Abstract

“The “skin” of the architectonic artefact becomes the interface between the vivid feeling of living and the constitutive material of living”.(Vitta, 2008) The paper documents a route developed between didactics and research, concerning the aspects of materials of the interior surfaces. It gathers the results of progressive experimentations on the design of the material-sensorial qualities of the surfaces, leveraging on contaminations and the disciplinary techniques. The disciplinary fields are about interiors, as regards the covering of the surfaces of the living spaces; and about design, as regards the planning of the surfaces considered as autonomous artefacts, besides covering surfaces. The will of focusing the attention on the sensorial, tactile and visual aspects of the surfaces, has defined the need to identify four main compositional operations, as follows: Folding, Sewing, Weaving, Stratifying and their endless combinations. These actions on surfaces define the passage from the material to formal expression. The succession of the compositional actions is finalized to produce a process of differentiation of the matter in order to obtain a development of its perceptive and sensorial qualities, a passage from the matters to the manners (Deleuze, 2007). The artefact through the progressive actions and contaminations, becomes part of a wider theatre of the material. The actions on surfaces arise from the free experimentation in laboratory on the manipulation and the contamination of the available materials, with particular reference to the theme of softness, comfort and light. The sensoriality and the will to classificate the values of the surface of the materials are topics present since a long time in the debate on contemporary design. The are here expressed to make a contribution and to open at the same time new application sectors of the design within the world of interiors. The fabric assumes particular relevance in this logic, as “a flexible or an elastic body, still has cohering parts that form a fold, such that they are not separated into parts, but are rather divided to infinity in smaller and smaller folds, that always retain a certain cohesion” (p. 9). Deleuze calls this cohesion as Weaving of materials, different for each material: from the travertine, material of the baroque, cavernous and spongy without voids, without holes, at most like a cavern in a cavern, bearer of a “tendency of the matter to pass over the space, to conciliate itself with the fluid” (p. 8), to the fabric itself in its infinite drapes. Or rather, the fabric, more than the paper, concentrates in it these qualities, not only for its flexibility, but to be composed of parts which in the weaving are joined in an indivisible unity, in a machinic and not mechanical entity, as Deleuze would say. So, to define the qualities of materials, Deleuze uses the word Weaving. It is not only the specific material operation of the weaving, but it assumes the value of a ge

Autore Pugliese

• Carullo Rossana , Pagliarulo Rosa

Tutti gli autori

• CARULLO R , PAGLIARULO R

Titolo volume/Rivista

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Anno di pubblicazione

2014

ISSN

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ISBN

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Numero di citazioni Wos

Nessuna citazione

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Numero di citazioni Scopus

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Settori ERC

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Codici ASJC

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