This research subject might seem big or immense. Big if we consider infrastructures that fight against physical loss and human death to be hospitals and other health care facilities. Immense if we analyze all the history of architecture from the point of view of sanitation. It is by looking at it from a medical point of view, that we can realise how much the city has been built over time against illness, how architecture transforms illness and how illness transforms architecture. Carescapes can be placed somewhere in between astonishing immersive realities and utterly unwelcoming landscapes, a series of ecosystems we depend on and yet deny and avoid constantly. It is in emergency rooms and ICU's across the world that staff members and patients are plunged into an everlasting day, characterised by noise overload, artificial lighting and machines assistance, the beds are arranged to be able to watch over the greatest number of patients with fewer and fewer supervision. Here utilitarianism and efficiency serve the irrational need of human beings to defeat the fragility of their own flesh. The ICU is a land of freedom from our mortality and dependance from resources we can no longer provide for ourselves. It is by defining our own death and the relation we establish with loss, that we can redefine architectural practices based on the overgrowing creation of externalities and ultimately the illusion of an everlasting present.
Marina Addis Waldmann has a full training in Architecture and a strong interest in transdisciplinary research and creative practices. Her work focuses on the human relation to built environments through the understanding of cognitive and perceptual mechanisms, with a particular attention to narratives of vulnerabilities. She grew up in Italy, but was trained in Paris at École Nationale Supérieure d’Architecture Paris Val de Seine (2018). She co-founded Atelier Mama Goose, an interdisciplinary studio in Montreuil, France (2017). She earned a Master in Neurosciences Applied to Architecture (2020) and one in Moving Images at Università IUAV di Venezia (2022). She was an intern at Fondazione La Biennale di Venezia (2021), collaborated with Mela Media Lab (2022) and more recently with Francesco Careri and the Laboratorio di Città Corviale. Her first short film Anisocoria was presented in the group exhibitions Debris curated by Peter Weltz at FBLM in Venice (2022) and We will design at Base Milano during Milano Design Week (2023). She co-curated Casa Dolce Casa at Biennale Spazio Pubblico in Rome (2023). She is currently a PhD candidate at Royal College of Art in London.