Giardino Sonoro
est le nom de notre équipe de design environnemental
dont le siège se trouve à Florence. C’est
aussi le nom de notre laboratoire expérimental où
sont conçues par notre équipe les nouvelles installations
et les prototypes acoustico-lumineux (EEM, Expressive and Environmental
Modules).
Les éléments acoustico-musicaux, horticoles et
lumineux sont les principaux instruments utilisés par
Giardino Sonoro pour restaurer et transformer des espaces architectoniques
et naturalistes. Ils permettent de développer la capacité
de ces espaces à exprimer des valeurs symboliques universelles
ou individuelles tout en offrant des prospectives différentes
et alternatives pour l’espace habité.
Les modules d’installation EEM s’appliquent au design
d’intérieur et à l’architecture urbaine
et de paysage. |
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| Design
d’intérieur :
la transformation de l’espace intérieur s’opère
par la réécriture du rapport entre la lumière,
le bruit et l’espace, rendant ainsi la portée,
le sens et la force de l’architecture matérielle
dynamiques et transposables. |
| Architecture
urbaine :
les EMM améliorent les conditions de vie dans le chaos
sonore qui caractérise nos villes d’aujourd’hui.
Dans ce sens elles dirigent les perceptions auditives vers des
sources d’émission et de compositions sonores musico-formelles,
réduisant ainsi l’exposition au vacarme urbain. |
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| Architecture
de paysage :
Giardino Sonoro rend naturel l’artificiel et rend formellement
le naturel "hybridable" par l'intermédiaire
d'un travail de composition sur le son, la lumière et
l'objet. L’objectif est d’habiter totalement, expressément
la nature grâce à l’apport d’une nouvelle
complexité, formelle et relationnelle.. |
Le co-design est
déterminant dans notre approche professionnelle. Les
relations privilégiées avec d’autres designers
et architectes amplifient la valeur et les perspectives de notre
démarche modulaire de la «composition de l’espace
».
Pour une architecture symbolique. |
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On
the SONIC GARDEN
THE LEMONERY OF THE IMPERIALINO:
“The spirits
of those who never in their time foresweared a pledge walk erratic
in blissful fields where flowers never bend, nor flatten under
feet: in honour of pledges kept an eternal garden flourishes.”
(Euripides, Ippolytus, 73-83)
Without a life that never will foreswear a pledge a great
many flowers would still grow only in the fertile regions of
Mesopotamia, where they were discovered by patient monks, driven
by the oath of true life, who brought them to us, all the way
to the cold northern terrains. The flowers, patiently acclimatized
and reproduced, soon became a vital source of precious medicine
for the body while their beautiful forms soothed the eye and
mind.
Here, in this ancient bet of love, the art of the gardener was
sown. Here, too, lies the kernel of his most fundamental tool:
the experimental garden, the greenhouse, the seedbed…different
terms that all express the single concept of the garden of intentions.
The potential of matter at its purest state formed by the passion
of the gardener to offer itself to man.
The Giardino Passerotti, and subsequently the Giardino Sonoro
La Limonaia dell’Imperialino that envelops it today, exist
for these reasons. Rather, they exist solely for these reasons.
Located where the baroque alignment of the Viale della Villa
Del Poggio Imperiale fans out on the scenic masterpiece of the
Poggiano del Viale dei Colli, they were contrived in one of
the most noble pastures of the modern Florentine scenery, contiguous
to the lemonery of the historic Villa dell’Imperialino.
The Limonaia dell’Imperialino is at the heart of a tessellation
of gardens reared by age-old traditions: the monastic officinal
gardens, the hortus conclusus conventionally adjoining the palazzo
signorili (a custom that later developed into the mannerist
secret gardens and the experimental orchards), and still, the
tradition of the “useful gardens” that would subsequently
give birth to some of the most refined and grandiose renaissance
and baroque gardens.
The Giardino Passerotti, sown in 2001, is an example of how
this fundamental tool of every gardener can be reinterpreted
according to a wholly contemporary sensitivity. A sensitivity
that reconnects with the distinguished horticultural tradition
of Florence, exemplified by the Botanical Garden at Boboli or
the experimental orchards in Cascine Park, both associated to
Attilio Pucci, an illustrious exponent of the most famous family
of Florentine gardeners of the 19th Century.
The rigor of tradition, evolved through centuries of gardening,
has wrought the arena of the Giardino Passerotti; a very prominent
collection of more than 450 variations of erbacee perenni.
Today, the garden of the Limonaia dell’Imperialino disseminates
an inherent characteristic of a passionate bet at the fringes
of possibility by accepting the challenges of a permanent laboratory
where the natural material interacts with the arts of sound,
light and visual arts through experimentation of virtuoso modes
and practices. Contemporary sensitivity reconnecting to a typically
mannerist ancient tradition according to which scents, colours,
water, air and sound together create complex realities of continuous
and fluid transmutation. This is the birth of the Giardino Sonoro
La Limonaia dell’Imperialino, thanks to the collaboration
of Lorenzo Brusci
of Timet. |
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