THE FIGURATIVE DIMENSION OF LANDSCAPE How landscape is represented in the contemporary project The definition of the new space concept as a demonstration of the geometries that regulate it and the definition of the physical entity of landscape are a few of the key points contained within this publication. They are directly connected to the study of the various contemporary representation techniques used for landscape. Addressing the themes related to information technology, images, the validity of the graphical representations and the problems connected to the reproducibility and multiplication of original works is carried out by comparing the projects and designs of different authors, who are then classified according to their nation, cultural relations and lines of research. In order to understand the current experiments that are being carried out, we must make reference to the painting of a landscape - one of the most important artistic creations of the 20th century - because, without it, understanding the foreign experiences based on the artistic or compositional relationships that exist between the different forming components presented within the same work group becomes too difficult. Those who are not involved with the landscape think that the complexity and beauty of the landscape - likewise for painting - are usually connected to each other by an inseparable bond. However, this is not the case. Often, it is easier to find ourselves in front of badly managed experiments. Every art is mostly symbolic and the ease with which we accept and understand such symbols as a demonstration of reality depends on our ability to understand it or whether we have been confronted with similar cases. The contemporary experiments are based on a revalidation of the artistic symbolism. The primitive symbols of medieval art defined the way the natural elements are and whose transpositions almost no longer had anything to do with their real aspect. Today, a great number of elaborations relating to the communication of a landscape project are strongly characterized by this type of approach: an image is pure symbolism; its complexity makes it impossible to read. It is always more difficult to find the strings of geometry within the construction of drawings. The medieval spirit's ability to see symbols in the spiritual reality cannot be replicated today. Three centuries of science have gone by since and we now find it hard to consider the natural elements as symbols of spiritual truth. Contemporary art has induced and stimulated research on the representation of the landscape and - especially - on the figurative dimension. This dimension led to research towards the use of different tools and combined applications full of pictorial and artistic valences; the international panorama undoubtedly creates the pace for the Italian one, as it sets the guidelines and trends. The most interesting expressions can be encountered in France and The Netherlands where the project, representation and communication perfectly blend together while respecting the "physical" characteristics of the project and the more "theoretical" ones in terms of vision and communication.
Cianci, M.G. (2002). La dimensione figurativa del paesaggio. La rappresentazione del paesaggio nel progetto contemporaneo. In Albisinni Piero (a cura di), Il disegno dell'Architettura fra tradizione e innovazione (pp. 21-94). Roma : Gangemi editore.
La dimensione figurativa del paesaggio. La rappresentazione del paesaggio nel progetto contemporaneo
CIANCI, MARIA GRAZIA
2002-01-01
Abstract
THE FIGURATIVE DIMENSION OF LANDSCAPE How landscape is represented in the contemporary project The definition of the new space concept as a demonstration of the geometries that regulate it and the definition of the physical entity of landscape are a few of the key points contained within this publication. They are directly connected to the study of the various contemporary representation techniques used for landscape. Addressing the themes related to information technology, images, the validity of the graphical representations and the problems connected to the reproducibility and multiplication of original works is carried out by comparing the projects and designs of different authors, who are then classified according to their nation, cultural relations and lines of research. In order to understand the current experiments that are being carried out, we must make reference to the painting of a landscape - one of the most important artistic creations of the 20th century - because, without it, understanding the foreign experiences based on the artistic or compositional relationships that exist between the different forming components presented within the same work group becomes too difficult. Those who are not involved with the landscape think that the complexity and beauty of the landscape - likewise for painting - are usually connected to each other by an inseparable bond. However, this is not the case. Often, it is easier to find ourselves in front of badly managed experiments. Every art is mostly symbolic and the ease with which we accept and understand such symbols as a demonstration of reality depends on our ability to understand it or whether we have been confronted with similar cases. The contemporary experiments are based on a revalidation of the artistic symbolism. The primitive symbols of medieval art defined the way the natural elements are and whose transpositions almost no longer had anything to do with their real aspect. Today, a great number of elaborations relating to the communication of a landscape project are strongly characterized by this type of approach: an image is pure symbolism; its complexity makes it impossible to read. It is always more difficult to find the strings of geometry within the construction of drawings. The medieval spirit's ability to see symbols in the spiritual reality cannot be replicated today. Three centuries of science have gone by since and we now find it hard to consider the natural elements as symbols of spiritual truth. Contemporary art has induced and stimulated research on the representation of the landscape and - especially - on the figurative dimension. This dimension led to research towards the use of different tools and combined applications full of pictorial and artistic valences; the international panorama undoubtedly creates the pace for the Italian one, as it sets the guidelines and trends. The most interesting expressions can be encountered in France and The Netherlands where the project, representation and communication perfectly blend together while respecting the "physical" characteristics of the project and the more "theoretical" ones in terms of vision and communication.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
