Ierimonti Gallery New York is pleased to present Re-Constructivist Architecture, curated by Jacopo Costanzo and Giovanni Cozzani and promoted by the Scientific Technical Committee of Casa dell'Architettura in collaboration with Consulta Giovani Architetti Roma.
The exhibition will feature the work of thirteen international emerging architecture firms, aiming to portrait a generation of architects born in the ‘80s: a countertrend that tries to recover a debate lost years ago and obstructed by a cumbersome star system. Their theoretical, critical and historical approach attempts to rediscover a thoughtful dimension behind the architectural subject. Each firm will present a residential project in the Roman countryside, a design exercise meant as a typological investigation, or, more generally, as a meditation on the autonomy of the architectural discipline. What will remain are thirteen projects for thirteen houses in the Roman countryside, thirteen gifts to the city of Rome.Involving some of the architects who participated to the 1988 MoMA’s show “Deconstructivist Architecture” through their drawings and short essays, the exhibition is attempting to generate a debate between two generation of architects: one who destabilized a certain kind of relationship with the design theory and a new one wishful to get back on the lost way.
UNULAUNU (Bucharest) A locus amoenus is a place where the human being finds the wild part of himself as an individual, he finds himself in an absolute private dimension, where he knows how to be free and emotional. It represents a vision that explains a clear need for relief from rigid social rules and an escape from the universally recognized and accepted conventions. Nowadays it’s difficult to talk about the locus amoenus; today the single individual has a new representation of himself which is fragmentary, dynamic, never totally complete in a single social environment. As a consequence, the locus amoenus is demystified, reinterpreted in new forms, and fragmented into many loci. It’s becoming one of the many environments that the different social representations of our “Id” has to face, wish or fear. The roman countryside, as locus amoenus, is the mental and natural environment of our project. Settled in the hilly landscape, the general layout of the house is divided in two parts, an internal one and an external one, with two very different characters. Its main internal space is identified by the most representative moment of domestic life, the kitchen; it’s a unique and contained space, occupying just a small percentage of the whole building. The space is a triangular niche between the roof’s inclination and two walls, with an opened side towards the landscape. The generative fulcrum of the niche is the fireplace, which is not just an object in the room, but the origin point of the space itself. The triangular geometry creates two opposite perspectives and feelings. A spatial introjection towards a fulcrum and a pressure-like feeling towards the outside, emphasizing the coexistence of two contradictory characters in the same space. The bedroom represents an exception, it is the most intimate and private space of the project, hidden between the lowest peak of the roof and the highest point of the topography. It’s not visible from outside and is the most remote object in the whole structure. The absence of a direct and clear communication with the outside underlines the sense of isolation and protection of this room; the skylight is not an accessible courtyard, but rather a funnel that channels the light from the roof down to the room. The external part under the roof is an undefinable space, it’s an outside kitchen or living room, it’s a shelter, it’s a piazza, it’s a ruin, it’s a fragment, is the informal face of an house in the countryside. The roof is the only element that gives a unifying character to the house. it’s a clear division, whose physical expression reaches an extreme level to the point where the passage from one side to the other is not possible. The only element connecting the two sides is the corridor. The structure in the same manner reacts differently according to the spaces it serves. Two T-form cables on top, together with the exterior ramp working as a cable as well, held the roof on one side, allowing unconstrained spaces under it. On the other side the freedom and the informality of the open space is expressed by an opportunistic and in the same time functional pillars-beams structure, that doesn’t want to create a clear hierarchy or an identifiable order. The house is intentionally not conventionally “comfortable”, its elements would make you feel constantly alert and aware; which is the most consistent way to experience nature. [Prints, 12x16 inches] BIO: UNULAUNU (one to one ,-en) is Romina Grillo, Ciprian Rasoiu, Liviu Vasiu, Matei Vlasceanu and Tudor Vlasceanu. We joined forces in 2010 driven by a simple wish of doing architecture and later we found enough commune and also conflictual points to convince that we should work together. Our first project was the competition and building of the national pavilion of Romania at the Biennale di Architettura of Venice 2010. The success at the prestigious exhibition and the fruitful collaboration gave us the opportunity to start an office.
False Mirror Office (Genoa) Zuppa Romana Despite its permanence in time as a retreat, the roman countryside developed a diverse array of typologies and expressions: from the clusters of Villa Adriana to Casa-Albero's shells to recent urban speculations, its variety reflects the changes that the city itself and its manifold society faced through history. Zuppa Romana is indeed our fresco of the city of Rome itself, emphasizing beyond good and evil its wrinkled and yet immortal charm. [Prints, 12x16 inches] BIO: False Mirror Office is a collective of Architects started in 2015, outcome of a fortunate encounter between young professionals sharing the Genoa Polytechnic School as common background. Its intent is to question the contemporary approach to the architectural project through a shift in paradigm: a method based on history and typology acting on morphology and symbolism. A process that works with time against the generic.
Something Fantastic (Berlin) The actual site of the countryside as mythical place, as locus amoenus, is the periphery. This anthropized arcadia was turned into fragmented spaces and partial representations, as contemporary production of space is free from urban tasks, poor in urban ideology, a sprawl of individual residential and meta-commercial settlements. We focused our Urban Villa on the ambiguous reality of Commercity, connected and detached from the city itself and a global desire, between Rome and Fiumicino airport. Taking the scale-less of the anonymous logistic hall architecture as a starting point to confront the deficient privacy with an idea of communality, to turn the scale-less size into domestic generosity, and to create an incentive juxtaposition of nature and architecture and of dream and reality. [Prints, 12x16 inches] BIO: Something Fantastic is a young architectural practice committed to smart, touching, simple architecture. Its works include publications (Something Fantastic, Building Brazil, e. a.) teaching (ETH Zurich, e.a.) and design for private and institutional clients. Next to Something Fantastic the partners Schubert, Schütz, and Streich also operate a creative agency called Belgrad to be able to work in a broader field and context of creative production. The belief that architecture is affected by everything and vice versa does affect everything is the basis of their claim that working as architects involves a general interest and involvement in the world.
Fosbury Architecture (Milan) Juggernaut “I am a force of the Past. My love lies only in tradition. I come from the ruins, the churches, the altarpieces, the villages abandoned in the Appennines or foothills of the Alps where my brothers once lived. I wander like a madman down the Tuscolana, down the Appia like a dog without a master. Or I see the twilight, the mornings over Rome, the Ciociaria, the world, as the first acts of Posthistory to which I bear witness, for the privilege of recording them from the outer edge of some buried age. Monstrous is the man born of a dead woman’s womb. And I, a foetus now grown, roam about more modern than any modern man, in search of brothers no longer alive.” P. P. Pasolini - Ro.Go.Pa.G, La Ricotta, 1963 [Prints, 12x16 inches] BIO: Fosbury Architecture is a collective of architectural research and design with an open and rhizomatic structure. Fosbury Architecture is based in Milan and welcomes young architects of different cultures and ambition.
AM3 (Palermo) Villa on Lake Nemi Situated in the Roman countryside, Lake Nemi is the site chosen to imagine a villa that plunges its roots in history and finds its perfect positioning within the surrounding landscape. The project of the house gets its inspiration from the legend of two gigantic ships built there in Roman times and anchored in the middle of the lake by the will of Caligula. These ships were finely-enriched floating palaces full of all sorts of treasures which the Emperor used both for living on the lake and for simulating naval battles. After the sovereign's death, however, the two ships were mysteriously sunk. The idea of a dream villa floating on the lake thus comes from the memories of the place, between history and legend, which constitute an attractive framework necessary for the definition of the project. In fact, the cross-references between ancient representations of the lake and the current need to define a place as an essential beginning to the design process, have permitted to idea a dwelling, away from the main land, consisting of an aggregation of pure geometric forms which enclose the living spaces. The villa, rising from the water, opens to the surrounding environment in various ways allowing to enjoy different panoramas. And the walls of the volcanic crater that hold Lake Nemi define the near horizon which becomes, through various forms, a small unique cosmos. [etching on zinc, 20x30 cm, 2016, Etching by Simone Geraci] BIO: AM3 Architetti Associati was founded in 2011 by the architects Marco Alesi, Cristina Cali, and Alberto Cusumano. The Firm operates in Palermo (Italy) and works on projects both in the private and in the public sphere, expanding the theme of urban redevelopment through the design and construction of elements set in high-value historical, archaeological, and landscape contexts.
Parasite 2.0 (Milan) Crypto domestic desert Crypto domestic desert envisions an architecture in the Roman countryside, in the era of the ultimate human impact on the Earth, of the government of the algorithm, of the artificial nature, of the transhumanism and of the post-truth. It envisions the Roman countryside as a desert, a continuous Piranesian ruin, limitless. It envisions the desert as a ground zero from which new forms of collectivity, tribalisms and architecture can rise up. An occult architecture, but hyper-connected and infrastructure, isolates itself from the extreme climatic condition, as an underground termitarium, for a man who has become animal again, who builds fictional reality within aseptic and well-tempered environments. Simple scenographies and boxes immersed in a sea of technical systems. It shows up on the exterior as a totemic object for a primitive future, made by the incapacity of facing the extreme present. [Prints, 12x16 inches] BIO: Parasite 2.0 was founded in 2010. They investigate the status of human habitat from the margins of conventional practice. They are the 2016 winners of YAP MAXXI. Their work has been exhibited at the 2015 UABB in Shenzhen, at the Venice Architecture Biennale in the 2012 and in the 2014 and at the Todaysart 2016 in The Hague. They are Professor at the Made Program and Visiting Professor at Politecnico di Milano and NABA Nuova Accademia Belle Arti Milano.
Point Supreme (Athens) Roman Villa Roman Villa proposes a house that is reduced to a billboard and sleeping cells; the billboard constructs the desired image towards the context, a front independent from anything else. The cells provide a minimum necessary privacy. The luxury is given to the common spaces and garden; an ambiguous duality occurs between the humble private spaces and the extravagant garden. The proposal is an extreme version of the Italian roman villa typology where the landscape was included as a fundamental element in the formal plan of the architectural composition. This often reached a degree where the architectural configuration of the house itself was seemingly secondary compared to the presence of the garden. The proposal is an interpretation of the Petralona House as a roman villa. In this house the design accentuates the value of a small garden in the center of a dense metropolis. [Prints, 12x16 inches + Model] BIO: POINT SUPREME was founded by Konstantinos Pantazis and Marianna Rentzou in 2008 after working in London, Rotterdam, Brussels, Tokyo and is based in Athens. Their work includes self-initiated projects for the city. Petralona House was completed in September 2016.
Warehouse of Architecture and Research (Rome) A dwelling of noble and latin sense The project simulate a colonization of a ruin in the Roman countryside. The ruin is a Roman character, paradigm of the city development. The ruin is an unavoidable element, always contemporary. This ruin, heritage of a circular based building, get animated by a cultured and sophisticated colonist, aware of Architecture Arts. This ruin is an ironical work of sieve inside contemporary architectural vocabulary, declined in a latin manner. Alongside with practical elements, of convenient utility - by now unquestionable - the house hosts comfortable elements for a way of living full of that sensibility, knowledge and affections that dignify the the human spirit, rooting it to its highest and more natural virtues. [Prints, 12x16 inches + Model] BIO: WAR was founded in 2013. Its essence can be found between a traditional and almost forgotten studio and an independent research space of contemporary practice. Born and raised in Rome the Warehouse of Architecture and Research is extremely tied to the roman culture. Theory alongside practice, dialogue before design. The office consists of six architects working between Rome and New York.
Adam Nathaniel Furman (London) In the tradition of Hadrian’s villa, the villa Giulia, and Madama, the House of the Tetrarchs is a political withdrawal into nature, fortified with the geometry of an urban ideal on the periphery of an unruly city. Four spiralling compounds are connected at their centre at a recessed geometric grotto, and each face out towards the horizon in a different direction across the Roman campagna from four large, pavilion-topped ramps. The three Presidents of Italy, of the Republic, the Senate, and the Chamber of Deputies, as well as the Prime Minister -the contemporary Tetrarchy- find a bureaucratic respite and seclusion within the walls of each of these four dwellings, each grounded in a specifically formal notion of architectural continuity. The House is located on a promontory next to Il Corviale, a kilometrelong social housing project from the 1970s, a masterpiece in concrete, a miracle of repetition, of grand vision, and ultimately, of failure. The Corviale is relentlessly grey, and linear. The house of the Tetrarchs is eyegougingly colourful, and endlessly involuted. An efflorescence of monumentality and polychromous pomp, in an age of political retreat. [Prints, 12x16 inches + Projected Loop] BIO: Adam Nathaniel Furman is based in London, and has been pursuing projects at various scales and in several disciplines since graduating from the Architectural Association in 2009. His main focus is on the issues of continuity and creative idiosyncrasy within a cultural context of rapid change and high pressure towards normalisation.
PARA Project (New York) Another pass at distortion of the cultural box but this time with the natural. [Prints, 12x16 inches] BIO: When. Probably 2005 Where. Exactly Who. Lott et al Why. For the cause
fala atelier (Porto) Frivolous attempt at the definitive courtyard house it always revolves around a substantial void. the villa is sequential, schizophrenic perhaps. all of its functions are independent and selfcentered. nevertheless, the spacial attitude matters more than the functions themselves. the wall defining the central void is both a hiding and framing device, because the villa is jealous of the landscapes that surround it, and because attraction and repulsion are closely related emotions. [Prints, 12x16 inches] BIO: fala is a naïve architecture practice based in porto, portugal. it was established in 2013 by filipe magalhães, ana luisa soares and ahmed belkhodja. its architecture relies on architecture.
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