Trailer Function and Emotion

Are film directors architects of cinema or are architects directors of reality? 
A stretch that turns into a reflection, a source of inspiration for a narration in which designers - each of them with their own style, language and aesthetics - think, design, conceive and create places and spaces that house different scenes of contemporary living. 
If Architecture, in fact, has existed since the archetypal time of caves and huts in response to the human need to find shelter, Cinema made its appearance at the dawn of the 20th century, changing the world of art and perception, including the perception of space.

Cinema’s moving image has been and remains an exceptional tool of knowledge and research for the analysis and representation of architecture and the city. Likewise, the designer’s gaze prepares paths that justify the analogy with the director’s gaze when, albeit for different purposes, he/she imagines and designs paths, sequences, spatial and formal articulations. For masters such as Le Corbusier, the camera is a crucial tool for documentation and knowledge; similarly, the filmic language is an integral part of the design approach that inspired Bernard Tschumi and Bob Venturi. 

The vision of 967arch places itself in this interdisciplinary dialogue, considering design as a directorial act in which the professional acts by interpreting the client’s goal and managing the actors involved in the design and implementation phases. Spaces that are conceived as dynamic sets combine architecture and cinema in one feature: the anticipation of reality in order to move the qualitative and cultural level of society forward, always suggesting something new.

A dynamic design excursus in search of a pattern that is always different, in which listening to needs turns into continuous research and challenge. Thus the voices of 967arch describe the interventions carried out at different scales, from the Google and Petronas headquarters to the workspaces for Campari, Cisco, WPP and Amplifon, up to detail planning and design.

Similarities and differences occur as the urban and design context in which the projects take place changes. The WPP Campus in Milan, for example, is part of an existing complex of industrial buildings and takes occupies the historic headquarters of the Società Ceramica Richard Ginori, decommissioned at the end of the 1990s and partly renovated in several phases, preserving its original appearance in relation to the dense urban context in which it fits. The case of the Petronas HQ, on the other hand, is the exact opposite: fitting into an industrial and agricultural reality, it seeks to replicate the geometries of the surrounding landscape characterized by a network of cultivated fields, with a facade that wraps the building like a colored sheet and follows the axis of the field patterns, molding its shape. An excavated volume in which solids and voids follow one another in sequence and are enhanced through the use of transparent and opaque materials, in a scenic dynamism in harmony with the surrounding context.

Further case studies are the work and collective spaces of the Campari and Amplifon HQs and of the Cisco Cyber Security Innovation Center (inside the Museum of Science and Technology in Milan), where spatial analysis merges with a reflection that makes the “decrease in scale” a compositional path aimed at attention to detail, finishes and design. 

Listening, narrating, researching, experimenting, proposing. 
For 967arch the common thread of the reason that defines every design choice in balance between function and emotion, in a narrative scheme with a cinematic structure in which Architecture is emotion, Design is perception and Space Design is organization.