Writings

Architecture is not solely about physical buildings but also about shared collective imagination and interpretations. Documenting and analysing these interpretations, akin to archaeology, allows architects to understand how their work resonates with people and refine their designs. By valuing both past and present interpretations equally, architects can create a timeless and meaningful legacy that transcends fleeting trends.

Architect Cardillo met with the late Paolo Portoghesi, who commended Cardillo’s unwavering integrity and consistency. Portoghesi expressed regret for the lack of interest in a research project on the psychology of architecture, which could have bridged the gap between functionalism and psychology. Cardillo extended an invitation to Portoghesi to visit his works in Rome, underscoring the significance of client-architect relationships. Paolo Portoghesi discussed his Calcata house and former Rome gallery, emphasising the importance of architectural heritage preservation. He expressed interest in converting Casa Papanice into a house-museum, potentially through a foundation or donation to MAXXI. Portoghesi envisioned the garden as a public library and guesthouse.

The architect explores the relationship between architecture, culture, and civilisation, drawing from Jungian psychology and mythological references. The architect’s designs aim to evoke the unconscious and primordial images, creating spaces that stimulate the senses and reflect the deeper aspects of the human psyche. The architect believes that a balance between culture and civilisation is essential for self-awareness and that modern society often represses our instincts in favour of order and law.

The architect recounts using virtual reality to create ‘Imaginary Houses’, sparking controversy when exposed as fabricated. This experience led to the creation of House of Dust, an architectural work that questions bourgeois values and explores the unconscious mind. The architect compares House of Dust to the video game Zak McKracken and the Alien Mindbenders, highlighting its influence on the work’s simplified representation and narrative elements.

The Off Club project in Rome, designed as a restaurant bar, aims to transcend its function and reflect the designer’s worldview. The design process, influenced by Carl Jung’s theories, explores the connection between the psyche and architecture, using intuitive projections to create a space that evokes a sense of the sacred. The final design incorporates elements like a golden ceiling, a black void, and a screen-like iconostasis, aiming to stimulate the consumer’s inner world and create a sense of perceptual ambiguity.

Heidegger’s idea of language as the ‘house of Being’ highlights its role in shaping our understanding of the world. The enduring presence of architectural terms like ‘Vault’, ‘Grotto’, and ‘Arch’ in our imagination suggests a deeper connection to the past. The discovery of coloured Greek temples challenges the notion of Greek purity, revealing the influence of modernity on architectural aesthetics and the dominance of thought over sensation.

The speaker questions the concept of reality, highlighting its representation as a construct influenced by history and journalism. He discusses his ‘Seven Houses for No One’ project as a response to the limitations of contemporary journalism and the commodification of architecture. Ultimately, the speaker advocates for a return to a mythological approach in architecture, emphasising its potential to evoke deeper meanings and create sacred spaces.

The House of Dust renovation project in Rome explores alternative architectural approaches, emphasising hidden meanings and user interpretation. The design, inspired by ancient architecture and literary works, incorporates elements like false doors, secret passages, and a vaulted ceiling to create a sense of mystery and drama. The use of dust-coloured plaster and contrasting pink walls symbolises the transience of life and the enduring nature of the earth, reflecting the dualistic nature of human existence.

Architecture, once a universal language, has lost its way in a sea of corporate branding and novelty. Antonino Cardillo advocates for a return to the past, emphasising the importance of small-scale, meaningful buildings that transcend time and convey values. He believes architecture should be a critical act, a form of storytelling, and a reflection of human experience.

Architecture is likened to dust, representing both form and memory, including death. The House of Dust project celebrates dust through classical orders and golden proportions, rejecting modernity’s denial of death and its cyclical nature.

Antonino Cardillo explores the influence of video games on his architectural design, particularly the use of light simulation techniques like raytracing and radiosity. He critiques the overuse of raytracing, which prioritises visual appeal over physical accuracy, and advocates for radiosity, which simulates realistic light reflection. Cardillo’s Ellipse 1501 House project exemplifies radiosity, incorporating elements of ancient Roman architecture and Soviet Suprematism to create a labyrinthine, surprising interior space.

Architecture, at its best, creates imagined spaces that stimulate the mind and evoke dreams. Transparency, while visually appealing, negates the essence of architecture by failing to interpret and direct light, a fundamental element of architectural design.

Rome, despite lacking modern architectural elements, embodies contemporary sensibility through its fragmented and disorganised narrative. This narrative, akin to a collage, reflects the city’s history of cultural fusion and alteration, as exemplified by Hadrian’s Villa. Rome’s enduring fascination lies in its ability to distort reality, blurring the lines between original and altered, and serving as a living testament to the collective memory of its inhabitants.

Antonino Cardillo argues that Italian architecture is stifled by excessive respect for the past, hindering innovation and creativity. He emphasises the importance of embracing cultural exchange and historical evolution, highlighting how past architectural achievements were shaped by diverse influences. Cardillo critiques the tendency to replicate historical forms without critical engagement, urging a reevaluation of contemporary architectural practices to create meaningful and timeless spaces.

Egypt, often romanticised as a timeless ancient civilisation, is paradoxically a living, evolving country. The Nile River, a symbol of exchange and communication, offers a contrast between the idealised past and the modern reality of Egypt. Egyptian history, marked by both the preservation of memory and the manipulation of truth, serves as a reminder that even the most enduring civilisations are subject to change and transformation.