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Books & Book Chapters by marco borsotti

Milano capitale del Moderno, 2018

Why talk about churches and why move between modernity and contemporaneity? First of all because ... more Why talk about churches and why move between modernity and contemporaneity? First of all because of a personal interest that has made this issue one of my favored research fields, in which to address a kind of architecture that finds its most profound logic in being a place of representation. A kind of architecture that must be, in fact, a place of identification of an entire community and that must carry out the construction of a space that is home to all people as well as to God, whatever the sense that our personal sensibilities attach to this idea. The sacred space is always, for this reason, an extremely difficult design exercise, which does not allow for shortcuts. When a designer realizes a church there is no easy way out: he or she must succeed in giving shape to their own idea of sacred space that is in some way acceptable to all. This is precisely where the interest resides, in proceeding to explore this subject for which the Milan itinerary was created, entitled “Churches and Modernity.”

Public presentation and discussion of the exhibition design projects for the Natural History Museum (Verona, Italy) and for the Castelvecchio Museum (Verona, Italy) which have been elaborated by the students of the Interior Architecture Design Laboratory, Polo Territoriale di Mantua/Politecnico of Milan
IAD Lab has been coordinated by professors Marco Borsotti and Alba Di Lieto, with the support of architects Monica Bianchini, Marzia Guastella and Rossella Locatelli, according to the principle of "evocative narratives".

Main focus of the Laboratory is the exhibition design, a specific discipline that intervenes in space in order to create exhibition paths that are configured as real narrative scenarios where the poetics of the place and objects are manifested.
During the workshop, the students were able to confront them self with two important historical Veronese museums: the Castelvecchio Museum and the Natural History Museum. The project path required to deal with different issues, ranging from the definition of the curatorial aspect, to the identification of a concept developed with different narrative declinations through installations able to dialogue both with the architectural nature of the interior spaces, and with the communication tools of the display system.
The project themes that will be presented are:
- for the Castelvecchio Museum, the narration of the Middle Ages, of the figure of Cangrande della Scala and the museographic principles applied by Carlo Scarpa in Castelvecchio;
- for the Museum of Natural History, exhibition strategies related to the visit route, with the story of the collectors who contributed to the creation of the museum and the collections not visible to the public, thus constituting a sort of parallel and hidden museum.

Luca Basso Peressut, Marco Borsotti, Imma Forino, Pierluigi Salvadeo with Jacopo Leveratto, Tomas... more Luca Basso Peressut, Marco Borsotti, Imma Forino, Pierluigi Salvadeo with Jacopo Leveratto, Tomaso Longo (editors), NOMADIC INTERIORS: Living and Inhabiting in an Age of Migrations, SMOwnPublishing, Milan 2015.

Trough different perspectives, this publication is aimed at outlining how the concepts of place and inhabiting have changed in an age marked by migrations and multiculturalism. In doing that, it collects critical contributions focusing on the architectural spaces generated by new nomadic practices, with the final purpose of describing how the idea and praxis of architectural interiors can be redefined between globalism and localism.

Papers by marco borsotti

Libro de Actas - Systems & Design: Beyond Processes and Thinking (IFDP - SD2016), 2016

The exhibition design has always been -among other design disciplines -one of the most innovative... more The exhibition design has always been -among other design disciplines -one of the most innovative field of experimentation both for languages and projects improvement. Moreover in the recent years the use of digital technologies, on one hand, and the further more active participation of the public -or, better to say, of the user -on the other hand, are making exhibition design a promising and rising laboratory of advanced innovation. This evolution is shaping itself around the co-participation and the increasing value of trivial things as fundamental presence of experience and proof deep-rooted both in the artistic experimentation and in the daily life. The public assumes consequently a dual role: viewer and witness of the revealed memory -the exhibition subjectsand subject himself of the show -due to the belonging to/of the objects and the story told in the scenical space. The paper presents a critical point of view on the mapped scenario of approaches and case studies in an increasing scale of design actions, starting from the more traditional projects to the most advanced in innovation and people involvement.

Questo secondo momento di riflessione di un percorso esplorativo sul rapporto tra l'architettura ... more Questo secondo momento di riflessione di un percorso esplorativo sul rapporto tra l'architettura contemporanea ed il colore come suo dispositivo espressivo (i cui precedenti esiti sono stati presentati nel volume VIII di "Colore e colorimetria") [1] intende consolidare ulteriormente alcuni ragionamenti attorno al ruolo del cromatismo come strumento di definizione o di rafforzamento di relazioni compositive anche complesse che concorrono a dare forma finita e comprensibile al progetto di architettura contemporanea, nonché di costruzione, consolidamento e rafforzamento di valori percettivi ed ambientali caratterizzanti la sua struttura architettonica. Nella contemporaneità, infatti, il colore è sempre più un elemento caratterizzante del progetto architettonico, tuttavia, non è semplice ricondurre le sue applicazioni all'interno di un pensiero programmatico definito che ne affermi il ruolo di elemento primario costitutivo dell'atto progettuale. Si possono, però, tracciare delle attitudini abbastanza evidenti nell'uso del cromatismo, utilizzato per dare enfasi e rilievo a soluzioni di specifiche problematiche di relazione tra le parti (il complesso architettonico in rapporto al territorio in cui si insedia e la sua capacità di comunicare se stesso in termini di comprensibilità del proprio programma architettonico e funzionale), che appaiono come delle vere e proprie costanti metodologiche che collocano il colore nel cuore stesso dell'atto concettuale del progetto, dimostrandone la sua natura fondativa e non semplicemente "di finitura". Continua, dunque, l'esplorazione ragionata di alcune di queste attitudini per cercare di costruire quella "mappatura d'intenti" (ovviamente non esaustivo e perfettibile) di ricorrenze d'uso paradigmatiche di alcuni degli approcci più evidenti e quindi utili a definire i possibili odierni scenari di realizzazione di quel «processo di trasfigurazione ideativa e messa in opera finale della presenza cromatica come "amplificatore di senso"». Ecco allora, emergere ulteriori atteggiamenti progettuali che, sommandosi a quelli precedentemente individuati -urban iconic, spot colour, palette colour, diversamente residenziale [2] -, possono essere tutti codificati attorno a differenti intenzionalità di realizzazione di situazioni architettoniche che li accomunano (pur nella differenza di soluzioni formali applicative). Tali intenzionalità vengono colte e verificate nell'osservazione del prodotto finito, cioè esattamente là dove rivelano la loro effettiva capacità di corrispondere al programma concettuale di partenza e nel loro rivelarsi come situazioni a volte complementari, altre conflittuali (come in ogni ricerca, i confini sono sempre più sfumati delle affermazioni di principio) confermano la prospettiva di una attitudine trasversale, sovra-stilistica e sempre più consistente, di utilizzare il colore come un vero e proprio "materiale da costruzione", la cui presenza struttura, realizza e dona senso all'idea architettonica perseguita. I nuovi possibili scenari che saranno di seguito illustrati sono: il perspective colour, strumento di esaltazione della profondità tridimensionale dello spazio; l'edge colour,

"Exhibition design as preferential research framework in redefining interior spaces value-ratio i... more "Exhibition design as preferential research framework in redefining interior spaces value-ratio in contemporary architecture debate: the merging end integration approach introduced by communication and performative exhibition practices is redesigning culturally and physically the pre-existing spaces.
Exhibition design research innovative carrying out planning approach for changing strategies simultaneity knowledge spreading.
In this way it became the most interesting and topical interior design project act, able to translate performing spaces into crossing experience built also with meanings dissemination and “surfing” knowledge method.
The exhibition design direction is a different tool to control and develop multimodal approach to interior territories whose outcome fit to new social landscapes
The Installation of an exhibition space meaning is now coming into sight as work-in-progress multi-disciplinary range, increasingly complex. The experiential element (whom exponential use of digital solution is just an exterior consequence) will increasing more and more and will bring to ostensive solutions development looking to new classifying parameters capable in enclosing several simultaneous organizing relationships. These parameters represents many superstructural rationalization process aptitudes that draw close true courses and imaginary tours, into complex changeable landscapes where raise to the surface place, objects and viewers sense and myths, made by production act, supervising to thoughts and actions as independent and symbiotic designer and visitor condition."

Teaching Documents by marco borsotti

Presentation and discussion of the exhibition design projects for exhibition design project about Damien Hirst and Pablo Picasso&Constantin Brâncuși, elaborated by the students of the Interior Architecture Design Laboratory, Polo Territoriale di Mantua/Politecnico of Milan
IAD Lab has been coordinated by professors Marco Borsotti and Alba Di Lieto, with the support of architects Monica Bianchini, Marzia Guastella and Rossella Locatelli, according to the principle of "evocative narratives".

Milano capitale del Moderno, 2018

Libro de Actas - Systems & Design: Beyond Processes and Thinking (IFDP - SD2016), 2016