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Nicola Carrino, Ricostruttivo Palladio, 2013.2014  Ferro, acciaio corten, acciaio inox  4 moduli parallelepipedi di 400x100x100 cm ciascuno  Iron, Cor-Ten steel, Stainless Steel: 4 parallelepiped modules of 400x100x100 cm each Villa Pisani Bonetti, Bagnolo di Lonigo   Courtesy: Associazione Culturale Villa Pisani Contemporary Art; Foto/Images: Bruno Bani, Milano

Nicola Carrino, Ricostruttivo Palladio, 2013.2014
Ferro, acciaio corten, acciaio inox 4 moduli parallelepipedi di 400x100x100 cm ciascuno
Iron, Cor-Ten steel, Stainless Steel: 4 parallelepiped modules of 400x100x100 cm each
Villa Pisani Bonetti, Bagnolo di Lonigo
Courtesy: Associazione Culturale Villa Pisani Contemporary Art; Foto/Images: Bruno Bani, Milano

Listen to the material

The value of a material, like steel, is not just given by the substantial value that is intrinsic in it, we should also consider the working process the material undergoes, the care into details, the ability to aggregate the components, the correct installation of the parts. It is fundamental to listen to the profound vocation […]

The value of a material, like steel, is not just given by the substantial value that is intrinsic in it, we should also consider the working process the material undergoes, the care into details, the ability to aggregate the components, the correct installation of the parts.

It is fundamental to listen to the profound vocation that each material has and choose it with sagacity, without tricking it or ourselves.

Once again it is the individual, his or her ability to listen, the genius in making the difference, predominating over the use of the machine, the use of techniques, using the material in those contexts where it can best express all its specific nature and potential.

Everything seems easy and obvious, even though in the everyday life of constructions nothing is taken for granted: the banality of improper use, materials that imitate others but only in form and not substances, the neglect of the joining nodes between different materials.

…………a game, a pretext to suggest a reflection on method: the seven golden rules of the “art of listening”.

  • << (…) Don’t be in a hurry to reach a conclusion. The conclusions are the most ephemeral part of the research.
  • What you see depends on your point of view. To be able to see your point of view, you must change your point of view.
  • If you want to understand what somebody else is saying, you must presume they are right and ask them to help you see the things and events from their point of view.
  • Emotions are fundamental learning instruments if you know how to understand their language. They don’t tell you about what you see but how you look at it. Their code is relational and analogical.
  • A good listener is an explorer of possible worlds. The most important signals for him are those that are presented to conscience, at the same time negligible and bothersome, marginal and irritating, because they are incongruent with one’s certainties.
  • A good listener willingly grasps the paradoxes of thought and interpersonal communication. He faces dissent as an occasion to practice in a field he loves: creative management of conflicts.
  • To become an expert in the art of listening, you must adopt a humorous attitude. But when you have learned to listen, humor comes by itself.>>

[notes from the book: Marianella Sclavi, “Urban adventures. Plan a city with the inhabitants”, Elèuthera, Milan, 2006, p.201]

[Image's credit: Nicola Carrino, Ricostruttivo Palladio, 2013.2014, Iron, Cor-Ten steel, Stainless Steel: 4 parallelepiped modules of 400x100x100 cm each, Villa Pisani Bonetti, Bagnolo di Lonigo (Vicenza, Italy). Courtesy: Associazione Culturale Villa Pisani Contemporary Art; Foto/Images: Bruno Bani, Milano]

Marina Cescon
Acciaio Arte Architettura Online