Femia Gianluca Peluffo – Il Silenzio del Sottomarino, Ante Prima AAM Editions Silvana

the Story of Mr K. and Mr B  

A narrative thesis on a architectural composition's method - how an idea of a building can come true

Read more
Read more
Similar to
Popular now
Just for you