The small book collects the results of the design workshop of the same name, which was realised in the context of the 2021 edition of the W.A.Ve. - Workshop Architecture Venice. The design exercise is based on the study of a staging for an exhibition of Aivazovsky's paintings in the abandoned 17th century Church, to reconstruct, through a dialogue between the pictorial evocations of water landscapes and the presence of the Armenian culture in Venice, an imaginary archipelago of islands that is at the same time linked to the reality of the places. The design approach is based on the value of the void and of the construction detail as a spatial fact, on the joint that, as a part for the whole, presides over the development of the exhibition framework that measures the relationship between the paintings and the Church. The variants identify a timber reticular spatial device, which distancing itself from the building's internal envelope, establishing a dialogue with it through the waterscapes. And so it is that Aivazovsky's landscapes and the succession of the interior façades of the Church, all together express the dimension of the Sacred and the enigma of Venice through the life of forms, which always springs from the poetic dialogue between artistic practices.
Arcipelago Dorsoduro. L'Onda Dipinta.
Guido Mario Morpurgo
2025-01-01
Abstract
The small book collects the results of the design workshop of the same name, which was realised in the context of the 2021 edition of the W.A.Ve. - Workshop Architecture Venice. The design exercise is based on the study of a staging for an exhibition of Aivazovsky's paintings in the abandoned 17th century Church, to reconstruct, through a dialogue between the pictorial evocations of water landscapes and the presence of the Armenian culture in Venice, an imaginary archipelago of islands that is at the same time linked to the reality of the places. The design approach is based on the value of the void and of the construction detail as a spatial fact, on the joint that, as a part for the whole, presides over the development of the exhibition framework that measures the relationship between the paintings and the Church. The variants identify a timber reticular spatial device, which distancing itself from the building's internal envelope, establishing a dialogue with it through the waterscapes. And so it is that Aivazovsky's landscapes and the succession of the interior façades of the Church, all together express the dimension of the Sacred and the enigma of Venice through the life of forms, which always springs from the poetic dialogue between artistic practices.
I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
