Federico Delrosso and the genesis of a project

It’s not speed but time.

Its expansion when leaving from the ordinary race it accelerates beyond the usual, there, in the decisive push that increases the pulse, the time breaks down and you enter in a clear state of absence, a suspension of flow, the vacuum that hosts every creative possibility.

It is not light but material.

The inevitable interruption of light radiations, the way it is compressed and conveyed, gathered in thin cuts or dispersed in timeless spaces because there are no limits thus it returns to the reign undisputed. Pure matter – stone, metal, wood, glass – showing naked and solid, ready to unravel  its ability to change in contact with time and its flow.

It’s not architecture but the boundary.

Bypassing it to overcome it means placing the architectural space out of the time ribbon and using the light as the foundation of the construction, engaging in a silent dialogue with the context in which the space rises with its natural materials that represent a recognition for the environment in a manner to resize the extraneous way of work between nature and man.

Time, matter and boundaries are the real customers of each project, demanding interlocutors questioning about the possibility of overcoming the existing equilibrium in a given space that should be inhabited or reinhabited.

The answer necessarily goes through studying and listening to the spirits of the place that manifests itself always with a precise request of respect between reminiscence and innovation. The work could be successful not because it creates something new but because it reveals the immaterial signs that are already present at site which thanks to the architectural work become material, visible. That is how a different dimension is born from the previous one, in which those who live there welcome the newly created alive space as surroundings, establishing an emotional connection that represents the birth of a new housing equilibrium.

Speed ​​and light remain the allies from which the inspiration for each project is drawn; the first, assumed not as pure agonism, but like a meditation in motion, creates the vacuum for each geometry to arise in mind and conceive a vision consistent with the project being worked on. The second, matrix of all that exists, is the elusive muse that narrows the stroke to the essential to make it as free as possible to play with spaces, openings and transparencies so that they always become fleeting part of the project in a continuous transfiguration that can generate enchantment and emotion.

September 2017

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