THE INTROSPECTION OF BORDERS HOW A PANDEMIC CAN CHANGE OUR EXPERIENCE OF BUILDINGS
BY ALESSANDRO TAROLLI, GIULIO DALLE VEDOVE, MARCO DAL LAGO
When we take a photo, we usually follow the need of showing as much as possible, trying to keep in mind the “classic view”. In other words, the optimal conditions, such as the shooting points and the lighting, are those that allow us to capture as much visual information as possible.
However, on certain occasions, what the image shows becomes more interesting as the immediacy of understanding the image itself decreases. Thus, not only what the photographer wants to show, but also -and above all- what Ernst Gombrich defines as the “beholder’s share” plays an im- portant role in the photographic field: reading or decoding a photograph is part of the viewer’s pleasure.
This is why the architectural photographer’s visual investigation should focus on understanding and transmitting spatial expression. The latter is obviously derived by the photographer’s first reading of the space, which is shaped by the light and shadows on the surfaces of the building itself.
Our intent is therefore to show the building indirectly, or at least fil- tered by its own reflections on its numerous surfaces. Consequently, that allows a revelation of its soul thanks to the light, even though arduous contrasts between lights and shades.
With regards to our case study, an imposing block of concrete that is laid on a slender glass plate emerges in the geography of Paranhos. Once you approach the building, you may immediately perceive its relationship with the sunlight: continuous light and shade effects, the contrast between light and shadow.
It can be noticed how the light first hits the building and secondly is re- flected on the glass surfaces, even though the tall ground-floor windows are protected by the prominent structure. As a consequence, a constant effect of light emerges on the outside. However, this obvious interplay becomes more and more discreet once you enter the building.
In the inner space, a superposition of three out of sync heights causes the light to pass through the air indirectly, softening itself while sliding down inside the building. There is a constant succession of light and shadows that continues to cast itself onto the rough surfaces of the walls, as if in search of a never-ending bond with the matter.
The perpetual reflection of reality seems to look for the boundaries of its space. However, its diffusion in the room continues to change because of the volume of the building, creating this perpetual being.
Our narrative talks about the relationship that we have with the build- ing during the pandemic.
The building itself is introspective, without revealing its interior peculiarity and his relationship between light and shadow.The access restriction due to this period didn’t allow us to know better the soul of the building and increased its introspectiveness.
Instead of fully observing the building from the interior, we started to research an indirect connection with it through the surroundings.We tried to look at the building filtered from different perspectives, through different reflections and climate situations.
A paddle shows a detail that you cannot notice when you’re close to the building; some trees gradually unveil the building in its urban surroundings and frame it in a different scenario. Also the building itself appropriates the context making it its painting.
Exploring these limits and these peculiarities, we realised how much the visual situations can change the relationship between the people and the building - underlining the difference with the users of the same building form the people walking nearby.