Exhibitions, Italy, Rovigo, Adria, 22 November 2014
Architecture in Italy is facing a great state of crisis: less is built and that badly, politics interferes powerfully with everything, meritocracy is not rewarded, quality is not considered. Design and planning are not considered by the system, nor are the talented, the oppressed, the sick or the poor in society, etc.
The art of Baran expresses this discomfort by using his designs on paper.
An architectural project is not just a set of lines, but the expression of a concept, the result of an idea and a vision of life. The architect analyzes history, places and landscape and interprets them using forms and materials.
Then Baran takes his projects and makes them move through the founding principles of Vitruvian architecture: air, earth, fire and water.
In the beginning, the design on paper is oxidized in the air, rubbed in the earth, burnt by fire and then the fire is put out by water.
The result consists of fragments of a project marred by the artist’s action and the primary natural phenomena for which it was designed.
What remains is placed on the white canvas that represents the great void created by our society that leaves on the edge not only the weak and unfortunate people but also the projects that identify with them: “Progetti bruciati” or burnt designs.
Even if they are on the margins, these are no less valuable, in fact they stand out much more than the big void left by the world.
These works are not immutable over time, because the paper will age due to the effects of light and air, like a work of architecture.
“Progetti bruciati” look like an ancient map where the burnt edges of the designs are like strips of land bordering the sea: a map of a change that starts from the cultural and historical relics which have survived the superficiality of our world.
Baran’s works also recall the many fragments of frescoes saved by Baran during the restoration of historic buildings; the remains of history and culture on which we may lay the roots for a renaissance.
The art of Baran expresses this discomfort by using his designs on paper.
An architectural project is not just a set of lines, but the expression of a concept, the result of an idea and a vision of life. The architect analyzes history, places and landscape and interprets them using forms and materials.
Then Baran takes his projects and makes them move through the founding principles of Vitruvian architecture: air, earth, fire and water.
In the beginning, the design on paper is oxidized in the air, rubbed in the earth, burnt by fire and then the fire is put out by water.
The result consists of fragments of a project marred by the artist’s action and the primary natural phenomena for which it was designed.
What remains is placed on the white canvas that represents the great void created by our society that leaves on the edge not only the weak and unfortunate people but also the projects that identify with them: “Progetti bruciati” or burnt designs.
Even if they are on the margins, these are no less valuable, in fact they stand out much more than the big void left by the world.
These works are not immutable over time, because the paper will age due to the effects of light and air, like a work of architecture.
“Progetti bruciati” look like an ancient map where the burnt edges of the designs are like strips of land bordering the sea: a map of a change that starts from the cultural and historical relics which have survived the superficiality of our world.
Baran’s works also recall the many fragments of frescoes saved by Baran during the restoration of historic buildings; the remains of history and culture on which we may lay the roots for a renaissance.
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