Pretending in Colours








Pretending in Colours

Carlalberto Amadori 


A “milanese” postmodern whim against the indecision of the form, and the indifference of views. Z tower is a project of resistance to the vertical residence in Milan, where the height has become a gold rush and no longer an opportunity.

Z tower is an architecture of the city, no compositional, absoluta. It’s a minimum exercise of volumes, complexity hidden behind the impassive image of himself. Z tower is a fundamental act.

“La mia più importante educazione alla forma è stata la vista, l’osservazione delle cose, poi l’osservazione si è tramutata in memoria. Ora mi sembra di vederle tutte lì, disposte come utensili in bella fila; allineate come in un erbario, in un elenco, in un dizionario”.

Aldo Rossi, La città analoga.

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Who influences you graphically?

Since an early stage in my life, I was very fascinated by old Japanese prints, by the covers of The New Yorker magazine and by a big painting I have in my bedroom entitled “Mattina di festa”. Although I don’t know the artist behind this masterpiece it’s in my mind everytime I try to design something.

I try to reduce my projects to a few volumes, to be defined and precise, with no frills, decorations and unnecessary movements. On the other hand I consider the graphics, of my projects to be the most playful part, through which I explore the feeling of space, rather than trying to describe the form.

Initially my research looked at Milanese radical architects such as Alessandro Mendini and Ettore Sottsass trying to make a summary of their characteristics and expressing them in our current condition. Little by little, I wanted to find my own expressive language researching what I think is my figurative obsession. Moreover some years ago I started collecting old architectural magazines, mechanical newspapers that still affect my point of view and from which I get inspired. Surely an important step in my training has been working with Francesco Librizzi studio and Matilde Cassani, who unconsciously introduced me to a more radical architectural thinking where graphics are an important part of the architectural communication. Nowadays I’m very fascinated by the work of Attanasio Soldati, an italian architect and painter of XIX century, and many others very expressive artist such as Luigi Veronesi and Kazimir Malevic.

What is the role of colour in your pieces?

Color is the predominant part of human sight. It doesn’t exist but it appears. It doesn’t relate to defined rules of geometry, as the perspective, but it excites and influences the temperament of a work like few other details. I suppose that humans are able to see colors.

Color can be everything. Every sensation without color is flat, fake, it is a fiction. I believe in “visual utopia” for which a spot of color can be shaped, at least as a line. If I had to pretend, I would pretend in colors.

What role does colour hold in emphasizing the horizontality of your proposal?

I think that each architecture has a vocation of colors within it that makes this expressive power beyond the materiality of surface. The color is however the apparent response to the question of how to show itself. Some architectural features such as “lightness”, “staticity”, “rigidity”, “heaviness” have a color implied. This color is not always the same for everyone of us but very often it coincide as dictated by the physical characteristics of preconceived ideas.

You chose to graphically isolate your proposal from the context of Milan, why so?

The context is not always important. Sometimes I don’t care about it. The context can be isolated from an idea of space if it has the same power to survive even far from this. The concept of my work is often to find the relationships between the thesis and the form (ideas and shape), will they survive within the intended space. However I think I understand my “urban facts” as provocations, as metaphors for a change, that it is vertical or horizontal. The provocation does not need a place, it is a mental abstraction.

What role do the people used play in depicting the usage and functionality of spaces? 

The people that I use in my collages are the tool that allows me to represent a “situation”, a state of mind typical of the space that I’m drawing. They always come from cuts of famous paintings, from movies that have haunted my vision of space and magazines I love.

People are the ultimate goal of the projects. They express the true success of a space; the comfort, the feeling and the beauty of the image. Sometimes they can missed.

What is the purpose of using a Gaughin like painted background? 

It is not about using “a Gaughin” or a famous painting as a background, it’s about the will to use Gaughin as choosing to express the tension of bodies relaxed as Gaughin loved to do. It means that the power of the images is not necessarily related to their primary meaning, but the abstraction of some elements may settle the complexity of new images. This is the strength of the collage where background, single elements, architecture, people comes together in new scene from different minds.


Carlalberto was born in Cattolica (Rimini) in 1991, with a passion for design and a great curiosity for books, noise and motorcycles. In 2010 he enrolled at the

Faculty of Architecture of the Polytechnic. He has participated in numerous workshops as the ‘Metabolism of a city’ at NYIT New York Institute of Technology with a final review of architects such as Daniel Libeskind Cino Zucchi G.Shane as well as the workshop Landworks Sardinia in the island of Caprera, Sardinia, working with the team Baubotanik by Ferdinand Ludwig. Since October 2014 he is attending the Master of Science in Architectural Design at the Politecnico di Milano. Caralberto collects and catalogs digital snapshots of architecture as well as collages of architecture “Disegni fugaci” representing topic, ideas, small ideas of moral reflections and formal to contemporary architecture.


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