IBO:
Prof.Casamonti, nice to meet you. Thank you for taking the time for this
interview to present you and your studio to Chinese readers. As we know, the
Italian design enjoys a high reputation in China. Therefore, we have strong
curiosity where and how the contemporary Italian architecture style is formed?
And in same time, how Archea has been influenced?
MC: This topic
needs to date back to Fascism and Nazism era in WWⅡ. The condition of current Italian
architecture is a direct result from that dilemma. In Nazi Germany, after
Bauhaus was driven out, Hitler made Alberto Speer as the royal architect to
design imperial classical style buildings.Hence, after WWⅡ, the classical style equalled to Nazism and dictatorship. No
architect in Europe can touch it. With no other choice, naturally, modernism
was taken as the metaphor for democracy and a quick increase of modern
architecture and city bloomed around.
While in Italy,
the situation was unique. Mussolini had proposed modernism architecture during
his sovereign.
Many famous architects like Giuseppe Terragni had built lots of
fascismmodernism
architecture for
him. Italian architects after war neither can follow classical nor modern
styles, one for Nazism and the other for Fascism. This is the great dilemma for
us at that time.
In this era of
lost, artists first found the way. Without the richness of classicism and
clearness of modernism, the third way like poverty and realism had appeared. A
movement called neo-realism shaped: an art trends focused on poverty and
reality of current society, and there came the correspondent art poverty
movement. Famous filmmakers like Rosselini, Fellini with their great films cut
the new way for Italian architects. It is not classics, not modernism, but upon
the reality.
From then on, for
decades the Italian architects worked on a unique way. The architects looked
more on the essence of the building, the root out of the poverty of the
culture. Not the contemporary faade or fashion, but the real root behind the
image.
IBO: 所以这么来说，阿克雅事务所也是面对社会现实和当今情况，来挖掘文化背后的实质吗？
IBO: So in this
sense, does Archea face the reality of society and current situation to dig out
the essence behind the culture?
MC: 没错，出于对贫困和现实主义的关注，阿克雅事务所更喜欢在发展中国家中承接项目，创造空间以提升
贫困人们的生活状况。在中国，新现实主义就是要试图寻找当今现状的灵魂，突出其特点。现代性只是表面
的时尚，但根植于内部的是社会中最纯净和最贫困的元素，比如，粗劣的食物、天然的房屋和自发的社会事
件。因此，阿克雅事务所对于中国传统建筑的解读，就是一种基于中国文化贫困根源的研究，贫困已经根植
于本质的意识中。比如，我个人认为，“包子”就可以是一种中国文化的隐喻。
MC: Exactly, for
this feeling for poverty and realism, Archea prefers to work in developing
countries
and create spaces
to improve the living conditions of poor people. In China, this neo-realism is
to find the soul of the current situation, to emphasize the identity. The
modernity is just a fashion, what rooted inside is from the purest and poorest
elements of the society, such as poor food, native
houses and
spontaneous social events. Therefore, the translation by Archea upon Chinese
historic
buildings is a
research based on the root of the poverty of Chinese culture, this poverty is
in the
sense of essence.
For example, the food of Baozi, might be a metaphor of Chinese culture, in my
personal
idea.
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