Didier Fiúza Faustino - "Architecture for disquiet bodies"

L'atelier di Didier Fiuza Faustino ha appena completato un edificio residenziale a Leira in Portogallo, il Martires Housing Complex. Si tratta del suo primo progetto di forte impronta architettonica e urbana. 

In realtà questo progetto si inserisce in uno dei più interessanti e personali percorsi di ricerca attivi sul panorama internazionale, che Faustino prosegue dalla fine degli anni '90: una sperimentazione radicale nell'ambito del rapporto tra corpo umano e spazio. Una ricerca a cavallo tra architettura, arte, impegno sociale, installazioni e spazi multisensoriali. 

"LAMPEDUSA" 2015, MAXXI, Roma

Didier Fiúza Faustino is a French - Portuguese artist architect, working on the relationship between body and space. At the crossroad of art and architecture, his practice is multi-faceted, ranging from installation to experimentation, from the creation of subversive visual art works to multi-sensorial spaces. His projects are characterized by their critical perspective and their ability to offer new experiences to the individual and collective body.

from BUREAU DESMÉSARCHITECTURES

Bureau des Mesarchitectures _ Martires Housing Complex, Leira 2024
Photo by Francisco Nogueira

MARTIRES HOUSING COMPLEX, 2024

"The project, which consists of seven apartments, is set within a renovated house and a new, semi-circular extension and seeks to disrupt domestic rituals to question everyday behaviours. The building makes manifest and negotiates some of the major tensions of urban housing, such as the interplay between protection or introspection and openness. It aims to reframe how bodies inhabit the city through our domestic structures. To a certain extent, its large windows and bold façade put the act of living on a stage – one performance alongside all the dramas of the city unfolding at once."

Martires Housing Complex - Photo by F. Nogueira 

Martires Housing Complex, Leira 2024 - Photo by F. Nogueira

With Mésarchitecture (2002) in Paris and his office in Lisbon (2018), he is developing projects of multiple scales: interventions in public space, mobile architectures, as well as interior designs and buildings, among which French artist Jean-Luc Moulène’s studio.

Several projects and works are part of the collection of major institutions: MoMA, Fondation Calouste Gulbenkian, Serralves Foundation, Fonds National d’Art Contemporain, Musée National d’Art Moderne / Centre Georges Pompidou, MAXXI, MAAT, FRACs Centre - Val de Loire et Grand Large - Hauts de France.

"LAMPEDUSA" - Foto Guillaume Viaud. Courtesy dell’artista, galleria Michel Rein e Galeria Filomena Soares

Il progetto "Lampedusa" [2015] appare 15 anni dopo "Corpo in transito" [2000]. È l'eco contemporaneo. Questo pezzo, una sorta di di faro o ancora di salvezza, si riferisce direttamente al dipinto La zattera della Medusa, di Théodore Géricault. È la rappresentazione di un dramma, un fermo immagine per esprimere umanità e disumanità e farci riflettere su questo momento di transito che è anche a momento di transizione, mutazione e trance. _ Didier Fiúza Faustino

from CNAP - Centre National Des Arts Plastiques

"BODY IN TRANSIT" - Photo curtesy galerie Gabrielle Maubrie, Paris

"BODY IN TRANSIT"

"THE SHOW MUST GO HOME"

ONE SQUARE METER HOUSE, 2001 - 2006

Housing prototype
By reducing living space to its smallest unit, the square metre, the “One Square Meter House” prototype promotes a critical view of land speculation. Beyond this, it subverts the notions of habitability, adaptability and evolutivity. A body-trap that takes contemporary narcissism to its most absurd, “One Square Meter House” makes public space the only possible terrain for social interaction.

Photo: David Boureau / Florian Kleinefenn

"ONE SQUARE METER HOUSE" - Photo: D. Boureau / F. Kleinefenn

"For Didier Faustino, the process of the architect, artist, or designer must preserve an engagement with political, social, and cultural issues. Since founding his Bureau des Mésarchitectures in 2002, Faustino has developed an expressive multidisciplinary practice in art and architecture that highlights the complex relationship between the body and the spaces it inhabits. By challenging the boundaries of these spaces, his work explores the precarious equilibrium between public and private space, publicity and intimacy. Faustino’s work has been shown in group and solo exhibitions and has received several prizes, including the Académie d’Architecture’s Dejean prize for lifetime achievement in 2010. He currently divides his time among architecture (in Spain, Mexico City, Portugal), art (with exhibitions in Grenoble, London, and Rome), and teaching (AA School, Diploma Unit 2); and he is also editor-in-chief of the French architecture and design magazine CREE."

from Harvard University - Graduate School of Design - "Building Intimacy"

"FIGHT CLUB _ Le stade itinerant"

"In parallel to symbolic works such as Corps en transit, Faustino also develops objects designed to concretely disturb public order. They are benches, shelters, and lampposts to be installed in streets and to foster all manner of clandestine meetings and gang gatherings. Among these structures Fight Club (2004), a boxing ring surrounded by bleachers and closed off by fences, constitutes a “real space of deregulation,” “like a closed zone of non-law where the rules are determined by its users.”As an echo to this project, in a publication presenting his work as a series of booklets, Faustino (in the first booklet) cites a book on the Red Army Fraction, RAF Guérilla urbaine en Europe occidentale, 2006, in which the authors Anne Steiner and Loic Debray themselves cite this observation by Andreas Baader: “Illegality as the ‘only liberated territory inside metropolises’."

from ESSE - "Of Sabotage in Architecture" Didier Faustino’s Anti-Projects. by Vanessa Morisset

"FIGHT CLUB _ Le stade itinerant"

"FIGHT CLUB _ Le stade itinerant"

"Dans cette vidéo, l’artiste Didier Faustino nous présente le processus d’élaboration de sa pièce «Opus Incertum», hommage à la célèbre photographie «Le saut dans le vide» (1960) d’Yves Klein. Surmontée de la phrase «You are invited to try me out» (« vous êtes invités à m’essayer »), cette sculpture participative invite à la fois le spectateur à rejouer l’histoire de l’art mais et aussi à se réapproprier l’œuvre. Architecte de formation, Didier Faustino place le corps au centre de ses projets qui mêlent architecture, art et design. Il interroge ainsi les limites du corps et de l’espace."

from CNAP - Centre National Des Arts Plastiques - Didier Faustino à propos de sa pièce Opus Incertum

"COSMOGONIE" - Hermès International - Photo by David Boureau

Bruno Munari 1944 "Seeking comfort in an uncomfortable armchair" / Bruce McLean 1971 "Plinths I" / Didier Faustino 2009 "Opus Incertum" + "Autos Satisfaction"

Yves Klein

Opus Incertum

"DOUBLE HAPPINESS"

"DOUBLE HAPPINESS"

DÉCORS ET DÉSASTRES, 2013

Scenography - Göteborg, Sweden

Client: Göteborg Opera

Stage design for the show “The world to darkness and to me” by Richard Seagal choreography 

"STARWAY TO HEAVEN"

"STARWAY TO HEAVEN"

"SOLO HOUSE", Creta

https://didierfaustino.com/

https://www.instagram.com/didier.faustino/

Temple University _ Digital Photography Course, 2024

Temple University, Digital Photography Course, 2024

Prof. Fabio Barilari

In questi anni, tra gli altri, sto insegnando fotografia digitale alla Temple University di "Philly" - Philadelphia.

Si tratta di un corso di base e una buona parte degli studenti che sceglie di seguirlo ha una conoscenza della fotografia che non va oltre i post su Instagram: i temi sono sostanzialmente quelli legati principalmente al settaggio manuale della macchina fotografica, la combinazione di sensibilità ISO, tempo di esposizione e apertura del diaframma, profondità di campo e lunghezza focale, postproduzione. Ma affrontiamo anche una serie di temi che hanno connessioni dirette con la pittura e altre espressioni di arte per le quali Roma presenta un contesto e un potenziale di analisi senza confronti: composizione colore, contrasto, luce ed ombra, trasparenze e riflessi, ritratto e gradi di astrazione.

Alla fine dei conti, si tratta sempre di processo creativo e mezzo di espressione personale, interpretati attraverso lo strumento della macchina fotografica invece del colore steso sulla tela.

Ho apprezzato particolarmente il gruppo di studenti di questa classe: nei corsi si creano delle alchimie, in alcune occasioni, che non si sa neanche bene da dove nascano, ma che si traducono sempre anche in risultati molto interessanti.

Questi nella foto sopra sono loro e quella qui sotto è una selezione dei loro bellissimi scatti:

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In recent years, among the others, I have been teaching digital photography at Temple University,  "Philly" - Philadelphia.

It is a basic course and a good part of the students who choose to follow it have a knowledge of photography that does not go beyond posts on Instagram: therefore, the topics are essentially those mainly linked to the manual setting of the camera, the combination of ISO sensitivity, shutter speed and aperture value, depth of field and focal length. We also address, however, a series of themes that also have direct connections with painting and other expressions of art for which Rome presents an unparalleled context and potential for analysis: color composition, contrast, light and shadow, transparencies and reflections, portrait and degrees of abstraction.

After all, it is always about the creative process and means of self expression, interpreted through the medium of the camera rather than color, brushes and canvas.

I particularly appreciated the group of students in this class: in the courses, on some occasions, alchemies see the light, we don't even know exactly where they originate, but they always translate into very interesting results.

These in the photo above are them, and this here below is a selection of their amazing shots: 

Photo by Nick Vieira

Photo by MeiLi Van Hise

Photo by Nick Vieira

Photo by Ami J Patel

Photo by Casey Webber

Photo by Isabel Grajeda

Photo by Lilian Caiola Cappello

Photo by Casey Webber

Photo by Holly Lahti

Photo by Holly Lahti

Photo by Isabel Grajeda

Photo by Kelly Grace Zammuto

Photo by Kelly Grace Zammuto

Photo by Kelly Grace Zammuto

Photo by Lolade Kola-Adewuyi

Photo by Lolade Kola-Adewuyi

Photo by Lolade Kola-Adewuyi

Photo by MeiLi Van Hise

Photo by MeiLi Van Hise

Photo by Nick Vieira

Photo by Alden Maxwell Slote

Photo by Aliyah McDaniel

#templeuniversityrome

Something Primordial

Charles Mingus, London, 1951. Photo © Robert Frank

"There's something primordial in the way we react to pulses without even knowing it. 

We exist on a rhythm of seventy-two beats a minute. 

The train, apart from getting them from the Delta to Detroit, became very important to blues players because of the rhythm of the machine, the rhythm of the tracks, and then when you cross onto another track, the beat moves. 

It echoes something in the human body. So then when you have machinery involved, like trains, and drones, all of that is still built in as music inside us. 

The human body will feel rhythms even when there's not one. 

Listen to "Mystery Train" by Elvis Presley. One of the great rock-and-roll tracks of all time, not a drum on it. It's just a suggestion, because the body will provide the rhythm. 

Rhythm really only has to be suggested. Doesn't have to be pronounced. 

This is where they got it wrong with "this rock" and "that rock." It's got nothing to do with rock. It's to do with roll."

From "Life", Keith Richards

Shadow Challenge

 

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