Morfologia Topologia Spaziologia

Edited by Mardo Del Francia, this book brings together not only writings about Giorgini by friends and critics, but also projects and drawings in which our author introduces us to at least six procedures in his work: 1 – his deep fascination with surrealist-style design, similar to the work of Sebastian Matta, whom he much admired; 2 – the mastery with which he navigates the techniques of representation, particularly in the quest for a detail that can reveal the whole; 3 – the exquisite three-dimensional modelling, reminiscent of Finsterlin, of some of his models in lead, which even seem to foreshadow future projects in the style of Zaha Hadid; 4 – the constant oscillation in his projects between curves and magmatic progression, combined with a more linear tradition where architecture is defined in static triangles; 5 – a fearless zoomorphism that subtly cuts across the entire creative process; 6 – the ideography or ideoplasmy, as Emilio Villa would call it, which shines through all his components, invading space like an all-encompassing mesh: a real cloud against fictional ones. Among these obvious modes of expression, utopia is presented as an ideal backdrop: inescapable destiny, the subtended finality of every creative process, its end but also its means. Or, as Marco Del Francia reminds us under the guidance of Foucault: utopia as something that exists, although it cannot be seen. And something that leads Vittorio Giorgini to say “We’ll do what nobody will ever think”. (Marcello Sèstito)