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LA SERIE E IL PARADIGMA. FRANCO PURINI E L’ARTE DEL DISEGNO PRESSO I MODERNI
|Dimensions||21 × 24 × 0.8 cm|
|Year of publication||
paper binding with just folded jacket
|Number of images||
This book, which is also the catalogue of the exhibition with the same title, describes Purini’s theoretical work in “graphical form” through the architect’s drawings, taken in part from the author’s archives, and in part from a private collection.
Franco Purini is a point of reference because of his methods in teaching and considering architecture as figurative art based on its own conventions and rules. The works presented in this catalogue refer therefore to Purina the artist, even though in his art, architecture cannot be separated from all the rest. The aim is to focus the attention on drawing as a fundamental field of action for research on architecture and the project, carrying out a critical review on the method for transmitting the science of architecture and consequently, a refoundation of teaching methods, beginning with drawing, understood as the prime principle of architecture. Drawing therefore, not only as an instrument of “geometrical” representation of what already exists or of what will exist, but above all a device for research and investigation.
“I do not think it is possible to do anything that truly represents ourselves without a certain level of obsession.
I have also always been convinced that the architect cannot resolve the contradictions that reality constantly reveals to us using drawings, projects and construction, but I agree with the theory of Manfredo Tafuri, that architects should represent these contradictions.
I also feel that there is not much point in exercising a profession such as that of an architect without having a fundamental theme to focus on throughout one’s life. My personal theme is the contrast between constrictive, almost imprisoning, spatiality and the aspiration to total freedom.
A theme that finds a reflection in the coexistence within myself, as I have mentioned before, of the light and dark sides of reason. And all with a certain preference for hermeticism. Lastly, drawing is the crucible in which the ensemble of these motivations is brought to that melting temperature which unifies them in a substance that is at the same time corporeal and intangible.”