Agnese Pellino (previously on WeVux) is an Italian architect, interested in many different forms of art. After studying for three years between Italy (Università degli Studi Federico II di Napoli) and Spain (Universidad de Zaragoza), she took her bachelor degree in Architecture and started working for a retail design firm. Few months later she moved to the Netherlands to attend a Master in Interior Architecture, Research + Design (MIARD) at the Piet Zwart Instituut, where she graduated in June 2017.
Since she was very young, her passion for travelling led her to look at things in very diverse ways. Through the years, other than building perspectives, framing them would become her main hobby. Also inspired by architects such as Carlo Scarpa, and photographers like Franco Fontana, her love for composition has been developing until now, capable of integrating photography with her design practice.
The interior photographed by Cemal Emden in Maison de Brésil serves as a working drawing for Objectified Room: the deconstruction of an architectural image in space, that aims to question photography as a medium to convey architecture.
“Photographs are always slices, sections, which imply selection and choice, and therefore subjective interpretation, both by the maker of the image and by the viewer. They are the filter through which we get to know what is far from us, and the parameter to judge the content… This room was designed, constructed as a real space and photographed; now, it is deconstructed in the virtual space and built as a physical installation, which again, will be photographed and hence, flattened. The camera lens (objectif) is the only tool to see the room (camera), which becomes ‘objectified’; it is a room only when it is seen through the lens, and it is made of objects.”
The new space is based on a focal length of 31mm, one of the most used by smartphones and also the one that allow to use the least space to build the installation. It is designed in a way that each vertical support is covered by the next piece, so that only the necessary elements are shown. Using a 3d software as a working drawing, she produced all the pieces, using oak waste for the supports, 2mm metal sheet waste for the connections, and plywood for the photo elements. Every piece has been then covered with a mixed paint reproducing the Pantone colors of the original picture.
“The result is a landscape of elements which appear randomly disposed at a first glance, and which lose their ‘real’ three-dimensionality in one point of view, acquiring a totally different meaning. An ‘architecture of photography’, as I define it, opposite to photography of architecture, or architectural photography… A room that cannot be used as such, existing only as a function of (in English also “through the lens of”) the lens, a room that is not a room.”
All Rights Reserved to Agnese Pellino
Please seek permission before using