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   Un Studio di Orientamento e Direzione a Venezia Venice, 2018  Selected pages from a short study following a British Council Steward-Research Fellowship during the Venice Architecture Biennale 2018. The subject - Orientation and Direction in Venice - was informed by ‘Freespace’, the theme of the Biennale curated by Yvonne Farrell and Shelley McNamara and the writing of Josef Brodsky.  Like Venice’s Architectural ‘frammenti’ - broken bits of larger structures that no longer exist now embedded into other walls or left as incidental monuments - this work in progress chips pieces from a range of subjects. These include re-oriented churches, basketball, wind damaged trees and street signage. The connecting thread is Venice’s ‘about-face’ character, a city designed like no other.  The research is presented as a draft layout, a prototype for a printed book. It is designed at Octavo size (170 mm x 108 mm) a format devised by Venetian printer Aldus Manutius. The body text set in a typeface called ‘Bembo’ which was originally cut by Francesco Griffo in 1495. The type was famously used by Manutius to print a travelogue by the writer Pietro Bembo. The text only cover is directly influnced by the cover of ‘Poesie: Frammenti ; Poesie separate’ a volume of 57 poems by Guido Ceronetti.  For full essay see Writing and CV

Un Studio di Orientamento e Direzione a Venezia
Venice, 2018

Selected pages from a short study following a British Council Steward-Research Fellowship during the Venice Architecture Biennale 2018. The subject - Orientation and Direction in Venice - was informed by ‘Freespace’, the theme of the Biennale curated by Yvonne Farrell and Shelley McNamara and the writing of Josef Brodsky.

Like Venice’s Architectural ‘frammenti’ - broken bits of larger structures that no longer exist now embedded into other walls or left as incidental monuments - this work in progress chips pieces from a range of subjects. These include re-oriented churches, basketball, wind damaged trees and street signage. The connecting thread is Venice’s ‘about-face’ character, a city designed like no other.

The research is presented as a draft layout, a prototype for a printed book. It is designed at Octavo size (170 mm x 108 mm) a format devised by Venetian printer Aldus Manutius. The body text set in a typeface called ‘Bembo’ which was originally cut by Francesco Griffo in 1495. The type was famously used by Manutius to print a travelogue by the writer Pietro Bembo. The text only cover is directly influnced by the cover of ‘Poesie: Frammenti ; Poesie separate’ a volume of 57 poems by Guido Ceronetti.

For full essay see Writing and CV

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