27 settembre 2012

The Psychology of Architecture

SUBJECTIVE INVOLVEMENT IN PHYSICAL SPATIAL ENTITIES
Opening, Tuesday 9 October 2012, 6.30 pm
OREDARIA ARTI CONTEMPORANEE / via Reggio Emilia, 22-24 / 00198 Roma
+ 39 06 97601689 / info@oredaria.it / www.oredaria.it
Tuesday- Saturday 10 am-1 pm / 4 pm-7.30 pm

In
Subjective Involvement in Physical Spatial Entities, the concept of architecture is expressed in a broader, freer sense. Here it is considered as the translation of ideas into physical spatial entities. Every piece of architecture relates to our bodies, which by consequence are subject to the stimuli created by this encounter. We are free to perceive these stimuli as we wish and to translate them into personal feelings. Someone that builds a space, designs an exterior or organises an interior is able to condition our physical behaviour and feelings. Every intervention connected with buildings brings with it changes that inevitably affect us both physically and psychologically.
Emily Speed, Esther Stocker and Aeneas Wilder were asked to reflect on new interpretations of spaces, to try and think them “architecturally”.
The exhibition aims to provide a real possibility to experience the gallery spaces in a new way, a means of shaking up our sensitivity towards buildings, which is often dampened by a lack of attention to the places we find ourselves in. These works, each with their own distinct personality, give physicality to potential new building logics.
This exhibition is an opportunity to collect experiences as well as a free interpretation of the Psychology of Architecture and the concepts expressed on the subject by Heinrich Wölfflin in the late 1800’s.

EMILY SPEED’s work is based on the body – intended as a building – and its relationship to architecture, and on man’s desire to build despite the inevitability of decay. Her works make use of simple materials, very often recycled, with precarious physical structures. Façades (Flats) is the physical realisation of architectural suggestions that the artist picked up during several days spent visiting Rome and the surrounding area. The result is like a portion of city created by the translation of personal impressions.

ESTHER STOCKER develops her interest in surfaces and the mental attempt to pass through them by entering a structure. The formal appearance of the work is joined by the personal interpretation that distinguishes all the “imaginative systems” arranged by the artist. In Einfühlung the parallel lines sketch out surfaces that prevent physical passage through them. The spaces are accessed from the side and make use of the gallery’s open space. These “walls” do not however create clear separations. The observer’s gaze passes through the layers, the space is filtered. The result is like surface graphic interventions in space, visions of grids with different monochromatic densities that vary according to our physical position amongst them.

Building values such as durability and static security are subverted and questioned by AENEAS WILDER. His work is based on the assumption that it is impossible to physically preserve something forever. The works are the result of a calm and precise working method and a juxtaposition of elements. His structures do not just represent, they simply are.
The two structures created for the exhibition - Untitled # 162 and Untitled # 163 - are in a transitory dialogue with the forms that characterise the architecture of the exhibition spaces.

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