Our vision

Nature

Aboriginal Creation myths tell of the legendary totemic beings who had wandered over the continent in the Dreamtime, singing out the name of everything crossed their path – birds, animals, plants, rocks, waterholes – and so singing the world into existence.
A labyrinth of invisible pathways mender all over Australia and are known to Europeans as ‘Songlines’.

B. Chatwin

To build

If today we want to build a new home, if we intend to address seriously something that is also, to some extent, durable, we realize immediately that it’s an incredibly complicated task: we ask for advice left and right, and yet we cannot find a cost-effective solution. We know and love almost everything, the very old and the very modern, what is large and what is thin, etc., but, at the end, we do not know what to choose.
Today we have many things readily available to us, but we must take from the whole only what is truly essential and important. We will always have to be very scrupulous; nothing can be our worst enemy more than superficiality. We must constantly repeat to ourselves: “if this is necessary, even if small, it must be the “essential” from every point of view.

H. Tessenow

To Dwell

Bauen originally means to dwell. The way in which humans are on the earth is buan, dwelling. Men’s relation to locales, and through locales to spaces, inheres in his dwelling. The relationship between man and space is none other than dwelling, thought essentially. The essence of building is letting dwell. Building accomplishes its essential process in the raising of locales by the joining of their spaces. Only if we are capable of dwelling, only then can we build.
How else can mortals answer this summons that by trying on their part, on their own, to bring dwelling to the fullness of its essence? This they accomplish when they build out of dwelling, and think for sake of dwelling.

M. Heidegger

The house

Let us shut our eyes to what exists.
A house: a shelter against heat, cold, rain, thieves and the inquisitive. A receptacle for light and sun. A certain number of cells appropriated to cooking, work, and personal life.
A room: a surface over which one can walk at ease, a bed on which to stretch yourself, a chair in which to rest or work, a work-table, receptacles in which each thing can be put at once in its right place.
The number of rooms: one for cooking and one for eating. One for work, one to wash yourself in and one for sleep.
Such are the standard of the dwelling.

Le Corbusier

Materials

Which is worth more, a kilogram of stone or a kilogram of gold? The question probably seems ridiculous. But only to the merchant. The artist will answer: “All materials are equally valuable as far as I am concerned.” The artist has only one ambition: to dominate the materials so that his work is independent of the value of the material it is made.
But although for the artist all materials are equally precious, not everyone is equally suited to its objectives.
Each material has a formal language that belongs to him and no material can claim for itself the forms that correspond to another material. Because the forms have been developed starting from the possibility of application and its constructive process of every single material, they have been developed with the material and through the material.

A. Loos

Space and time

All culture can be interpreted as the activity of the organization of space. In some cases it is the space of our vital relationships, and then the corresponding organization is called technique. In other cases it is the mental space of reality and the reality of his organization is called then science or philosophy. Finally, the third class of cases is located between the first two. In them the space, or rather spaces, are seen as the spaces of the technique, but at the same time, do not allow the interference of life, as spaces of science and philosophy. The organization of these spaces is called art. But space and time can not be divided: one can not say that there is the first time and then space. They always give together.

P. A. Florenskij

Inside and Outside

On this side and on that side, inside and outside, before and after. If we consider these phrases both in terms of space and time we realize that the theme of the identification of an internal than an external is a question of limits. Limits and thresholds that define so arbitrarily anyway what is on this side and what is beyond the line of demarcation, because the simultaneity of the two views (from inside to outside, from outside to inside) and the ambivalence of the point of view inevitably implies an interchangeability of the qualifying conditions of space and time. In this sense the window – the glass, the better – is the frontier between the bodies and spaces that precisely because diaphanous and penetrable to the gaze generates a tension effect of the edge between them and subtracts the entire surface of its original isotropy.

A. P., L. R.

The Objects, house intimacy

The original form of all dwelling is existence not in the house, but in the shell. The shell bears the impression of its occupant. The nineteenth century, like no other century, was addicted to dwelling. It conceived the residence as a receptacle for the person, and it encased him with all his appurtenances so deeply in the dwelling’s interior that one might be reminded of the inside of a compass case, where the instrument with all its accessories lies embedded in deep, usually violet folds of velvet.
The interior is the asylum where art takes refuge. The collector proves to be the true resident of the interior. He makes his concern the idealization of objects. To him falls the Sisyphean task of divesting things of their commodity character by taking possession of them. But he can bestow on them only connoisseur
value, rather than use value. The interior is not just the universe of the private individual; it is also his etui.
Dwelling means leaving traces, and they acquire in the interior, a particular importance.

W. Benjamin

Light

I have just spoken about the sun… Everything we see is composed by the sun and by composition I mean an order of visible things, and the slow transformation of this action which constitutes the spectacle of the day: the sun, master of shadows,
together part and moment, dazzling part and always dominant moment of the celestial sphere… Since things change, we can only partially perceive them. The hidden part is called time – always hidden in every thing.

P. Valéry

Architecture is a knowledgeable, correct, magnificent play of volumes placed under light.

Le Corbusier

Technology

Technology is far more than a method, it is a world in itself. But only where it is left to itself, there technology reveals its true nature: not only a useful means but something in itself, something that has a meaning and a powerful form. Is that still technology or is it architecture? And that may be the reason why some people are convinced that architecture will be outmoded and replaced by technology. The opposite happens. Wherever technology reaches its real fulfillment, it transcends into architecture. It is true that architecture depends on facts, but its real field of activity is in the realm of the significance.

L. Mies van der Rohe

ITALIAN DESIGN FOR INTELLIGENT LIVING.