Starting from the analysis I started to make of the barriers for pedestrians I started to evaluate the technical characteristics of the objects (and materials) that surround us as a point on which to base my research.
I find it fascinating that these objects are on the street every day and must withstand any condition or situation in which they are placed.
Walking through the streets I started to appreciate the way scaffolding is built and how solid and safe it has to be in order to get workers on top of it and to be able to load goods up to considerable heights.
Their composition is simple, tubes of 48.3 mm in diameter and 4 mm thick (the most common) that are connected by connections (different types) that give way to create any type of structure.
I started to look for other projects that would take them up and exploit the characteristics of these systems using the same language but so far with poor results.
I found those who reproduced these brass structures to scale and those who reproduced them in gold. I am certainly interested in bringing them to a new materiality, but I would like to go further.
In my head I have a desire to keep the functionality and have an objective reference to the scaffolding but change the context and the production process.
Being able to have a process that can give me the opportunity to create more objects with the same language. Like an extrusion or an expansion casting.
For example, I’m interested in trying to combine a material like the yellow expansion (to protect) with a solid metal structure; like having the same structure as the scaffolding but with a soft coating.
And making a chair with this system and then creating a kind of mold where to pour molten metal on the joints? What happens? Can you? The chair would be perfectly solid, it would no longer be possible to disassemble it or at least it would not be possible to do so without breaking the entire structure.
How could I extrude a tube, for example? What material could I use….
“It consists of connecting two pipes through a joint, which fixes them in the desired position. Its modularity is practically infinite as it allows you to connect the tubes of different lengths, then at any distance and in any position (physically possible).
This system allows its use, virtually in all circumstances, as it allows the adaptation of the structure to any type of facade or artifact, even from the particular and irregular shapes; it is particularly suitable for indoor and outdoor restoration, for construction, for the shipbuilding industry and for the show where the structure has a value not only practical, but also aesthetic.
Precisely because of its many variables, for the assembly of these scaffoldings there is a need for highly skilled labor and also working times on average longer.”
In the cover picture I put a photo of a work by Olafur Eliasson.
In this installation the artist reconstitutes the force of a natural effect like the waterfall using the language of scaffolding.
I have seen this “fountain” also at the tate modern lately and I was struck by its communicative effectiveness. The same has been done in New York and other places by the artist, thus managing to bring a natural effect artificially.
“Installed in both interior and exterior locations, the cascading waterfall evokes the sight, sounds, and rhythm of a natural waterfall. The clearly exposed construction allows viewers to understand the mechanism behind the phenomenon.”