Along the same experimental line for the design of non-repressive environments, I carried out parallel research, discordant only in the visual result and in the use of materials; the two solutions have in common environmental anti-objectuality, for the most part constituted by elements of traditional use, and while solution 1 is resolved on the basis of modular structures that are predetermined but variable with the succession of ceremonies, the other makes use of modular elements not predetermined within the environment and of an exclusively mobile character. They can be manually adapted each time according to the succession of ceremonies; these solutions, in the case of serial uses, instead allow the coexistence of furnishing and storage elements and elements of industrial production.
The first solution provides for the gestures of the ceremonies to alter its static appearance, while, on the contrary, the second solution provides for the direct and manual intervention of the user, who, by changing the positions of the modules, modifies their use.
Project 1: every mobile element of common use (washbasin, chair, etc.) is replaced by fixed elements that form an integral part of the house structure (floor and walls), but whose meaning varies as the ceremonies vary, therefore flexible for every improvised or spontaneously defined representation.
Project 2: Made with easily installed cladding elements: 20 × 20 cm vitrified ceramic tiles that can be assembled in multiple compositions of colors and structure, allowing the creation of schemes that are absolutely free according to the personality of the users. The design conceived in this case as well, rigidly geometric and modular, contributes to the flexibility of developing a large number of solutions, including monochromatic ones, as in the experiment already carried out in the Meneguzzo house in Malo.
The negative as a positive process of the cluttered environment.
The environment as positive negative where dwelling recovers the negative parts.
About the ArtistsJenny Filipetti is an American artist and design technologist based in Milan. She creates objects and interactive installations, drawing from a formal background in programming, electronics, and semiotics. At its core, her work seeks to engender an ecological sensibility: new modes of sense-making for a world in which the perceptual ecologies of humans and other creatures are increasingly shared with those of algorithms and machines. Her studio CHROMAKAIROS works at the intersection of physical and digital experience, producing NFC-enabled objects and wayfinding tools.
Alessandra Silver has been working as a photographer and filmmaker for over two decades across Italy, Africa, and India. She sees visual art as a means of awakening awareness, thought, and creativity. Within the dialogue between images, technology, and artificial intelligence, she regards AI as a valuable ally in expanding new possibilities for creative expression. Her work emerges from the intersection of vision, research, and a desire to inspire others to develop a freer, more creative, and more conscious way of seeing.
In Itinere explores the world of cultural heritage, historical sites, and archival documents, setting their contents to music through Algorithmic Intelligence. A bridge between past and future, with the ambition of bringing pages of history to a wider audience, allowing them to escape the confines of paper and take on an entirely new sonic form.
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