OR was developed as an installation for the Milan International Furniture Fair 2008, a vortex-shaped surface which reacts to sunlight. The polygonal segments of the surface react to ultra-violet light, mapping the position and intensity of solar rays. When in the shade, the segments of OR are translucent white. However, when hit by sunlight they become coloured, flooding the space below with different hues of light. At night, OR transforms into an enormous ‘chandelier’, disseminating light into the surrounding courtyard, an atmospheric space for events and gatherings.
Anisotropia is the physical manifestation of a composition for piano, Klavierstück I by Christoph Klemmt. The piano piece uses a twelve tone row which is repeated and altered by the different voices, in order to create complex rhythmic patterns. The installation is based on a simple strip morphology instead of a twelve tone row, which creates the structure, openings and rhythm within itself, its repetition happening in space instead of time. Layers of the strips form the wall system, and the shifting and alteration of these patterns results in the formation of complex architectural rhythms which are used to control the light, view and shading properties of the structure.
OR2 is the further development of OR, a single surface roof structure which reacts to sunlight. When in the shade, the segments of OR2 are translucent white. However when hit by sunlight they become coloured, flooding the space below with different hues of light. During the day OR2 becomes a shading device passively controlling the space below it.
OR2 was constructed for the London Architecture Festival in front of the Italian Cultural Institute.
10m3 Of Break is an urban installation sponsored by Wired Magazine. It helps
us acknowledge the value of space in the city and the growing necessity for green cars. A field of green ‘grass leaves’ takes hold of the urban space, offering 10 cubic meters of relaxation for the people passing by. Interaction with this grass field and the possibility of immersion within it allows us to escape from the traffic and the chaos of the city. The silhouette demonstrates the volume occupied by every car. The substitution of that volume with green suggests a progressive re-appropriation of the natural territory. At night the silhouette becomes a fluorescent veil, the memory of a shape emptied of its content.