Conferenza di Cecil Balmond a Firenze il 7 Aprile 2010
Indagare sull’origine delle cose e la ricerca nel fare architettonico è quanto perseguito da Cecil Balmond, nato in Sri Lanka nel 1943 da madre pianista e padre tecnico scientifico.
Nella conferenza fiorentina ha bene illustrato il suo interesse che risiede nella genesi della forma, dai numeri al ritmo, dove musica e matematica sono le fonti vitali di una personale logica matematico-compositiva applicata elaboration of his buildings. The concept of informal Balmond, in view of possible changes in the structure as a field of bold experimentation, is the basis of its extraordinary companies with the seal of the Ove Arup & Partners, who have seen him collaborate with great architects like Rem Koolhaas, Daniel Libeskind, Alvaro Siza Viera and Toyo Ito.
In every action always clearly stated his architectural principle often making reference to a "new humanism" that can recognize the power of nature and pattern of the multilayered, inherent in our consciousness by the mere aggregation of molecular structures, within a spiral space the landscape of nature is done in the planning process that starts from the origin of the forms.
is from this parallèle with modern humanism that we perceive the characters of the Renaissance person: eclectic decline in creative art, science and philosophy, he is an engineer, mathematician, poet, musician, designer and writer, just like the great artists of the '500. From the classical world has certainly made her the link between nature and aesthetics, and internalize in an absolute sense, in its way to engineer, direct perception of complex structures that must be prepared to undertake, well aware that the source architecture to be found in mimesis or imitation of natural models.
Vitruvius Indeed, it is the first to theorize, as early as the preface of Book I of De Architectura on the origin of the factories.
A survey that relates to the morphology of the most basic things, the simple proportional systems, structural solutions to the most naive defining the language of res edificatoria that thanks to human nature, or by the creation of comparing different solutions to improve them, comes in a short time to build sophisticated forms. has thus been able to move the model from the famous Vitruvian hut stone of the temple, to the buildings closest to us, where does that even those Balmond.
And it is still thinking back to Vitruvius, which is another immediate reflection on this theme of a widely noted by Cecil Balmond, the issue of representation of the building. Performance today relies heavily on three-dimensional modeling through the automated design Cad
But to reach these levels of development, architectural design has come a developmental process that is to be found precisely in 'Italian humanism, when the project enters the third dimension architettonico collocando così l’edificio nello spazio.La pratica diffusa dagli artisti sin dal ‘400, con Masaccio e Piero della Francesca, che definisce, quest’ultimo, “ vera scientia ” la prospettiva centrale brunelleschiana, permette di controllare la raffigurazione dello spazio condizionata dalle leggi della percezione ottica. Frutto di un lungo processo di ricerca, generato dall’esigenza di acquisire, secondo regole matematiche, la composizione degli elementi nello spazio, facendone risaltare comunicazione scenica e coinvolgimento emotivo.
Dunque, composizione degli elementi, percezione ottica e comunicazione visiva sono nel Balmond of architectural thought, inserting himself in the controversy going on for centuries, in an open dialogue with the past, which advances the thought itself and is, therefore, express new concrete structures in its ongoing dynamism, inspired by nature and translated wisely in vector geometry.
architecture that uses knowledge of biological, genetic and their laws, and so an algorithm becomes almost endless possibilities for informal space: the repetition of lines is hard or soft sequence, rhythm and proportion, natural movement made a mathematical multiplication and overlap as the algorithm nature of the Fibonacci series, investigating the processes in its founding genetic codes. The reference to the issues of the Pisan mathematician who theorized that there is a relationship in its sequence to which each next term is equal to the sum of the two immediately preceding and the ratio of successive terms approaches very quickly to that of the golden section that found in nature in the perfection of the spirals of nautilus shells.
Balmond himself in his lecture refers to Fibonacci as a precursor and a master from which it draws for its fundamental concept that runs through the history and the arts as a geometrical ratio, based on a specific report, recognized as aesthetically pleasing and akin to the human perception with a natural preference for the proportions in accordance with the golden section. The renewed interest in the Golden Number in the Renaissance is reflected in the Treaty divine proportion De Luca Pacioli, 1509, accompanied by drawings of the Platonic solids of Leonardo da Vinci, for the study of the golden section and its evolution, since it is the first true compendium in this regard after the texts and the Pythagoreans "Elements" of Euclid. Balmond What can be interpreted in a dynamic approach to architecture, which uses a complex and thorough knowledge with historical references, mathematical and engineering, which may represent an ancient architectural model and a new computerized design system through the application.
Balmond recognizes that the universe has a common matrix architecture which, although defined and redefined in the long run keeps the constants that can be interpreted with new interpretations. The structural engineering becomes the protagonist not only defining the aesthetic forms and spaces but suggestions that come into contact with sensory perception in a play of solids and voids, light and shadow that stimulates human nature. An ancient wisdom that the history of architecture, ma nello stesso tempo ricerca nuove ispirazioni nell’ottimizzazione in metodi sperimentali attraverso l’utilizzo di algoritmi avvalendosi dei suoi principi fondanti: finitezza, effettività, realizzabilità e non ambiguità.
Solo apparentemente tutto ciò può sembrare complicato, ma in realtà appartiene all’uso quotidiano come una ricetta di cucina, una poesia o un brano musicale nella sua naturale ed artificiosa complessità ampliando gli orizzonti della ragione e della bellezza. È così che nessuna configurazione diviene casuale, come le sue collaborazioni del 2002 con Toyo Ito, o del 2005 con Àlvaro Siza Viera ed Eduardo Souto de Moura in the creation of the Serpentine Gallery Pavilion built in London, to continue testing and development of solutions for infinite grids soft, elastic and flexible that characterize the design showcase designed in his laboratory in London, who also coined in 2006 new unit of measurement, the AGU Advanced Geometry Unit.
Chiara Vignudini
As Architecture staff
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