Continue today after one first episode published yesterday on the bebeez pages the exposition of the thought of Lucio Dotto. The spaces in which we live are not only physical places, environments inhabited by man, but the very cornerstone of both bodily, mental and psychological life. Entering an inhabited space always causes an impact both with our five senses and with our inner forces, Freud would say with our emotions. Public and private spaces therefore as a place of containing and organizing functions of life, but at the same time linked to the bundle of feelings and emotions that animate our existence. It sometimes happens, upon entering a home, that we are pervaded by a positive feeling: a sense of joy and serenity, other times we experience a sense of unease which can simply be discomfort and malaise, but which can lead to profound embarrassment and nuisance.

Inhabited places and spaces transfer mental and physiological states to us that cause reactions, real emotional stimuli, initially unconscious, but which gradually transform into real states of mind both internal and aimed at the outside world. In other words, we clearly perceive that the buildings that surround us are simultaneously made of foundations, walls, roofs, shapes, colours, smells, tastes, lights and shadows, but also of discrete quantities, present and impalpable, of emotional stimuli, an event lived, happy or tragic memories, a historical and cultural sedimentation or simply of


inner perceptions processed by our brain.

All this poses the problems associated with research and design in a holistic, multidisciplinary and interdisciplinary dimension of knowledge and scientific investigation, traces at least a methodological need, both physical and philosophical, to the approach and design method in the true diversity epistemic and ontological. Accustomed to carrying out this research in the field of design, we felt the need to broaden the investigation to the world of art and its cultural expressions. Never as in our days, in a suddenly and profoundly different, globalized world, increasingly linked to a continuous process of economic, social, cultural, political and technological interdependence, is it important to have an approach to art that is both physical and metaphysical, a practice aimed both at scientific knowledge and at the study of the human being, at his inner balance with its perceptive and emotional implications.

In all of this the “Romans”, two millennia ago, already identified in the “Genius Loci” a natural and supernatural entity, linked to a specific character of the place, not necessarily physical, but the set of intimate values ​​and characteristics, socio culture, habits and


language, unitary and recognizable, capable of improving human life. The literature of the whole western world is full of treatises that promote the quality of living both in physical as well as semantic and psychological terms, games of spatiality, volumes, shapes, design, but it is also permeated by the extraordinary aesthetic grip of art and virtual dimension of thought. We find examples in all the classical manuals: in the Vitruvian “de architectura” of 15 BC, continuing with the Albertine “de re aedificatoria” of 1452… In the four books of Architecture by Andrea Palladio of 1570…In the Encyclopédie, ou Dictionnaire raisonné des sciences, des arts et
des métiers at the end of the 18th century… To get to the treatises by Ernst Neufert and the subsequent CNR “architect’s manual” published in 1946, not to mention the research done on the unconscious and the human psyche by Freud and Jung or the new scientific approaches and empirics of sociology.

But, similarly, references to the harmony of inhabited spaces are also present in the ancient Indian art of VATSU VIDYA, and in all oriental studies which for millennia, especially in China, have focused attention on the harmony between man and the environment and on the profound relationships between health and the lifestyle generated, in everyday life, by an inhabited space. We Westerners have little interest in and have learned little about Eastern art, science and philosophical thought and here is our desire to approach “new cultures”, motivated by the particular professional activity, linked to design, undertaken by Neolapis, projected and developed between two


worlds: Western and Eastern.

For many years we have evaluated, tried to understand and apply the different aesthetic and cultural values, their peculiarities, their interaction, their diversity, but, above all, their similarities. For a long time in Russia and subsequently in the Middle East and China, in international language, we have witnessed the meeting of different cultures, their mutual enrichment, their fusion in mutual valorisation and dignity and witnessed those changes which, in the long run , have turned out to be real metamorphoses of a planetary nature. These values, in Neolapis’s approach to art, continuously mix, merge or separate, but together they shape and configure ourselves and our surroundings.

Of the complex theories, which for years have followed us in the professional approach with design, we will use, in the artistic experiences that we propose, “metaphors”, or rather the symbolic expressions of those physical, cyclical and universal phenomena that accompany the life of the man and of the universe in its changes and evolution. In the pictorial cycle that we propose: “the Metaphor of Life” we do not describe a particular phenomenon, but the processes of transformation and universal evolution that belong both to human life and


to the universe that surrounds him: Life, Evolution, Exuberance, Maturity, Wisdom.

These “metaphors”, used to describe the rhythm of life, tell of the joy of birth, physical and intellectual development, the radiance of being, the fortress of maturity, the twilight and wisdom, the universal transformations that we find in every area of what surrounds us and in every life cycle. A multidisciplinary and interdisciplinary experience, a synthesis of art, design, graphics, science, technology and creativity, a story and a global immersion that we offer through the totalizing language of the senses. The story of our life interpreted by the language of the hands which, with appropriate chromatic effects, releases an appropriate “wavelength” capable of stimulating the individual in energy or rationality, relaxation or contemplation, but, above all, in the search for inner harmony.

In addition to a series of stimuli that come from an appropriate use of chromatic balances, the cycle we propose also intervenes emotionally on the sense of smell with a series of aromatic scents, on touch with the possibility of touching the paintings and receiving adequate tactile stimuli, on hearing with sounds, music, voices and noises which, with appropriate technologies and “apps”, “wireless”, transform the work into a sounding board.

Finally the taste, the work suggests “eat me”, sublimating the sensory experience making it
The pictorial cycle: the Metaphor of Life:
LIFE, wavy shapes, colors black, blue, light blue, the joy of birth;
THE EVOLUTION, vertical rectangles, green color, physical and intellectual development;
EXUBERANCE, triangular shapes, red and purple colors, the radiance of being;
MATURITY, square shapes, brown and yellow colors, the strength of man;
WISDOM, round shapes, white and gold colors, the wisdom of twilight


THE METAPHOR OF LIFE – The opinion of Lucio Dotto (second part)