Mirabilia @ CasaCava
exhibition design, built, Matera, 2020
Mirabilia @ Casa Cava is a collective exhibition produced by the curatorial project ANTILIA Gallery: visionary cities translated through architecture, sculpture and design models. The contributors, from Italy and abroad, speculated with a contemporary gaze on the cities described in Calvino’s book, Invisible Cities. A seminal piece of writing that heavily influenced readers and scholars, of different disciplines, all over the world.
The cities described by Marco Polo to the emperor Kublai Khan are suspended between the real and the imagined dimension. They uncover memories, dreams, and images of a Venetian traveler.
The interpretations shown in Mirabilia elaborate on the relationship of space and written word, creating original languages to communicate the immaterial. The model is the designer’s fundamental research tool, which is the abstraction of an anticipated reality, either realistic or utopic. The show invites you to get lost through the doors and archways, catching surprises of golden fragments, and glimpses of the sky as specular reflections of water move with the breath of the wind.
Retracing the journey of Marco Polo to the court of the Great Khan, the exhibition space is ideally transformed into a chessboard made of objects and merchandise set up on a tiled floor in front of the emperor’s eyes to show every corner of the kingdom, even the most remote and unknown.
“Kublai was a keen chess player; following Marco’s movements, he observed that certain pieces implied or excluded the vicinity of other pieces and were shifted along certain lines. Ignoring the objects’ variety of form, he could grasp the system of arranging one with respect to the others on the majolica floor. He thought: ‘If each city is like a game of chess, the day when I have learned the rules, I shall finally possess my empire, even if I shall never succeed in knowing all the cities it contains.”
Each model is placed on its pawn: rook, horse, bishop, queen and king. Five pawns for fifty-five cities that put the visitor before his own empire. Each pedestal, associated with a geometric profile, is made of polystyrene, on a 30x30cm square base, shaped by a 5-axis CNC cutter.
Casa Cava, Matera
Fabiana Dicuonzo, Giuseppe Resta, John Gatip
biro+, PROFFERLO architecture
New Coming | ecodesign factory
Università degli Studi della Basilicata
Onyx Jazz Club Matera
ICoRSA | International Consortium of Research Staff Associations
M-I-R-A-G-E Design Studio
installation, Bari, 2020
A5T02F00 is a stele of unknown origin. The elongated monolith conveys an unreadable inscription that may explain what Astolfo discovered in his epic journey to the Moon, as described in Ariosto’s Orlando Furioso. From that natural satellite, Earth looks so tiny and modest.
A5T02F00 invites to reconsider the anthropocentric approach that our society has taken in the last century of economic expansion, in order to revisit human authority within the global environment. We are just spectators of this system, and the progress of the few is the decline of others.
A stele helps to understand diversity, to speak a common language made of forms and symbols, whereas lack of communication is the origin of frictions among our communities.
A5T02F00 is a monolith made of laminated steel on a triangular base. It will provide a linear light for twenty-four hours and after that A5T02F00 will become inert matter.
Project Status: Built
Main Use: Installation
Total Floor Area: 6 m²
Structure: Iron, coal
Location: Istituto salesiano Ss. Redentore, Bari, Italy
Date: February 2020
Photographers: Fabiana Dicuonzo, Nicola Cavallera
Special thanks to: Campovago
monograph on the architecture office CHVOYA (chvoya.com)
The series of designs presented in this monograph about the Saint Petersburg-based firm CHVOYA is a journey from the most domestic to the public dimension. From an artist house in the forest to the pedestrian street connecting the Nevsky Prospekt to the Palace Square in Saint Petersburg.
Introduction by Giuseppe Resta
editor of collection
© Dmitry Tsyrencshikov
© Alexey Naroditsky, Ekaterina Chernysheva
© Grigoriy Sokolinsky
© Casa Editice Libria
Project for Central Glass International Architecture Design Competition 2009
post ph: Fabiana Dicuonzo
Il Riccio – The Hedgehog
pavilion, Gioia del Colle, 2019
Il Riccio (The Hedgehog) is a pavilion where books are shared. It is built in Piazza Pinto, the central park of Gioia del Colle. Designed by PROFFERLO Architecture, the pavilion functions as an urban landmark where it provides a sheltered space to exchange books.
Il Riccio is dedicated to Michele, a book peddler who played an important role in promoting a culture of reading books within the mid-size town of Gioia Del Colle (Bari) in southern Italy. He sold second-hand books for a few Euros, entertained his customers with stories and advised them on the right choice of book. When he passed away, the local community decided to keep his cultural activity alive with a book sharing facility in the main garden of Gioia del Colle, exactly in the same place as Michele’s stall.
Project Status: Built
Main Use: Booksharing Pavilion
Total Floor Area: 6 m²
Location: Gioia del Colle, Italy
Date: October 2019
Design: Giuseppe Resta with Fabiana Dicuonzo, Fabio Cappello, Marta Marotta
Collaborators: Comune di Gioia del Colle, Emmegi Grigliati Spa, Gianfranco Verrico
Photographers: Massimiliano Cafagna, Fabiana Dicuonzo
Special Thanks To: Livio Addabbo, Lyuba Centrone, Vito Capodiferro, John Gatip
exhibition design, Ruvo di Puglia, 2019
Mutazioni is an exhibition designed and curated by PROFFERLO Architecture in the frame of the Antilia Gallery project.
Commissioned by La Capagrossa for NoveNoveNove festival, the show reopened a landmark architecture in Ruvo, the medieval tower of the castle “Melodia” that was formerly abandoned.
Displays were inspired by Jorge Oteiza’s seminal work on spatial experiments on the cube and space activated by planes. Lightening is provided by neon tubes applied directly on the rough surface of the wall.
Mutazioni exhibits a site-specific installation by Francesca Pasquali and works by Ensamble Studio, Formafantasma, Jiří Kamenskich, Erez Nevi Pana, Materia Ordinaria, Eva Gentner, Summary, UAU project, EMusic, Warehouse of Architecture and Research, Tykk.
Atlante di progetti per l’Albania. La città e il territorio nel primo Novecento
L’Atlante di progetti per l’Albania è un libro di architettura che intreccia la storia, la geografia e la politica durante l’intervento italiano in Albania. Raccoglie i progetti di undici città albanesi ricostruiti e analizzati secondo i documenti d’archivio. Lo studio si estende alla condizione contemporanea, della quale l’autore propone una metodologia di analisi della forma urbana strutturata sull’analogia dell’arcipelago.
Testi introduttivi di Nicola Braghieri e Anna Bruna Menghini.
First edition, August 2019
ph: Saverio Rociola and Francesco Delrosso (cover), Fabiana Dicuonzo (pages)
Nuovo Museo Nicolaiano
ongoing, Bari, 2019-2020
PROFFERLO architecture is renovating a portion of the building that faces San Nicola church, one of the most iconic religious spaces in southern Italy. The new permanent exhibition design, currently under construction, will unfold on two levels with pieces from the Classical to the Medieval period and vestiges connected to the saint himself.
The museum is intended as an interactive environment that will enhance the visit with multimedia contents, interfaces, music, etc.
Dealing with material and immaterial content to deliver a coherent visiting experience was the main challenge of the project.
client: Associazione Cittadella Nicolaiana
project: PROFFERLO architecture
multimedia consultants: Doconline
building company: Tancredi Restauri
scientific coordinator: Claudia Poggi
Mirabilia. Interpretations of Italo Calvino’s Invisible Cities
built, Bitonto, 2018
Italo Calvino’s Invisible Cities has been an influential text to architects, artists and designers. The enigmatic cities that Marco Polo describes to Kublai Khan are representations of Polo’s experience of Venice as well as Calvino’s projection of modern cities. The descriptions of the cities provide vivid imagery that are open to each reader’s imagination. The success of the text in forming the imagined places relies on how a reader can project their experiences onto it.
Mirabilia invited international artist, architects and designers to interpret Italo Calvino’s “Invisible Cities” into models/sculpture within a 200mm x 200mm dimension. Contributors represent their interpretation of a city from the book through physical mediums of their choosing. 55 cities are exhibited, bringing the book into physicality. The interpretations shown in Mirabilia elaborate on the relationship of space and written word, creating original languages to communicate the immaterial. The show invites you to get lost through the doors and archways, catching surprises of golden fragments, and glimpses of the sky as specular reflections of water move with the breath of the wind.
Giuseppe Resta, Fabiana Dicuonzo, John Gatip
M-I-R-A-G-E Design Studio
Michael Lynge, (dp)aSTUDIO, Jingyi Zhang, Diogo Aguiar Studio, David Umemoto, Sonelo Architects, Atelier EGR, Adam J. Fan, UNO8A + Bronzo, Conrad Willems, Gaelen Pinnock, Järfälla, Jaeger Koechlin, Douwe Meuldijk & Vincent Ringoir, Mary Duggan Architects, gosplan architects, Daniele Ragno, Jon Thomas, ErranteArchitetture, Di Hu, Lorenzo Guzzini, Johan Hermijanto, Ashley Davis, Jesslyn Humardani, Ryo Yamada, Rosmaninho+Azevedo – Arquitectos, Outpost Office, Francesco Lipari / OFL Architecture, VERS.A, Office of Adrian Phiffer, La Macchina Studio, ETB with Clara Machado, PIA, SUMMARY, Ciro Priore / Martina Russo, Norell/Rodhe, A+M2A, Warehouse of Architecture and Research, UAU project, PARTI, Bonell+Dòriga, tykk design, Sevak Asatrián, Arcipelago – Architettura Collettiva, Skälsö Arkitekter, João Carlos Alves, LINEARAMA, Jurtin Hajro – commonsense.studio, Dayne Trower + Simona Falvo, Roberto Monte, Giulia Gazza, Jordi Hidalgo Tanè, Strider Patton
Bitonto, December 2018
DAFNE. Collezionare il paesaggio
built, Sannicandro di Bari, 2018
is a research project and installation by PROFFERLO architecture, shown in the
courtyard of the Norman-Hohenstaufen Castle in Sannicandro di Bari, southern
Sannicandro has an old tradition of a festival dedicated to the olive tree, which is the most important cultural and economic landmark of the area. Starting from the stories of the families, PROFFERLO collected the nine types of olives that together assemble the continuous pattern of the landscape surrounding Sannicandro.
Dafne is a device to show the research in the form of a baldacchino, an ephemeral structure with curtains achieving a room inside an open space, that could be modulated to be visually permeable or not. On nine white towers, nine types of olives have been classified and sunk in nine plaster tiles.
The process comes from the myth of Daphne, whose run from Apollo caused the impossibility to finalize their love, then finding peace transforming Daphne in a laurel tree. So the initial kinetic moment became a static scene of sadness in which Apollo decided to take a laurel wreath from the tree to recall his love. We will never be able to possess the landscape of Sannicandro but will be content with nine wreaths. Later the organic matter will deteriorate and the samples will be pure form imprinted on tiles.
Dafne is a site-specific installation that explores the idea of time, form, and traditions.
iron structure and plastic curtain
Sannicandro di Bari, October 2018
courtyard of the Norman-Hohenstaufen castle
in collaboration with ARCI Sannicandro
SPONTANEOUS. Do-it-yourself domesticity
Roberto Serino, Ugo La Pietra, Giovanni Corbellini, Ricardo Piè, Davide Pagliarini, Ivan Kucina, Alex Attard, Konrad Buhajar, Plasticity, Malapartecafé, Fabiana Dicuonzo, Spaces Like Actions, John Gatip, Arcipelago Architettura Collettiva, Ermanno Cavaliere,
From Outer Space, Enrico Porfido, Paola Galante, Davide Trabucco, Luca Abbadati, Erica Giusta, Fabio Cappello, Giuseppe Resta
Alessia de Simone
First edition, September 2018
Librìa, Melfi (Italy)
built, Tirana, 2018
Tablinum is a modular unit developed by PROFFERLO architecture for a self-construction workshop at Polis University (Tirana, Albania) during the 2018 Tirana Architecture Week. Tablinum allows nomadic living and working, where one can be in direct contact with nature and his/her preferred landscape.
Tablinum refers to a peculiar domestic space in the Roman Domus characterized by one space supporting a multiplicity of uses, and curtains that one can use for privacy modulation. Precedents have been analyzed and re-elaborated in relation to the idea of threshold, representation, minimum space, movement and separation.
Most of the materials employed were taken from a dismantled greenhouse and the flooring is made of a composition of old architecture and urban planning models.
wood structure, five days of design and construction
Tirana, September 2018
Antilia Gallery – venue 1
exhibition design, Gioia del Colle, Italy, 2018
The renovation for the curatorial project Antilia Galley took place in a so-called sottano located at the edge of the historic centre of Gioia del Colle, in Via Filippo Pugliese. The exhibition space is intended to be a field that is deserted and contaminated by stories of conquests and legends.
The island is the most remote place where a man or a woman can surround himself or herself with nature. Sometimes hospitable, other times impervious. Origin of elusive dreams, of deeper and spiritual thoughts, the island is transformed into a dwelling place of life, death, and soul. Enchanting with sacred and profane tales, hosting new forms and functions of imaginary cities, orienting and disorienting the observer, Antilia tells about herself and reality.
Edited by Giuseppe Resta, Fabiana Dicuonzo
Contributors: CarlAlberto Amadori; Clemens Ascher; Fabio Cappello; Patrick Clelland; Francesco Cucchiara; Antonio Maria Fantetti; Jennifer Grimsley-Aloy; Thomas Jordan; malapartecafé; Luca Marianaccio; Mario Münster; Derek Shapton; Sinziana Velicescu Gianni Zanni
Texts: Lyuba Centrone; Vito Quadrato; Roberta Signorile
Cover design: Studio Mistaker
PubliCITY explores urban spaces as a hard support for informative and commercial material. How signs, posters, advertising alter the way we perceive the landscape of a speaking city? Visual noise as an inevitable horizon; the warm LEDs as a reassuring placenta.
exhibition design, Gioia del Colle, 2018
21st international music competition Pietro Argento, Teatro Rossini, Gioia del Colle
workshop by Francesco Romanelli
exhibition team: Giulia Gazza, Jingjing Feng, Milena Mele, Domenico Donvito, Filippo Linzalata, Fabio Cappello, Angelica Montenegro, Giuseppe Borreggine, Gianvito Caputo
Produced in collaboration with the visual artist Francesco Romanelli, Automaticlevelcontrol is an audio and visual installation that narrates the polyphonic territory of Gioia del Colle. The landscape of sounds merges a number of soundtracks recorded and played on a Sanyo M138, twelve urban explorations during a sunny Sunday. The exhibition is designed with a series of metal shelvings arranged in the foyer of “Rossini” theatre in Gioia del Colle.
Realizzato con l’artista Francesco Romanelli, Automaticlevelcontrol è un’installazione che racconta la polifonia del territorio di Gioia del Colle. Il paesaggio sonoro è costituito da un montaggio di tracce audio registrate e riprodotte su un Sanyo M138, dodici esplorazioni urbane di una Domenica assolata. L’allestimento è realizzato con scaffalatura metallica nel foyer del Teatro Rossini di Gioia del Colle.
competition, Taranto, 2018
Libri Esposti is a site-specific project that unfolds in the former Santa Chiara monastery, where unwanted babies were left in a wooden machine realized to let the nuns collect and take care of the little creatures.
Libri Esposti creates a landscape of forms in a courtyard that will serve as a public book-sharing space, elaborating on the idea of the unwanted books that will finally find new readers.
Antilia: forme, visioni, immagini sull’isola
Antilia: forme, visioni, immagini sull’isola
Italian, May 2018, 52 pages, printed by CreateSpace, 6 x 0.1 x 9 inches, 978-1718654174
Edited by Fabiana Dicuonzo, Giuseppe Resta
Contributors: Massimiliano Cafagna; Fabio Cappello; Ermanno Cavaliere; Tiziano De Venuto; John Gatip; Domenico Pastore; Francesco Romanelli;Loris Rossi; Matteo Signorelli; Davide Trabucco; Dorian Tytymce.
Antilia è il nome di un progetto curatoriale itinerante che trasforma, per periodi limitati di tempo, spazi domestici abbandonati. Nel primo volume, Antilia indaga il tema dell’isola attraverso undici visioni di artisti, fotografi e architetti. Ogni territorio isolato, sia esso reale o figurato, implica una soglia più o meno definita che ne disegni il dominio. Un campo nel quale valgono regole e valori che altrove perdono di significato. Ci piace immaginare che Antilia possa rappresentare tutti gli stati d’animo che si provano in una condizione assolutamente ignota, sul limite di un deserto, il vuoto, la morte, la felicità estrema. Ogni autore ha provato a rendere tangibili, ma anche aperti e sfumati, i modi di identificare e isolare un oggetto conoscibile.
built, Venice, Italy, 2018
Unfolding Pavilion 2018, Giudecca housing complex, Venezia
Il tavolo Chirigango è un oggetto domestico ispirato al lavoro dell’architetto Gino Valle, progettato per essere economico e di facile realizzazione.
Chirignago riprende i lavori sulle scuole prefabbricate degli anni ’70 realizzate nel post-terremoto in Friuli e dopo la legge del 1975 sugli edifici scolastici. Queste opere, realizzate con l’azienda Valdadige, rappresentano uno dei momenti più significativi in cui l’autore si interessa dei temi dell’ingegneria. E in generale esprimono un connubio prezioso tra le due professioni che portò all’ideazione di un sistema modulare e flessibile che potesse espandersi nel tempo, secondo le esigenze degli istituti scolastici. Il nostro tavolo è legato all’elemento più distintivo dei progetti: un porticato metallico di colore rosso che rappresenta la struttura spaziale della distribuzione alla quale si agganciano i padiglioni.
Abbiamo riprodotto i dettagli, il colore, le forme e i materiali di un modulo strutturale del portico, riducendolo alla scala del tavolo per lo spazio domestico. In caso di necessità, si potrebbero affiancare una serie di tavoli sul lato corto, ottenendo una lunga tavolata rossa.
La nostra filosofia progettuale si muove su due costanti: la modularità e il colore. La superficie del tavolo riflette il contesto domestico e quando riceve la luce diretta la diffonde nell’ambiente con una gradazione di rosso.
Il tavolo è realizzato con lamiera piegata su foglio metallico di dimensioni standard e verniciata lucida. Il prototipo è stato realizzato per l’Unfolding Pavilion 2018, Giudecca, Venezia.
Ruvo di Puglia, Italy, 2018
Team: Daniele Garofalo, Nicola Monaco, Silvia Pastore, Riccardo Tondi
Name: OBSSERVA (Opticon Ballarina Sequentia Summa Egregia Ruvese Vicina Animum)
Device to look at the urban landmarks in Ruvo di Puglia.
Dimensions: 10x10x10 cm
Material: PLA plastic
View cones: 3 truncated cones, 1 hexagonal prism, 1 periscope, 1 truncated pyramid, 1 cilinder, 1 parallelepipedon
anchoring system: hook
in collaboration with NoveNoveNove festival
built, Venice, Italy, 2018
Unfolding Pavilion 2018, Giudecca housing complex, Venezia
The Udine wallpaper is one of the two domestic objects designed for the Unfolding Pavilion 2018 to be affordable and easy to produce, inspired by Gino Valle’s work. Udine elaborates the façade of the social housing built in Udine in the framework of the so-called PEEP Est, and also known as the “diga colorata” being 180m long with one hundred units featuring red-and-green exteriors.
Our two-element project is meant to be connected, elaborating two pivotal features of Valle’s design philosophy: module and colour. The wallpaper is the ideal background for the table and vice versa.
La carta da parati Udine è uno dei due dispositivi domestici ideati per l’Unfolding Pavilion 2018. Economica e di facile realizzazione, è ispirata al lavoro di Gino Valle. Udine rielabora la facciata del complesso di edilizia popolare ed economica PEEP Est di Udine, anche conosciuto come “diga colorata” vista la dimensione lineare di 180 metri e cento unità con facciata verde e rossa alternata.
Il nostro progetto è composto da due elementi dialoganti, ed elabora due temi centrali dell’apporto teorico di Valle: il modulo e il colore. La carta da parati è lo sfondo ideale per il tavolo e vice versa.
built, Castellaneta Marina, Italy, 2016
The SCPTIPMFLIPPES (Strumento Cavo Per Traguardare Il Paesaggio Marittimo Fissando Labili Immagini Pronte Per Essere Sublimate), is a device for viewing the maritime landscape. While the coast is traditionally thought of as wild and pristine, activities and amenities from cities spread to the shoreline. The SCPTIPMFLIPPES is a tool to isolate portions of maritime landscape, removed from the (visual) ground noise. The object, developed for 3d-printing, is a pure geometric form of 140mm, black, dug inside. It has three visual cones: monocular visual cone for watching the horizon line; monocular visual cone for watching isolated elements; periscope to be used discreetly. The project aims at hiding superfluous details since contemporary natural amenities have been equipped with disturbing devices, signals, vehicles, stalls and so on.
In the first scene in 2001: A Space Odissey, “The Dawn of Man,” a tribe of hominids encounters the monolith in a rocky desert crater, where the only hues are yellow and light blue. The camera angle points from the foot of the artifact towards the sky, the upper edge of the monolith creating the illusion of a second, new horizon. The geometric cones inside the SCPTIPMFLIPPES represent the cones of the human eye, each one is a reference to an element of the maritime landscape.
The SCPTIPMFLIPPES provides a collective act of framing. The more a boundary is affirmed physically and conceptually, the more valuable it becomes. Used as a movable item to be sunk into the sand, the SCPTIPMFLIPPES identifies the value of a place before the site transforms. A probe of collective memory and an invite to include shared knowledge of landscape in future policies of urban transformation.
Ph. Domenico Pastore