"The evolution of a project"

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It doesn't always happen, but sometimes the evolution of a project comes from a series of combinations that follow one another, intersect, overlap slipping from one art form to another in an almost natural and magical way.

querini planter

The beauty of the architect's work consists in being able to embrace as many disciplines as possible, in order to have a broader view of the landscape where to investigate and draw a valid idea that can lead to a project with its own history.

I happened to design some bookcases, panels or containers referring to some paintings by Mondrian or Braque, in turn inspired by musical compositions; futurist music, jazz and boogie woogie for Mondrian and J. S. Bach for Braque.

evolution of a projectevolution of a project

On the contrary, at other times it was the music that drew inspiration from art or architecture. An emblematic case is that of Modest Musorgskij for the composition "Pictures of an exhibition": in 1874 the musician was struck by the paintings of a retrospective exhibition of a dear architect friend of his, deciding to translate them into music in a piano suite, orchestrated in followed by Maurice Ravel.

More recently, the composer Luigi Nono has dedicated a composition to the architect Carlo Scarpa: “To Carlo Scarpa the architect and his infinite possibilities”, for micro-intervals orchestra.

On the other hand, Carlo Scarpa never hid in his architecture and in some construction details references to Mondrian and Paul Klee. An evident association with Mondrian's art can be seen, for example, in the painting "Chessboard composition with dark colours" from 1919,

Which is repeated both on the walls of the Sacello di Castelvecchio in Verona, and in the floor decoration of the entrance to the Querini Stampalia foundation in Venice and again on the floor of the altar area in the Torresino church in Padua.

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The “Querini” modular planter (designed by me for Track Design) draws its inspiration from this floor

It is a geometric design with a motif consisting of a square with an eccentric ¼ composed of four coloured modules, obtained by using polished marbles such as the “nembo rosato”, the “rosso Verona”, the verde alpi and the red limestone. The first ones, of more tenuous shades, form the "L", while the other two, tending to dark red and green, constitute the "Eccentric Square". The four rotations of these modules yield 16 units.

The planter has a compositional scheme that can be set by aggregating, both horizontally and vertically, various square panels with the pots positioned on the right or left, but always in the lower half in order to leave a free space above each container / pot, so that the plant does not find obstacles in its growth.

Giancarlo Porti

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