martedì 15 ottobre 2019

venerdì 27 settembre 2019

Roma Sognata

Da / from AR-Magazine #121 
Fabio Barilari Architetti - Viale della XVII Olimpiade al Villaggio Olimpico a Roma
ROMA E LE NUOVE TENDENZE, DA SUPERSTUDIO A NEST VANDENKEN
Approccio visionario, dinamica artistica, immaginazione progettuale
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ROME AND NEW TRENDS, FROM SUPERSTUDIO TO NEST VANDENKEN
Visionary approach, artistic dynamics, design imagination
"C’è una linea immaginaria che in Italia unisce la fine degli anni ’60 al contemporaneo. (...) Non Milano, non Venezia, non Firenze, ma Roma con il suo carico di storia e contraddizioni, con la sua complessa stratificazione urbana, con le sue rovine, con le sue luci e le sue ombre che diventano l’essenza di una rinascita immaginata.
Le dimensioni percettive sono varie: l’astrazione, la surrealtà o la perdita di senso per recuperare nuovi significati, l’indagine interiore o il fare critico dell’approccio ludico, oppure la sperimentazione radicale In sostanza stiamo parlando di attitudini progettuali che costruiscono diversi modi di affrontare l’architettura, spingendo la ricerca oltre i confini del reale e del possibile, per trovare nuovi ipotetici scenari teorici di riferimento.
Da un lato c’è chi ricorre al collage per creare nuove formule-significanti; dall’altro c’è chi predilige il disegno, utilizzato in chiave storica e con gli occhi che guardano al passato; infine c’è chi elabora una dinamica progettuale radicalmente aperta al futuro. 
(...) Le nuove tendenze italiane del contemporaneo vedono però anche altri modus operandi vicini alla progettazione operativa del presente, proiettati non più verso un immaginifico passato ideale ma verso un futuro critico, con originali modalità ancorate saldamente allo studio sulla dinamica della forma, legate indissolubilmente ad altri filoni teorici radicali, internazionali, con matrici di riferimento sostanzialmente zeviane: Fabio Barilari raccoglie l’eredità operativa prefigurata da Zevi che fonda le sue origini sullo spazio e sulla dinamica quali elementi in grado di modificare l’esistente. In Barilari l’opera d’arte, con tutta la sua espressione linguistica, torna ad essere progettuale: l’indagine che porta avanti con il suo lavoro disegna non più una super-astrazione-pop, come avveniva in Superstudio, o una poetica artistica autografa che guarda all’indietro, ma ricomincia a ragionare proprio sullo spazio e sul progetto d’architettura, analizzando le dinamiche che scaturiscono dalla comprensione delle leggi naturali che governano il mondo. Fabio Barilari imposta una meccanica teorica proiettata verso il domani, approfondendo la capacità che ha il disegno – e che hanno tutte le tecniche di rappresentazione a disposizione – di prefigurare nuovi scenari operativi. Per questo i suoi lavori per la XVII Olimpiade di Roma evidenziano la capacità stessa che ha la forma di liberarsi dalle gabbie del passato, tracciando nuove traiettorie nello spazio.
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There is an imaginary line in Italy that joins the late ’60s to the contemporary time. (...) Not Milan, not Venice, not Florence, but Rome with its burden of history and contradictions, with its complex urban stratification, with its ruins, with its lights and shadows that become the essence of an imagined rebirth. 
The perceptive dimensions are manifold: abstraction, surreality or the loss of meaning to recover new meanings, inner analysis or the criticism of the play ful approach, or radical experimentation. In essence, we are talking about design attitudes that embody different ways of approaching architecture, pushing research beyond the boundaries of reality and of what is possible, to find new hypothetical theoretical scenarios of reference.
There are many ways: on the one hand, some people use collage to create new meaningful formulas; on the other hand, there are those who prefer drawing, used in a historical perspective, looking at the past; finally, there are those who develop a design dynamic that is radically open-minded towards the future.
(...) The new contemporary Italian trends, however, show other modus operandi close to the operational design of the present, no longer projected towards an imaginary ideal past but towards a critical future, with original methods firmly anchored to the study of the dynamics of the shape, indissolubly linked to other radical, international theoretical strands, largely based on Zevi’s references: Fabio Barilari takes up the operational legacy prefigured by Zevi, based on space and dynamics as elements capable of modifying the existing. In Barilari, the work of art, with all its linguistic expression, is once again a project: his study longer draws a super-abstration-pop, as happened in Superstudio, or an autograph artistic poetics that looks backwards, but begins to think about space and architectural design, analyzing the dynamics that arise from understanding the natural laws that rule the world. Fabio Barilari sets up a theoretical mechanics projected towards the future, deepening the ability of drawing ‒ and of all representation techniques available ‒ to predict new operational scenarios. For this reason, his works for the 17th Olympics in Rome highlight the very ability of shape to free itself from the cages of the past, plotting new trajectories in space.
Architetto, Direttore editoriale AR MAGAZINE, 
Direttore editoriale Architetti Roma edizioni, Consigliere Ordine degli Architetti di Roma e Provincia

Architect, Editorial Director of AR MAGAZINE and Architetti Roma edizioni,
Board member of Chamber of Architects Rome and Province 


///

La sensazione che si stia rimettendo in moto una macchina incastrata e arrugginita da decenni.
Che non vuol dire "la certezza", ma almeno la possibilità.

La convinzione che solo una lettura radicale dell'esistente, del potenziale, del progettuale, possa fornire la spinta propulsiva necessaria.
Per mettere insieme tutti i pezzi del puzzle.
Per riassaporare il gusto della sfida.


AR-Magazine #121, il secondo numero della nuova rivista dell'Ordine degli Architetti di Roma. 450 pagine... Si chiama "Magazine", ma si respira il risultato di un'impresa titanica. E non parlo solo della produzione editoriale.
Anche per questo va promossa, fatta circolare.
Occorre darle ossigeno.


Un secondo numero da collezionare, come il primo.
Marco Sambo, il suo team, Architetti Roma Edizioni, in questi mesi hanno dato vita ad una delle pubblicazioni più interessanti ed innovative in circolazione, in questo settore.


Per tutti questi motivi, sono sinceramente onorato e grato di essere stato selezionato tra i lavori presentati.


Fabio Barilari Architetti - Viale della XVII Olimpiade al Villaggio Olimpico a Roma
Un ringraziamento particolare a Marco Maria Sambo, ed alla "complessità necessaria", che applica alla lettura di ciò che sta accadendo.

Avanti così.
///
A special thanks to Marco Maria Sambo, and to the "necessary complexity", which he applies in reading what's going on.

Way to go.
Fabio Barilari Architetti - Viale della XVII Olimpiade al Villaggio Olimpico a Roma
Fabio Barilari Architetti - Viale della XVII Olimpiade al Villaggio Olimpico a Roma
/////////DRAWING ARCHITECTURE _ Multiple Exposure 
"One Step Beyond" | Project for the requalification of Viale della XVII Olimpiade _ Olympic Village, Rome 

Fabio Barilari Architetti - Viale della XVII Olimpiade al Villaggio Olimpico a Roma

martedì 20 agosto 2019

C-ROME





C-ROME è un nuovo progetto su Roma, con un focus particolare a luoghi e percorsi meno battuti ma particolarmente interessanti e da conoscere.
Offre due tipi di esperienze: visite guidate e sessioni di disegno dal vivo "Urban Sketching".
Entrambe le esperienze sono disponibili sia in Inglese che in Italiano.
In particolare, poichè ci viene chiesto spesso, le sessioni di disegno sono strutturate anche per chi non ha mai disegnato ma avrebbe piacere di cominciare.
Spargete la voce! Grazie!

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C-ROME is a new project on Rome, with a particular focus on "off the beaten track" places and walks in the city, which we believe are striking and insightful.
It offers two kinds of experiences: guided tours and "Urban Sketching" live drawing sessions.
Both experiences are available in both English and Italian.
In particular, as we are often asked, drawing sessions are also structured for those who have never drawn but would like to start.
Spread the word! Thank you!


C-ROME _ URBAN WALKS

C-ROME _ URBAN DRAWING SESSIONS

domenica 23 giugno 2019

Let It Bleed

Gimme Shelter è stata registrata nell'Aprile del 1969, 50 anni fa.


Scritta da Jagger &Richards, apre l'album Let It Bleed, pubblicato nel Dicembre dello stesso anno.
Let it Bleed fu l'ultimo album con Brian Jones, il fondatore degli Stones, morto nel Luglio del '69.
Let it Be, l'ultimo album dei Beatles, sarebbe stato pubblicato un anno dopo, nel Maggio del 1970 ma  il loro ultimo concerto, il Rooftop Concert, in cui presentano buona parte dell'album, è del 30 Gennaio del 1969.

Il 6 Dicembre del '69 si tenne invece il live organizzato dagli Stones ad Altamont, l'Altamont Speedway Free Festival, con 500.000 persone gestite da un servizio d'ordine affidato agli Hells Angels, 4 morti di cui uno accoltellato sotto il palco, un numero enorme di feriti e la band che deve andarsene su un elicottero.

Altamont chiude di fatto la stagione della Summer of Love del '67 e rappresenta l'altra faccia delle illusioni di Woodstock, il concerto evento di pochi mesi prima, nell'Agosto del 1969.





"The Hells Angels, who were paid for their vague role as a disastrous informal security force with $500 of beer, left a bloody trail all day, riding their motorbikes through the crowd to the stage and beating men and women with pool cues.
The signs were there from the beginning that this was not the peaceful hippy gathering Jagger had naively hoped for. Moments after their arrival by helicopter, a young man stepped into Jagger’s path and punched him in the face, knocking him down. ‘FUCK you, Mick Jagger,’ he screamed. ‘I hate you!’
The Stones couldn’t go on in their earlier spot because bassist Bill Wyman was shopping in San Francisco and hadn’t yet arrived. By the time Wyman turned up, and the Stones began to tune up backstage, the crowd – which had no access to food or water – were wild, stoned and rabid.

‘You better get the fuck out there before the place blows,’ an Angel told Jagger. ‘You’ve tuned up enough.’
Jagger told him they were ‘preparing’ and they would go on when they were ready.
‘I’m telling you,’ said the Angel. ‘People are going to die out there. Get out there. You’ve been told.’"
from DailyMail


Nel 2013 la rivista Rolling Stone ha classificato Gimme Shelter al primo posto tra i 100 migliori brani degli Stones.

"The Stones channeled the emotional wreckage of the late Sixties on a song that Richards wrote in 20 minutes. The intro, strummed on an electric-acoustic guitar modeled on a Chuck Berry favorite, conjures an unparalleled aura of dread. Singer Merry Clayton brings down Armageddon with a soul-wracked wail: "Rape, murder, it's just a shot away."

Merry Clayton, was the singer of the impressive backup vocals.

Merry Clayton - Gimme Shalter, naked voice 

"Clayton had made her name through duets and backing vocals for Ray Charles, Burt Bacharach and Elvis Presley, among many others.
She was about to go to bed when she got the producer Nitzsche’s call: “It was almost midnight. I was pregnant at the time and I thought, there’s no way in the world I’m getting out of bed to go down to some studio in the middle of the night.” But her husband, jazz saxophonist Curtis Amy, talked her into it."
from Classic Rock

“Clayton sang with such emotional force that her voice cracked. Her contributions make this an uncannily haunting song, a warning from some ancient tragic chorus, a frenzied Sibylline prophecy
“I said to myself, I’m gonna do another one… blow them out of this room.” 
Unspoken in her remembrance is what the effort may have cost her. Despite giving what would become the most famous performance of her career, it turned out to be a tragic night for Clayton. Shortly after leaving the studio, she lost her baby in a miscarriage. For many years Clayton found the song too painful to hear, let alone sing.”
from OpenCulture

"If “Gimme Shelter” remains a culturally relevant song—if it atomizes some essential quality of its political moment; if it communicates an emotional reality by circumventing the listener’s analytical mind and going straight for the limbic system—then it is able to do so largely through the tension between those two voices: between the white man who wanted to perform his version of America, and the black woman who lived its reality."



"That's a kind of end-of-the-world song, really. It's apocalypse; the whole record's like that," Jagger told Rolling Stone in 1995, describing "Gimme Shelter." Like nothing else in rock & roll, the song embodies the physical experience of living through a tumultuous historical moment. It's the Stones' perfect storm: the ultimate Sixties eulogy and rock's greatest bad-trip anthem, with the gathering power of soul music and a chaotic drive to beat any punk rock. The song was born during a pounding English rainstorm. "It was just a terrible fucking day," Richards recalled. He was killing time in the apartment of English art-scene guru Robert Fraser while girlfriend Anita Pallenberg was on set making Performance, a film in which she beds down with Jagger. With chords ghosted by a droning E-note, the music radiated dread – clearly inspired by a mix of Jimmy Reed's trance-inducing blues, Richards' own romantic anxiety, and ­heroin, which he'd just begun using. It took him about 20 minutes or so to get down the basics, which were fleshed out over several sessions in London and Los Angeles during 1969.

The finished version is something entirely new for the Stones, with a slithering Watts-Wyman groove and full gospel-style backing vocals; New Orleans-born Merry Clayton was asked to sing on the track because the band's first choice, Bonnie Bramlett, was unavailable.
"Rape, murder! It's just a shot away!" like the end times were nigh. When the band played the song at Altamont, minutes before concertgoer Meredith Hunter was stabbed, the lines seemed like grim prophecy. Richards later said that his guitar fell apart during the recording, "as if by design."
from Rolling Stone - 100 Greatest Rolling Stons Songs


Altamont - Photo by Bill Owens

You get lucky sometimes,” Keith Richards says of Gimme Shelter, the greatest song he ever wrote. "It was a shitty day. I had nothing better to do."

venerdì 21 giugno 2019

World Refugee Day 2019





I am particularly pleased with this collaboration developed with UNIMED - Mediterranean Universities Union on this theme, on which I have been working for a long time time, on several fronts.
The illustration was presented today, for the World Refugee Day 2019.
I do hope we can go on like this and obtain the results needed.
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Mi fa particolarmente piacere questa collaborazione sviluppata con con UNIMED - Mediterranean Universities Union su questo tema, sul quale sto lavorando da tempo, su più fronti.
L'illustrazione è stata presentata oggi in occasione del World Refugee Day.
Spero davvero che il lavoro possa proseguire così e portare i risultati necessari.

Thanks to Helen Pope, Danny, Katembo & Kambale

#WorldRefugeeDay2019

mercoledì 12 giugno 2019

Sea Variations #5

I must go down to the seas again, to the lonely sea and the sky,
And all I ask is a tall ship and a star to steer her by;
And the wheel’s kick and the wind’s song and the white sail’s shaking,
And a grey mist on the sea’s face, and a grey dawn breaking.

I must go down to the seas again, for the call of the running tide
Is a wild call and a clear call that may not be denied; 
And all I ask is a windy day with the white clouds flying,
And the flung spray and the blown spume, and the sea-gulls crying.

I must go down to the seas again, to the vagrant gypsy life,
To the gull’s way and the whale’s way where the wind’s like a whetted knife;
And all I ask is a merry yarn from a laughing fellow-rover,
And quiet sleep and a sweet dream when the long trick’s over.

_ 'Sea Fever', John Masefield

Sea Variations #5 _ © Fabio Barilari


lunedì 10 giugno 2019

Wanted in Rome

Very pleased to be published again on Wanted in Rome magazine front cover _ June 2019.
'Ghetto, Ex-Drogheria' _ 2013


giovedì 6 giugno 2019

D-Day _ Robert Capa

D-Day, oggi, 75 anni fa. 
Robert Capa, era uno dei 4 fotografi che ebbero il permesso di partecipare allo sbarco con le truppe.
Aveva 3 macchinette fotografiche: doveva fotografare, non sparare. 
Durante lo sbarco scatta 4 rullini da 36 pose. Poi le manda al suo giornale, Life. 
In fase di sviluppo si rendono conto che 3 su 4 rullini non hanno fotogrammi leggibili. 
Forse sbagliano lo sviluppo. Fatto sta che si salvano solo 11 immagini.
Life le pubblica 13 giorni dopo, praticamente scusandosi, con la didascalia “Per la grande agitazione del momento, Capa, ha mosso la sua fotocamera e le foto sono venute sfocate
Le chiamano le Magnificent Eleven. 
Tra le immagini c'è "The face in the surf", l’unica foto in cui un soldato era stato ripreso in primo piano: per scattare questa foto Capa doveva avere la linea del fronte alle spalle. 
Sbarcarono all’alba e appena ci fu luce sufficiente cominciò a scattare con la sua Contax.






Robert Capa

giovedì 23 maggio 2019

Brass Against the Machine

BRASS AGAINST


EXCEPTIONAL MUSIC WITH A POLITICAL EDGE

In this politically challenging era, it’s time to stand up against the machine. Brass Against is a collective of artists, led and curated by Brad Hammonds, who share in the goal of creating brass protest music that calls fans to action. We want the music we perform to sound inspiring and resonate with people’s emotions, encouraging them to act. We combine rock and edgy hip-hop to play music that's powerful and empowering. Brass Against is exceptional music with a political edge.


"Rage Against the Machine (70pct of the set we cover) is an obvious choice for me – their music is as salient now as it was in ’92 – they were so ahead of their time. Doing it as a brass band just feels good – the sound is so big (there are nine of us). I spend a lot of time thinking about the tunes and bands we cover – Rage, Living Colour, Jane’s Addiction, Audioslave. A few bands we want to do in the future are Run the Jewels, Tool, and Fishbone."
- Brad Hammonds, guitarrist and founder



Photos by Rick Slagter

mercoledì 1 maggio 2019

TIME OFF _ Exhibition



TIME OFF | Fabio Barilari 

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Inaugurazione Mostra 17 Maggio
Vitala Festival, Teatro San Genesio 17.30/20.00  -  Via Podgora 1, Roma

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"Il prossimo Venerdì 17 Maggio 2019, presso il Teatro San Genesio di Roma, nell’ambito degli eventi organizzati dal Vitala Festival curato da Fabiana De Rose, a favore della musica e dell’arte, verrà inaugurata la nuova mostra personale di pittura di Fabio Barilari, Time Off.


In questa ottava mostra personale a Roma, Barilari presenta numerosi lavori nuovi che proseguono e sviluppano ulteriormente il suo interesse per il racconto di luoghi ed atmosfere, alternando differenti tecniche di disegno e narrazione. In particolare per questa esposizione, la sua attenzione è dedicata agli spazi emozionali, mentali e fisici del tempo libero – del Time Off.

Istanti che raccolgono e raccontano sensazioni e luoghi: "Time Off" è il tempo del disegno e della pittura.

"Drawing is still basically the same as it has been since prehistoric times. It brings together man and the world. It lives through magic" _ Keith Haring

La produzione di Barilari alterna da sempre forme libere e astratte a immagini di paesaggi principalmente urbani, ma anche una ricca produzione di illustrazioni e ritratti. Sono istantanee impressioni di vita reale e di luoghi che cercano di mostrare la loro anima intangibile, la memoria che custodiscono, il loro senso."


sabato 6 aprile 2019

The Shed (and the others)

Ieri lo studio Diller Scofidio + Renfro, a NY, ha inaugurato The Shed.

The Shed - DS+R Architects

Qualche anno fa, Industriarchitettura mi propose di pubblicare un articolo che avevo precedentemente postato qui, in Inglese, su Andy Warhol: "Una breve, intensa storia dell'arte".

Avevo tentato di ricucire una serie di passaggi che andavano dagli inizi degli anni 60 a oggi, in maniera totalmente trasversale a tutte le discipline artistiche e culturali di New York, fino alla trasformazione fisica, in atto in questi anni, nella città più rappresentativa del XX secolo e l'articolo si concludeva menzionando il libro di Laurie Anderson e Aaron Betsky sulle "Aberrant Architectures" di Diller e Scofidio.

DS+R Architects

DS+R Architects

In sostanza, mi interessava provare a mostrare come ci fosse una linea continua di evoluzione che trovò nella Factory un'incubatrice perfetta, partendo dalle sperimentazioni musicali di Lou Reed e John Cale, passando per il vandalismo dei graffiti di Basquiat e gli arresti di Keith Haring nella metro, per arrivare alle sperimentazioni sulla città di DS+R.
Senza soluzione di continuità.


DS+R Architects

DS+R Architects

Un articolo ottimo sullo sviluppo urbano di tutta l'area di Hudson Yard a Manhattan, critico ma molto interessante e graficamente eccezionale, è questo pubblicato pochi giorni fa sul NY Times:
Is This the Neighborhood New York Deserves?

DS+R Architects

DS+R Architects

The Shed's construction was initially opposed by local community leadership. Board members on Manhattan Community Board 4 stated that the Shed "could lack class", that the word "culture" is too vague for the name of such an exhibition space, and that problems could arise when a 20,000 square feet (1,900 m2) space is closed off twice a year for two weeks (adding up to a month annually) for New York Fashion Week Community board members also state that when the retractable roof is closed, 20,000 square feet (1,900 m2) of open public space would be lost. Additionally, some expressed concerns that the large value of the Capital Grant allocation—US$50 million—was too much money to award to a building that did not yet exist.(2)

Naturalmente, per motivi sempre diversi, furono altrettanto criticati gli album su droga e prostituzione dei Velvet Underground o i graffiti su muri e metropolitane di SAMO o Hering.


Ieri Elisabeth Diller e Ricardo Scofidio, a NY, hanno inaugurato The Shed e secondo me, se si vuole comprendere cosa significa applicare la ricerca all'urban design, l'architettura, l'arte e, più in generale, allo sviluppo culturale, vale la pena di vedere questo video.


In fall 2016, the Shed also started a citywide dance program about social justice issues. It also partnered with the MIT Media Lab to assist artists who were creating works involving virtual reality and artificial intelligence (3)
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On that day, April 5, the Shed is set to join a rare lineage of new institutions that offer wide-ranging, interdisciplinary programming on a large scale, like Lincoln Center in the 1960s, or the Museum of Modern Art in the late ’20s. (from TheNew York Times)
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Tra i primi eventi in programma: 
BJORK'S CORNUCOPIAMAY 6 – JUNE 1, 2019 _ Sold out

Björk’s most elaborate staged concert to date
A World Premiere Shed Commission

In a first for the innovative multidisciplinary artist, Björk and a team of digital and theatrical collaborators, including award-winning filmmaker, screenwriter, and director Lucrecia Martel, will present a new staged concert of live musical arrangements, digital technology, and stunning visuals. A chorus and cast of musicians will join Björk for this eight-concert engagement in The Shed’s iconic space, The McCourt.

sabato 2 marzo 2019

30 Nodi @ Saatchi Gallery _ London

"30 Nodi" _ © Fabio Barilari
Great news. 
"30 Nodi" has been selected by Saatchi Gallery in London, to be shown on Saatchi Screen.
Should you be in London, it will start from tomorrow.
---
Ottime notizie.
"30 Nodi" è stato selezionato da Saatchi Gallery a Londra, per essere esibito in Saatchi Screen.
Se siete a Londra, l'evento comincerà domani.


martedì 26 febbraio 2019

Sounds from Nowhere

Non so chi siano nè da dove vengano.
Credo dal Madagascar.
Trovati in rete, ma non sono riuscito a trovare altre informazioni.
E' talento allo stato puro.
Bravissimi





lunedì 28 gennaio 2019

Nouvel Louvre

A great building must begin with the unmeasurable, must go through measurable means when it is being designed and in the end must be unmeasurable
- Louis Kahn



Louvre Abu Dhabi - Architect: Jean Nouvel 

THE MUSEUM AND THE SEA

All climates like exceptions. Warmer when it is cold. Cooler in the tropics. People do not resist thermal shock well. Nor do works of art. Such elementary observations have influenced the Louvre Abu Dhabi. It wishes to create a welcoming world serenely combining light and shadow, reflection and calm. It wishes to belong to a country, to its history, to its geography without becoming a flat translation, the pleonasm that results in boredom and convention. It also aims at emphasizing the fascination generated by rare encounters.

It is rather unusual to find a built archipelago in the sea. It is even more uncommon to see that it is protected by a parasol creating a rain of light.

The possibility of accessing the museum by boat or finding a pontoon to reach it by foot from the shore is equally extraordinary, before being welcomed like a much-awaited visitor willing to see unique collections, linger in tempting bookstores, or taste local teas, coffees and delicacies.

It is both a calm and complex place. A contrast amongst a series of museums that cultivate their differences and their authenticities.

It is a project founded on a major symbol of Arab architecture: the dome. But here, with its evident shift from tradition, the dome is a modern proposal.

A double dome 180 meters in diameter, offering horizontal, perfectly radiating geometry, a randomly perforated woven material, providing shade punctuated by bursts of sun. The dome gleams in the Abu Dhabi sunshine. At night, this protected landscape is an oasis of light under a starry dome.

The Louvre Abu Dhabi becomes the final destination of an urban promenade, a garden on the coast, a cool haven, a shelter of light during the day and evening, its aesthetic consistent with its role as a sanctuary for the most precious works of art.


Jean Nouvel



Louvre Abu Dhabi

Louvre Abu Dhabi

©_TDIC._Architect_Ateliers_Jean_Nouvel._Photography_Sarah_Al_Agroobi





All material in nature, 
the mountains and the streams and the air and we, 
are made of Light which has been spent, 
and this crumpled mass called material casts a shadow, 
and the shadow belongs to Light.
- Louis Kahn

martedì 22 gennaio 2019

Human Equation

Architecture is a small piece of this human equation, but for those of us who practice it, we believe in its potential to make a difference, to enlighten and to enrich the human experience, to penetrate the barriers of misunderstanding and provide a beautiful context for life's drama.
- Frank O. Gehry

Documentation Center Nazi Party Rally Grounds - Nuremberg 1998-2001 _ Arch. Gunther Domenig - © Fabio Barilari

Gehry Residence - Santa Monica 1978 _ Arch. Frank O. Gehry - © Fabio Barilari

Glass Chapel - Mason's Bend 2000 _ Rural Studio _ Arch. Samuel Mockbee - © Fabio Barilari

Holocaust Memorial - Berlin 1997-2005 _ Arch. Peter Eisenman - © Fabio Barilari

Jewish Museum - Berlin 1989-2001 _ Arch. Daniel Libeskind - © Fabio Barilari

MAXXI Museum - Roma 1998-2010 _ Zaha Hadid Architects - © Fabio Barilari

Mercado de Santa Caterina - Barcelona 1997-2005 _ EMBT Arch. Enric Miralles - © Fabio Barilari

Rehak Kouse - Los Angeles 1990 _ Coop Himmelb(l)au Architects _ © Fabio Barilari

Illustrazioni per l'articolo "Attitudine Critica" pubblicato su AR MAGAZINE n°120 "Attualità Critica di Bruno Zevi. Linguaggi del contemporaneo" - Dic 2018
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Illustrations for the article "Critical Aptitude" published on AR MAGAZINE n°120 "Critical Relevance of Bruno Zevi. Languages of Contemporary Architecture.