Author: Valentina Simonetta.

Year : 2013

University / Institution : Roma Tre University, Faculty of Architecture.

Nationality: Italian.

City and date of birth: Crotone 05/07/1990


Tutors: Marco Canciani


LINES (linee)

The theme treated here, doesn’t want to find a solution. It’s not an itinerary’s conclusion and it doesn’t pretend to join the truth. This is a reflection, an approach, an aim, a precondition for a research about making architecture starting from its two features : sign and perception.

Through the process of abstraction, you look an object in its own essence and the element becomes the entirety. So, looking this two images it’s difficult to find some differences: they are both an abstract annotation about line. Nothing different until we know that one is a result of a stylish’s research (Wassily Kandinsky – 1925) and the other a study about the body (William Forsythe – 1987).

Comparing Kandinsky and Forsythe

Comparing Kandinsky and Forsythe

Signs make architecture and throughout signs architecture becomes real. The building brings within the dichotomy to be fixed and dynamic in meantime, in reason of being distribution of the matter in space that drives man’s activities. The architectural trace that perfectly shows this two part division is the line. Formally Kandinsky conceive line as : “ Product of point’s movement […] distribution of its extremely rest. […] –

Far from being straight, the line get broken, curved, it suffers actions by tensions that seal lines’ properties to form surfaces. We can understand that the complex articulations of the lines broke the stasis and the communication comes by refusing stable balances.

William Forsythe observes what happens about lines when in the canonical dance positions miss the unmovable element : the pelvis. Without axes, the body tries to found new keystones, balancing each body’s part with the other precariously. Energy, unexpected potentialities drive Forsythe’s research.

A ballet sequence

A ballet sequence

Also if we talk about the rupture of canonical lines, ballet has still to be seen as a sequence of movements consequently tied. There is a system of dynamic equilibriums in ballet: each times balances convert themselves in different forms, exactly as the energy. I thought it was interesting try to catch an evolution and the passage between two different and opposites state of tension.

Tensions' lines in a ballet fragment

Tensions’ lines in a ballet fragment

In blu, equilibrium is coming : the girl goes to the right of the surface bottom with a movement that means adjustment, she slows down to join the rest. Like a tiredness. There is a contrast between the dancers and while the girl is in pause, the boy, in tension, creates a diagonal to the left that means leap, instability. In red we found the lines of the previous movement. These are less conflicting: the girl has a jump in movement but nothing brings to the extremely tension of the later position.

Living the sign , the man measures himself with the space, he recognizes it and he identify himself with the space; through it the man can feeling all the body’s bents while he discovers the distances. Distances are never the same: they can be infinites and depend from what the body choose. Choices are just a question about how to definite the space.

As well as Kandinsky’s Lines try to conquer the surface bottom, body in Forsythe’s study defeat the space. Moving in its molecules, its intervals, man discovers and defines the space; braking the space’s continuity man gives to it the dignity to be vehicle in which everything finds a place.

From opportunity to freedom, passing by ambient until being line’s extension.

How can we link this consideration to the process of making architecture? Maybe thinking to understand the space instead of build it. The action measures the space and in front of an unbuilt place, it can be interesting to image how we could move inside it.

Project Lines born from Ponte di Ferro and Gazometro's tensions

Project Lines born from Ponte di Ferro and Gazometro’s tensions

In a long lot near highways, it is needed to cross it and making reachable its distances. Urban stream’s echo finds a reflection by a repetition of same lines; these become independents reacting to always more close spaces. The answer is a tension divided between highways and movements towards the city.

This is the attitude chosen for the Study Centre, a project organized in different sections: connections band, others for community and for education. These are the product of tensions coming from presence of Gazometro and Ponte di Ferro.

Lines evolution for Project 2

Lines evolution for Project 2

In Design Studio 6th, the assigned area was surrounded by a rich urban landscape characterized by the faraway presence of Roman Castles. Curves become straight lines trying to catch this precious visual along the entire lot. The place become an observing space.

Tensions and lines composition of Project 2

Tensions and lines composition of Project 2

Therefore, some directions are visual itinerary and the project’s organization of the three corps in three different levels guarantees a dialogue with landscape.

Learning from the connection between signs and feelings can help to make architectures as an exaltation of space. This research tries to show how we can refer to different disciplines to identify the project as listening of that balances that make the man, as Purini explains, “a natural citizen”.