In the postwar years, the Italian architect Vittorio Giorgini devised projects inspired by the formal languages of Le Corbusier and Leonardo Savioli, and gradually fashioned for himself a personal style close to “sculpture architecture”. At that time, the expressionist work of Mendelsohn and Kiesler aroused in him an “obsessive curiosity”, like that of Henry Moore and Kandinsky, as well as utopian proposals involving forms of fantastic architecture. In the latter half of the 1950s, Giorgini devoted his time to studying the “architecture of nature”, and based his research on the structures of natural organisms. In 1965, he presented his first Manifesto of Spatiology, during the first Travelling Triennial of Contemporary Italian Architecture. An in-depth study of the form of natural organisms and the way they function enabled him to demonstrate the possibility of adopting, within a construction, the structure of natural objects made up of asymmetrical and curvilinear geometric grids. Conceptually speaking, this proposal opened the way to spatial and instrumental dimensions which made it possible to produce structures capable of covering interior dimensions already existing in the organic structure of man. According to Giorgini, in fact, “the psychic space of man only finds its equilibrium in a space of the same type”. The later projects, such as Hydropolis, Genesis, Walking Tall and River Crane, represent the culmination of his conceptual and stylistic research.
Born in Florence in 1926, Vittorio Giorgini studied in his native city where he frequented art circles in the 1950s and 1960s, and then settled in New York in 1969 to teach at the Pratt Institute. At that time, he developed his research while at the same time conducting experimental work in collaboration with his students. In 1996, Giorgini returned to Florence where died in 2010. His works were exhibited by the FRAC Centre at the Mori Art Museum in Tokyo in 2004, and at the Barbican Art Centre in London in 2006.