After/Umbracula / Attilio Stocchi
The 1960 stone versions of Savi ? Costante Uomo (Sages ? Constant Man) return to the place where Fausto Melotti evoked them for the first time in 1936.
Courtesy of Studio di Architettura Attilio Stocchi
Architects: Attilio Stocchi
Location: Milan, Italy
Area: 60.0 sqm
Project Year: 2016
Photographs: Courtesy of Studio di Architettura Attilio Stocchi
Curated : Antonella Ranaldi and Fulvio Irace
Tower Unit: Italo Lupi, Rosa Casamento, Laura Crespi, Mirco Facchinelli, Evelino Facchinetti, Giulia Maculan, Davide Marcon, Enrico Prato, Ylenia Rose Testore, Annalisa Ubaldi
Courtesy of Studio di Architettura Attilio Stocchi
The 1960 stone versions of Savi ? Costante Uomo (Sages ? Constant Man) return to the place where Fausto Melotti evoked them for the first time in 1936.
Courtesy of Studio di Architettura Attilio Stocchi
Sheltered by a pavilion inspired by Leonardo?s coloured shadows in the interweaving branches of the Sala delle Asse in the castle, they call upon us to witness a silent dispute about the ?after?: about the contemporary that measures up to what already exists.
Plan
A dispute, in the form of images, on the patterns of transformation intra, super, sub, and apud to verify Klee?s theory: when bodies touch each other, a certain thirst for adventure a...
Courtesy of Studio di Architettura Attilio Stocchi
Architects: Attilio Stocchi
Location: Milan, Italy
Area: 60.0 sqm
Project Year: 2016
Photographs: Courtesy of Studio di Architettura Attilio Stocchi
Curated : Antonella Ranaldi and Fulvio Irace
Tower Unit: Italo Lupi, Rosa Casamento, Laura Crespi, Mirco Facchinelli, Evelino Facchinetti, Giulia Maculan, Davide Marcon, Enrico Prato, Ylenia Rose Testore, Annalisa Ubaldi
Courtesy of Studio di Architettura Attilio Stocchi
The 1960 stone versions of Savi ? Costante Uomo (Sages ? Constant Man) return to the place where Fausto Melotti evoked them for the first time in 1936.
Courtesy of Studio di Architettura Attilio Stocchi
Sheltered by a pavilion inspired by Leonardo?s coloured shadows in the interweaving branches of the Sala delle Asse in the castle, they call upon us to witness a silent dispute about the ?after?: about the contemporary that measures up to what already exists.
Plan
A dispute, in the form of images, on the patterns of transformation intra, super, sub, and apud to verify Klee?s theory: when bodies touch each other, a certain thirst for adventure a...
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