Axonometric_The Supernatural Viewpoint

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Axonometric_The Supernatural Viewpoint

Rocco Trussoni





Who influences you graphically?

At first I was sure that the perfect way to represent architecture was hyperrealism through photographic rendering. Only after a revealing exhibition on Superstudio I understood that architecture could be finalized through an artistic process. This allows allow for the architecture itself to speak, instead of proposing a photorealistic yet emotionally cold rendered image. Virtual representation of reality always fascinated me, especially videogames; some of them could express deep emotions through the use of simple 8 or 16 bits representations. Other influences came from artists such as Rothko and Edward Hopper, their use of color and synthesis is deeply moving and yet I still struggle to define what those painters unleash in me. A profound influence was the graphic style by Baukuh and Yellowoffice; through their projects I see a happy architecture, a mixture of both fun and mystery that really fascinates me.

What importance does the isometric/axonometric hold as a means of drawing within the realm of architecture?

Isometric and axonometric representations are very analytical and precise but in a way they are very abstract and surreal.
In our daily life our point of view is dominated by perspective, which is an altered vision of reality. Isometric is almost as you would imagine god or an alien could perceive our world. As a child I used to play a lot with Lego and within those realities I was the unaware god watching from above and modifying as I pleased.

What dictates your colour palette?

Choosing a colour palette I looked for inspiration in videogames and cartoons as well as Lego. Besides the monochromatic choice for the architecture, I wanted the context to be rich and vivid.

What is the significance of using monochromatic colours for the architecture of these fundamentals and colour for the context in which they lie?

For me architecture has an eternal yet timeless connotation, space is changed by it, perception of the world is modified by it; architecture stands strong and humble as a dot in a sentence.
Black and white are moveless colours, they perfectly resume what the architect artefact is for me, they synthesize its power of transcendence and yet they leave it be letting the architecture speak for its qualities. Of course the context is equally important, it tells everything about my architectures, it’s not simply an outline. The context is characterized by a fundamental matrix, nature in all its spectrum of manifestations is still finite and measurable. Strong vivid colours work as symbols and samples of each part of territory.

What is the purpose for the rectangle format, to what extent would a square format have changed the way we perceive the strong geometry of the images?

The use of a rectangular format came to me as a natural thing to do. I always try to leave great part of the canvas to the context since it deeply characterizes my architectures.
Saying this a square format could relate too much with the geometry of the structures giving them a supremacy they don’t have as a imagine them.


Rocco Trussing studies at the Politecnico of Milan.


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