Paper short abstract:

Through a post-phenomenological approach based on the theories of Henri Bergson and Dino Formaggio, we will explore some architects and artist's research in an attempt to trace a scenario whereby the spaces' sequence in art and architecture is perceived as an active process of effect and transformation.

Paper long abstract:

This paper explores the concept of the void's form as a sequences of volumetric perception in art and architecture. Specifically, the effect of different physical relations happening in public space between works of art and architecture shows how to create temporalities, perceptions of space and atmosphere. We intend atmosphere as a transformative process of our understanding of reality, strictly related to the notion of time.

Time can no longer be considered an entity independent from space; hence, to calculate the time we take to move, we must also consider space as a sequence of empty atmospheres where we move in parallel. In art and architecture, time becomes a calculation made of relationships between solids, voids, materials, textures, and bodies.

Through a post-phenomenological approach based on the theories of Henri Bergson and Dino Formaggio, we will explore some architects' and artist's research in an attempt to trace a scenario whereby the spaces' sequence in art, architecture is perceived as an active process of effect and transformation.

In this frame of investigation, the relationships between solids and voids activate new urban landscape scenarios by their users, becoming the context where new possible images of the future city develop.

To explain how the urban space can be experienced in this way, we will analyze several case studies where the architectural and artistic object creates a dynamic temporal relationship with the voids inside and around them, celebrating a specific effect of a place.