Recent years have witnessed a proliferation of extremely original installation art in our urban centers. Partially driven by advances in design media and partially by the development of new construction technologies, this has led to an age of unbridled creativity. Constructed with a variety of materials, from the natural (wood, plants, and plant-based materials) to the man-made (glass, metal, and plastic) to the recycled (car parts, cds, and lightbulbs) the combination of effects are endless. Playing with light, color, sound, and texture, these projects redefine our urban landscapes and the way we experience public space. I was invited to realize a temporary garden for the first edition of Garden Festival “Giardini in Terrazza” on the terraces of the Auditorium of Rome. There was not a theme, the architects have just to respect dimension limits. In a so iconic place, even more overloaded of signs for the event, they imagined a white, silent, discreet fence. On the contrary, the inside space is a tribute to Rome at Beginning of XVIII century, when they used to paint facades of a pale light blue — the color of sky, i.e. “color dell’aere” — so that the heavy buildings and the intangible air, the architectures and the sky became a whole. This garden is in fact a sky room. Once inside, you are in a surprising and estranging space: the sky over your head; walls fully covered by little blue flowers around you; under your feet again the sky and the flowers blending and merging with you in the mirror. The idea of space that generates wonder and astonishment is once more a tribute to Rome between Late Baroque and Arcadia, made with simple and common materials, such as the wooden boxes used for walls and the Lobelia erinus flowers, a very ordinary plant. The auditorium shells reflected on the garden floor, as well the window looking at the central cave, are both ways to bring the outside realm inside the little garden, so exploring the dimensional and narrative relations between inside and outside spaces.
V. v., A.a., Metta, A. (2013). Lobelia Color dell'Aere. In Landscape Installation Art (pp. 35-37). Guangzhou (PR China) : Tianjin Ifeng Space Media Co. Ltd..
Lobelia Color dell'Aere
METTA, ANNALISA
2013-01-01
Abstract
Recent years have witnessed a proliferation of extremely original installation art in our urban centers. Partially driven by advances in design media and partially by the development of new construction technologies, this has led to an age of unbridled creativity. Constructed with a variety of materials, from the natural (wood, plants, and plant-based materials) to the man-made (glass, metal, and plastic) to the recycled (car parts, cds, and lightbulbs) the combination of effects are endless. Playing with light, color, sound, and texture, these projects redefine our urban landscapes and the way we experience public space. I was invited to realize a temporary garden for the first edition of Garden Festival “Giardini in Terrazza” on the terraces of the Auditorium of Rome. There was not a theme, the architects have just to respect dimension limits. In a so iconic place, even more overloaded of signs for the event, they imagined a white, silent, discreet fence. On the contrary, the inside space is a tribute to Rome at Beginning of XVIII century, when they used to paint facades of a pale light blue — the color of sky, i.e. “color dell’aere” — so that the heavy buildings and the intangible air, the architectures and the sky became a whole. This garden is in fact a sky room. Once inside, you are in a surprising and estranging space: the sky over your head; walls fully covered by little blue flowers around you; under your feet again the sky and the flowers blending and merging with you in the mirror. The idea of space that generates wonder and astonishment is once more a tribute to Rome between Late Baroque and Arcadia, made with simple and common materials, such as the wooden boxes used for walls and the Lobelia erinus flowers, a very ordinary plant. The auditorium shells reflected on the garden floor, as well the window looking at the central cave, are both ways to bring the outside realm inside the little garden, so exploring the dimensional and narrative relations between inside and outside spaces.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
