hour interview

The word “desert” derives from the Latin word desertum, composed of the particle
“de” that assigns a negative sense to the verb serere, that means to connect, to tie, stating an entity that doesn’t have a connection point, empty, uninhabited. The triangular shape’s iconicity, that recalls strength and stability’s characteristic in relation to the desert’s power, performs a landmark’s function and, at the same time, denies itself letting disclose an unexpected feature. It’s an enclosure that embraces the desert, allowing it to permeate itself and to be modified by it, the depth of which becomes space of life. Everything in a landscape, as well as in everything in life, is based on change, on relativity, and on the passing of time. It is a monument to the sky and to the sun, evocation of the passing of the seasons and time.
A vantage point of infinity.
The model reproduces an extract of the architectural object, a section in 1:100 scale that generates a synthetic overview of the main strengths of the project. As the whole is a monument, the model is a fragment of a process that unveils the matter, a message of poetry which remains as meaning. It’s a secret conserved within the monument.
The position of the model is thought in order that around one-third of it coincides with the observer’s middle viewpoint, to provide him an insight, from the bottom to the top, of the portion of the building, in particular returning the vision of the building's entrance, the internal complexity of the section and the space between the oasis and the desert. The will to propose a conceptual image of the building has suggested the choice of a material that was able to confer to the object an abstract nature. Travertine, a natural stone that stands out for its monumentality and timelessness, manifests the will of a figurative research in which the matter is a source of poetical intentions. The tangible substance of travertine, its grain, porosity and usage, show analogies and differences, suggesting the persistence and evolution of the inner linguistic properties of the technological culture of the project. A mysterious assonance develops between the continuity of architectonic surface and the discontinuity of the porous fabric of travertine. That which seems, from a distance, continuous and homogeneous, on closer inspection reveals its geological, porous nature, through the multiplicity of various shape, size and position’s pores. It is our gaze on it that makes the difference. The warm homogeneous tone of the material, within the vibrating epidermis due to the changing conditions of its exposure to light which acts on the texture of the pores, gives to the architectural object an unexpected softness, conferring it, at the same time, a strong evocative character. From a technical point of view, the model is obtained by milling a monolithic block of travertine. The choice of working the stone in order to make visible the horizontal vains creates an image in which the natural and artificial shape dissolves itself in a process of mutual inter-penetration. The horizontal stratifications of the material, obtained through long processes of sedimentation, echo the ephemeral and changeable atmosphere of the desert landscape that, by the action of the wind, is subjected to continuous changes of configuration. They reveal vibrations and shadows that transform the three-dimensional object in a graphic model provided with the requirements of the instantaneity of the reception, the maximum intensity of the message, the figurative complexity synthesized in a sort of visual ideogram. The choice of using the same material for the two main entities of the project, the sand and the artifact, allows the object to emerge from the rock as a monument, creating a continuum between two figurative elements that in the collective imaginary are conceived as separate and opposite entities. The resistant and plastic material not only gives solidity, volume, mass to architecture but, returning an atmosphere that prescinds from the time, allows the object to become an instrument of a universal architectural language that promotes the dialectic between past and present.

http://www.ultraarchitettura.com
http://www.benchekrounomar.com

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hour interview

hour interview

[english version below]

- hour interview -
intervista a ore senza intervistatore

prova a rendere visibile, attraverso delle video interviste, la "giornata tipo" dell'artista.
Brevi racconti indiretti in cui la domanda in prima persona dell’intervistatore…


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[english version below]

- hour interview -
intervista a ore senza intervistatore

prova a rendere visibile, attraverso delle video interviste, la "giornata tipo" dell'artista.
Brevi racconti indiretti in cui la domanda in prima persona dell’intervistatore passa in secondo piano per dare spazio agli artisti nei loro ambienti di lavoro.
Un esperimento con il quale indagare in maniera diversa, meno frontale, la pratica dell’intervista nell’arte contemporanea.

[english]

- hour interview -
interview without interviewer

Experimental investigation into the contemporary art practice shots directly inside the artist work for a different point of "inter-view".
hour interview, an artist's typical day video interview shows indirect short stories where the interviewer, without questions, takes a back seat to fully allow the artists to express themselves in their working environments.

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