In the Greek mental approach, “knowledge” coincides with “seeing”. The maximum aspiration of this ancient people finds the strongest of any future interpretation in the formal synthesis.
The design is founded on the updraft process and it is connected to the topos of the place and its stratigraphy. The Acropolis is the result of a natural aspiration: looking upwards, thinking upwards, aiming the Akros.
The project works on its cover. It focuses on the layer that is the witness of the visual-formal (aesthetic) message. Engraving, hurting, cutting, digging are not the themes of our operation.
Process: radiography of the Acropolis and, afterwards, emersion.
The “excavation” operations that have affected the circumscribed area of the sacred Temenos show – and reproject – the shadow on the inviolable crust of the Aropolis.
Project of shadows.
The projection on the ground of a plate, which is itself a border – like a river that overflows – governed by the emergence of its “noble” part. The material that characterizes the entire project surface is divided according to its gauge of nobility. The crime scene is ready. Athenian democracy awaits the protagonist of his tragedy. A closed universe of forms welcomes the arrival of new ones. The act of laying becomes an impregnation rather than an intrusion. The form must and wants to be ambiguous.
What prompted you to enter the competition?
The team. The team is everything. A theme as sensitive as that of going to intervene on the Acropolis of Athens assumes that you have the right weapons to deal with it. The conceptual approach that has always distinguished my personal approach and that of my work has been better integrated by that of the other members of the group, among which Trivellin studio (Andrea Raffaelli, Gianmarco Mattiola, Chiara Pietrini), Matteo Stasi and Flavio Terracciano .
Victory arrived naturally.
What is your take on the current state of preservation? To what extent is it ‘overtaking us’?
We no longer need to think of conservation as a dead body to be complacent. The ruins are alive, a bit ‘bruised, but beings still alive. The best thing we can do for them is to give them a gift. In this competition I hope that the people of Athens have appreciated.
What were your main references when developing the project both conceptually?
From the title they are clear. This is a project that owes a lot to the research of Piero Manzoni on the concept of “Socle du monde”. From this point of view we can say that he won the competition. It was enough only to know how to translate it.
Through which mediums and means did you develop the project?
The project could only be a pun. Its translation into forms is only the result of a request from the brief. Regarding the technical means, three “extrusion” on sketchup were enough.
To what extent was the drawing an active participant in this process?
We decided that the drawings should respect “the rules of the game”. Rules not written by the Accademia Adrianea, but that they and their president Pier Federico Caliari know well. It was like a nice gift not required. To assert the originality of the project, sometimes we need to be as predictable as possible.
What is the effect and purpose of the language of representation?
In this case it worked. To the extent that it has made everyone believe that this could be this was metatemporal and at the same time contemporary.
Andrea Raffa is carrying out a research initiated by the entire winning group on the island of Mothia, in Sicily, looking for traces to bring out in what is today a ghost island where all its history is “preserved” all in the own dust.
Chiara Pietrini, the most visionary architect of the group and the true queen of the visualizations of this competition, is grappling with the reconversion of historic houses earthquake victims in the Marche region.
Flavio Terracciano has just completed work in Amsterdam, including a single-family villa in Diepenbrockstraat with framework studio.
Matteo Stasi, “the President” for all of us, deals with innovation in the field of retail and furniture design.
As I said before, a well-matched lump.
How does your attitude towards the notion of preservation define how you approach architecture?
Throughout my life (Vincenzo Stile) I will continue my research about “Pompeiis” of the world, I was born there, among the ruins and those are my origins, to preserve it is for me how to defend my mother, and we Italians (and Southerners) we care so much for mum.