In contemporary architecture, after the post-modernistic explosion and the minimalistic purism of the Third Millennium, there is a new trend of taste for clays joined with strong and peculiar plasticity. Transparencies, porosities and textures are preferred in place of traditional colouring: this ancient tradition is being used by the so-called new architects working in global scenarios and culture, who mix traditional typologies with innovative materials or, on the contrary, traditional materials with innovative shapes. Architects and builders have tested such new solutions while utilizing soft and earth-colours of pisé or including – in the walls or in concrete casting – ancient, noble and bright materials as well as debris, recycled waste, waiting for time to oxidize and veneer them. From the tradition of the Ton-Fassaden of Hanseatic cities to master-poets of postwar reconstruction – in the wake of Rudolf Schwarz, Carlo Scarpa and Dimitris Pikionis – Rauch, Zumthor, Wang Shu proceed along a line virtually stretching between the West and the East. The use of “aged” colour softened by time dust or simply resulting from earth nuances fascinate and satisfy more than harsh colours of industrial modernity. The evocative force of “bright inclusion” generates always from the possibility for translucent and flat matter to include mineral or organic fragments, as analogical or mnemothecnical device of time flow.
Andreina Milan (2012). “Luminous Inclusions”. Emotions in the matter, from post-organicism architecture to “happy degrowth”. SANTARCANGELO DI ROMAGNA (RN) : Maggioli.
“Luminous Inclusions”. Emotions in the matter, from post-organicism architecture to “happy degrowth”
MILAN, ANDREINA
2012
Abstract
In contemporary architecture, after the post-modernistic explosion and the minimalistic purism of the Third Millennium, there is a new trend of taste for clays joined with strong and peculiar plasticity. Transparencies, porosities and textures are preferred in place of traditional colouring: this ancient tradition is being used by the so-called new architects working in global scenarios and culture, who mix traditional typologies with innovative materials or, on the contrary, traditional materials with innovative shapes. Architects and builders have tested such new solutions while utilizing soft and earth-colours of pisé or including – in the walls or in concrete casting – ancient, noble and bright materials as well as debris, recycled waste, waiting for time to oxidize and veneer them. From the tradition of the Ton-Fassaden of Hanseatic cities to master-poets of postwar reconstruction – in the wake of Rudolf Schwarz, Carlo Scarpa and Dimitris Pikionis – Rauch, Zumthor, Wang Shu proceed along a line virtually stretching between the West and the East. The use of “aged” colour softened by time dust or simply resulting from earth nuances fascinate and satisfy more than harsh colours of industrial modernity. The evocative force of “bright inclusion” generates always from the possibility for translucent and flat matter to include mineral or organic fragments, as analogical or mnemothecnical device of time flow.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.