SIMPLE HOUSING | THE SEA
Simple Housing born as a personal project, almost therapeutic, I mean. Always fascinated by the undefined, I love incomplete architectures, those waiting to be finished by the human experience and / or by the action of time. I needed to work, as I do in the profession of designer, with few elements (light, volume, shadow) but having an approach as possible as gestual, pictorial. I had in mind to create scenarios devoid of any superficial element, pervaded by a merely apparent calm, because simple housing consists of evolving scenes, as if anything could happen at any moment. when I work on it, I use a method in reverse: I start with a complete image, where they consumed actions and, by subtraction, I carried the narration to the point of the story that interests me, "to the moment before that," as soon as I found this time I begin to define, in an increasingly minimal way, the scene with my only 3 elements. Introducing figures does not interest me because it would mean include people who "are doing things" and then I should tell the end of the story, not the "moment before"; on the contrary I am interested to let glimpse their potential actions as companions of the actions that the time (the passage of time) take on the landscape and the architecture. In my point of view be "proud" of simple housing implies participation by the viewer to complete the story in his own way. I would love one day to see these scenarios completed by other people, see a final written by others starting from this ground. At the beginning the project was made up of a dozen of drawings, then, thanks to the interest of an American art director, who asked me to develop with this language an advertising campaign, I worked up to collect about 150 images, which I think are likely to increase, since I constantly work on Simple Housing.
Simple Housing born as a personal project, almost therapeutic, I mean. Always fascinated by the undefined, I love incomplete architectures, those waiting to be finished by the human experience and / or by the action of time. I needed to work, as I do in the profession of designer, with few elements (light, volume, shadow) but having an approach as possible as gestual, pictorial. I had in mind to create scenarios devoid of any superficial element, pervaded by a merely apparent calm, because simple housing consists of evolving scenes, as if anything could happen at any moment. when I work on it, I use a method in reverse: I start with a complete image, where they consumed actions and, by subtraction, I carried the narration to the point of the story that interests me, "to the moment before that," as soon as I found this time I begin to define, in an increasingly minimal way, the scene with my only 3 elements. Introducing figures does not interest me because it would mean include people who "are doing things" and then I should tell the end of the story, not the "moment before"; on the contrary I am interested to let glimpse their potential actions as companions of the actions that the time (the passage of time) take on the landscape and the architecture. In my point of view be "proud" of simple housing implies participation by the viewer to complete the story in his own way. I would love one day to see these scenarios completed by other people, see a final written by others starting from this ground. At the beginning the project was made up of a dozen of drawings, then, thanks to the interest of an American art director, who asked me to develop with this language an advertising campaign, I worked up to collect about 150 images, which I think are likely to increase, since I constantly work on Simple Housing.
QUARTZ & SERENITY
BEYOND THE SEA
FIRST AID PROMENADE
TWO SQUARE METERS SEAVIEW
YOU LOOK DIFFERENT EVERYTIME
THE SEA AT SIX O'CLOCK
