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I am Marco Antonini, together with Roberto Capecci and Raffaella Sini, we are the
land-eye architecture and this is the snow globe, which is a garden installation
that is born from the idea of a kind of teca, in which a vegetable element is
put in the pot, so the idea is a bit that is born from the fertilization of the vegetation
of the plants, which is an idea, let's say, eight hundredth with the classifier spirit
of the time, but we reinterpreted it by imagining it a bit like a souvenir, so the idea
is obviously abstract, that of one of these glass balls with the snow that you buy
with, usually there are exact monuments inside, exactly the monuments, and that
instead in this case we replaced it with a plant, so it is a bit a game of scale and
of transfer of ideas and that it is something that we had already experienced in other
ways, in another installation that we had done in England a few years ago, in which we had
imagined a kind of journey of a plant hunter that had collected the plants and put
in some gaps where they were transported, and there he played on those ideas there.
So I am Monica Sgandurra, I am an architect and landscape designer, I am here in
Jordan in Terrazza to present my little installation, made with a very good
Manto widow, Fratelli Tusi, who did this work. The project is in honour of the
International Year of the Forest, it is a project that talks about trees, so the idea
and the slogan are forested on the Terrazza, so trees on the Terrazza, but it is also
a reflection on our way of seeing the garden and the landscape, the spot is
exactly that of a enchanted forest, a fantasy novel by an English writer, the forest
of Mithago, or the image in Mitho, it is a forest, the story narrates that it is a
forest that comes from the ice age, one of the few forests left, the perimeter
is 5 km, it travels in a few hours, but if you go inside, if you go inside,
you lose yourself, and in losing yourself you can find yourself in some way through
the light penetrating through the flames, leaving the forest you meet the other,
that is the garden, the order, the exact place of what is the chaos, so the garden
and the agriculture, so the cultivated field, it is a small metaphor to tell
the importance of our heritage and the importance of the green thinking today.
So, IAPLAB has cured one of the authors' leaves, being a team of 13
projectors, we thought of multiplying the 30 square meters of exhibition in
many vertical walls and therefore to take care of the vertical garden, so each
of us, we are 13 projectors, has cured a madness, let's say a sub-fog, a sub-fog,
the people who participated, two present here, Lucia Ribosecchi and Livia Breccia,
who can tell you the names of their madness.
Gerdini Incornice.
I participated with Gerdini Appesi, it was an ironic re-examination of the green
thinking, using the material for the recovery of the stamps and bamboo canes.
Then Simone Amantia Scuderia participated with Gerdini.
Kaleidoscape, which is what I call the cart with the screens, which hide the content
that is obtained from the materials of construction, let's say, of the landscape, so dissociating them in plants,
courteches, pachamatures, and through the screen they can be seen in another way.
I participated with a garden called Giardino Ribaltato, which precisely evokes the concept
of re-examination of the traditional horizontal garden in vertical, and so you see it here
on the left, I don't know if you see it, the operation of putting in vertical the ground
and the flowers to plant horizontally, with the participation of visitors who
have to choose a plant to their liking, write it on the label and plant it in the garden,
so in the end we will get a garden participated.
Then the other designers are Mauro Masullo, with a garden called Usa Il Senso Critico,
Elena Marino, with a garden called Verticalità Fragili,
Patrizia Pulcini, who among other things has coordinated the Aia Plab team,
who participated with a garden called Giardini Passeggeri, Paolo Picchi and Claudio Odone,
Agli Svelati, T-Spoon, with a garden called Andante Combrio, which used the tilanzia,
Elia Asaro, on and off the Orto Capovolto, in which she planted the plants above,
Uta Zorzi-Mulman participated with a garden called Abaco,
Livi Abbreccia, Fabio Masotta and Daniele Morini participated with a garden called
May Symphony, in honor of the music park, as the last project, not for importance,
but in the order of Apparition, of Simone Ferretti, which is called Calle d'Orga.
This initiative that we have presented is an example of the many initiatives that Aia Plab
involves in the various manifestations and occasions of the architecture of the landscape.
As you can see, let's say, we give space to young designers to express their extra,
and therefore we give a space, let's say, a window of visibility to the residents of the landscape.
We invite all the students of the architecture of the landscape to write to Aia Plab,
to participate and give space and presentation to their work.
I am Daniele Morini, a young writer at Aia Plab, a landscape artist,
and I present here the work done by me and another young landscape artist, Fabio Masotta.
On this occasion, just for the place, the audience of the music, we wanted to create an
opera that connects both music and, in particular, to the range that exists between
the flowers, between the shape of the flower, and between many musical instruments,
which, in fact, many flowers remember the instruments, but at least they do not have the voice to express themselves.
Here we wanted this opera to make these shapes, giving them what we thought was their voice.
