A perceptive approach

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The details shall express what the basic design idea demands in that given point of the object: union or disjunction, tension or lightness, friction, solidity, fragility.
Peter Zumthor

Through a look that Paul Klee would define “swarming” we tried to reverse to what precedes the form. With a kind of initial research we tried to reverse to the underlying design intentions. This research has been done starting from the reading of the mere perceptive, visual and tactile characters/quality of the surface of the stone; with limitation to the perspective investigation we voluntarily glossed over the other questions concerning the architectural project (technological, typological, functional…).
The quality on the visual and tactile effects produced by the surfaces of the stone is not the result of fortuitousness, it is rather the conclusion consciously reached by the wisely playing designer. The wise playing leads the relations between the elements and their characteristics. SHEETS and JOINTS are the final elements and not longer a reduction of the stone surfaces, whereas the characteristics of the materials relate to the SURFACE TREATHMENT and the polychromy of the elements.
The composition of the two prime elements sheet and joint is constituted by the parts that maintain one another the different relations. There are infinite variations on the composition of such elements and parts. Staggering the joints, the laying surface, the dimension and the polychromy of the sheets or the cutting system, varying the equilibrium or calibrating innovative and traditional designs you will obtain different surfaces, which different perceptions arise from.
In order to have a stone surface expressing the intension, the designer shall be capable of leading all those variables playing wisely in the design phase. But only through another phase – the testing of the material samples – the patient experimental action made by the designer tames the stone allowing the material to tally giving the form to the design initial idea.
As part of a sensorial perspective approach the theme of the stone surface is not apart from the question of optical illusion. With reference to the lightness of a stone parameter, clearly only through defined tools for composition and technique you can gather the illusory effects as lack of thickness and weight. Likewise illusory were considered those stone surfaces classically used in the ancient world (in certain cases until the end of the past century) which were painted for iconic, representative and symbolic motives.
With the attempt to give fundament to fascination provoked by the stone surfaces on us, 80 project declining the theme of the stones have been properly selected. Those project, diverse per solution and intention, have been then collected, described and presented within the 8 declination of the theme. With the intention of creating a perceptive dictionary, giving reason to that fascination exercised by the stone surfaces on us, 8 declinations of the stone themes have been developed, for which 80 project have been selected – projects that in a different way could decline the theme; projects heterogeneous per solution and intention.
Without claiming to fully describe such vast subject, the declinations represent only one of the multiple levels of comprehension; with their concatenation they can however formulate a sufficiently articulated
argument on the project.