until 3 March 2019
The site-specific installation The Missing Link, made by Michele De Lucchi, is part of the cycle of exhibitions entitled Nature, inside Galleria Gian Ferrari of MAXXI, which has invited different designers to come to terms with the theme of the relationship between nature and artifice.
Michele De Lucchi explains: “A missing link is the element that unites the separated parts of a chair that has been split. We need this kind of link today. We need more and more links to create connections for the multiple ramifications of social, political, economic, cultural and also moral relations. But we also need other links that physically connect the idea of fullness and emptiness, closed and open space, container and content.”
The result is a work of architecture in the form of an open ring, through which to walk, with a tubular structure entirely developed and produced by UniFor, made with a shell of over 800 shingles in HI-MACS® Alpine White, separated by slight gaps. Perfectly inserted in the structure an LED lighting system underlines the volumes and gives the structure an ethereal appearance. The project thus creates a sensorial path to be explored slowly, delving into the space and your own emotions, and emerging with a slight sense of disorientation, but also with greater awareness.
The architect continues: “The plan represents the open link of a necklace. It is an installation inside which visitors can walk. Along the path there are small and large openings: light enters, the gaze exits. Inside everything seems very ambiguous. This ambiguity applies to the relationship between inside and outside, light and shadow, hidden and revealed, private and public. It also applies to the proportions, because when you enter you have an impression of large space you cannot imagine from the outside. In the context of the gallery, the wall seems small: but as you enter everything seems to be enlarged by the wall itself and the acoustics, which change step after step. The noises become more intense, amplified. The ogival section of the wall creates an enclave effect, like an overturned basin that inevitably urges the gaze to shift upward. The form projects thought upward, urging towards the infinite.”