asarchitects

Antonello Stella 15.02.1961 Legnano (MI)

The solar eclipse of February 15, 1961 was an astronomical event with a magnitude of 1.03. It was the only "total" type solar eclipse visible from 20th century Italian soil. Starting from the south of France, the shadow cone of the totality of this solar eclipse continued in north-central Italy. The eclipse occurred on Wednesday, a weekday, however, being a very rare event, many work activities of the Italians involved were interrupted, at least during the whole phenomenon. (source Wikipedia)

 

1990 La Sapienza Architecture Degree

1990 Founds, with others, n! architecture studio in Rome

1994 PhD in Architectural Design, La Sapienza Architecture

1998 Researcher at the Faculty of Architecture of Ferrara

2011 He founded, with others, within the 3TI Progetti Italia group, 3TI_LAB with offices in Rome and Ferrara

2014 ASArchitects_Ferrara

2015 Associate Professor at the Department of Architecture of Ferrara

But the show must go on ...

The study is currently composed of:

Simone Braschi_Chiara Finizza_Nadia Piton_Michele Croce_Sixin Liang_Altea Panebianco_Alessandro Argentesi_Giorgio Scanelli_Filippo Ferraro_Francesca Cosentino

I have always believed that the architectural project must be a relational act and not an individual act resulting from a unique thought.

First of all relationships between human beings.

For this reason, after several years, more than those strictly necessary, I began to weave these relationships with a group of more or less peers students and (few) teachers of the Faculty of Architecture of Valle Giulia, just graduated (1990) I founded with some of them n! study of architecture. A continuous thread, therefore, that starts in the convulsive classrooms of Valle Giulia and reaches its epilogue in 2010. From 2011 to 2014 with the same spirit and with the same relational tension I started a new adventure called 3TI_LAB and from 2014, similarly, ASArchitects.

Parallel to these experiences, I have woven as many relationships with many students and (few) teachers immediately after graduating in Pescara and after a few years (since 1998) in Ferrara in less convulsive, but equally fertile, university classrooms, where with more than one hundred of these students I shared the degree course by ferrying them from the too maternal womb of the university to the most inhospitable one outside the classrooms, trying to teach them the responsibility of the project.

Travel companions then, the many partners, friends, collaborators, students, artisans, workers, technicians, clients, (especially from public administrations), colleagues, scholars of whom I would have liked and would like to tell every single interaction with them in a book that perhaps I will never write.

And then relationship between human beings and the things of the world.

Merleau Ponty said "We observe the world, the world is what we observe" thus putting the accent precisely on that distance that separates us and the world, which is nothing but the relationship between us and the world itself made up of people and of things and which substantiates the meaning of our work.

Because the true meaning of the architectural project lies in putting the above human beings in a wise relationship, and the physical context, the techniques, the material, even before the materials, of which the architecture is made. The project is the meeting, but sometimes also a clash, between one's own and others' autobiography and the need for reality, the construction, the context, the right cost, the architectural culture or the knowledge of the architecture that preceded us and that it is contemporary, which can always give us ideas. Someone before us or at the same time we are doing has already addressed the problem we are trying to solve, and this is and will be increasingly true in the world in which we potentially live with infinite access to information. In short, all that technical knowledge and all the cultural apparatus that the designer acquires will make sense, or rather "common sense" to the project.

This is why I am not at all interested in the shape of things. Things, architectures, at a certain point take a certain shape without a particular effort in this sense. To put it in Adorno's words: "the form is content sedimented".

In a historical moment like the one we are going through where the space of the invention appears very small, and waiting for a new great paradigm equal at least to that of modernity, we are all forced in the reworking of that shapeless, varied but at the same time dense cluster of information made up of the architectures and ideas of others. The theme is therefore to rework as wisely as possible what already exists. "Creativity" in the post-modern era must be aware of all this to be sensible.

Here, in conclusion, I would not be what they are and equally the projects that are exhibited here, on which there is nothing to say but what by observing them they try to return, without all the traces that these relationships have left in me until this moment. Of course, some deeper, some less, others more wounded than traces, but so it is.

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