Una architettura come me (sobre la arquitectura de César Ruiz-Larrea)

Una architettura come me (sobre la arquitectura de César Ruiz-Larrea): VIVIENDA EN EL HIERRO, OFICINAS EN ALCALA GALIANO, LAS PIRAMIDES DE GÜIMAR, CANAL PLUS, UN ARQUITECTO EN SAZON

Andrea Branzi y la “Città senza architettura”: De la No-Stop City a los modelos de urbanización débil

El tema de estudio de esta tesis son las propuestas urbanas que Andrea Branzi ha desarrollado durante los últimos cincuenta años, centrándose especialmente en aquellas más elaboradas y completas: la No-Stop City (1970-71), que elabora como miembro del grupo radical Archizoom, y dos de sus modelos de urbanización débil, Agronica (1995) y el Master Plan para el Strijp Philips de Eindhoven (2000). Se trata de una parte de su obra que ha mantenido constante, a lo largo del tiempo, una propuesta de disolución de la arquitectura de notable consistencia que puede describirse con la fórmula “città senza architettura”, acuñada por él mismo. Una voluntad que ya se apunta en la muy variada producción de Archizoom previa a la No-Stop City, y que cristaliza y se hace explícita en este proyecto que aspiraba a: “liberar al hombre de la arquitectura”. A pesar de la continuidad de esta idea en el tiempo, la ciudad sin arquitectura de Branzi ha evolucionado claramente dando lugar a distintos tipos de disolución. Una disolución que, obviamente, no supone la efectiva desaparición de la disciplina, sino la formulación de una arquitectura “otra” basada en un replanteamiento radical de la naturaleza y el papel de la misma. Esta agenda contra la disciplina se ha desplegado a través de una serie de temas que socavan el objeto arquitectónico canónico (su vaciamiento expresivo, la pérdida de importancia de la envolvente y la forma acabada, el carácter anticompositivo, la independencia entre forma y función, la mutabilidad en el tiempo…), pero va más allá al poner en crisis el rol que la propia arquitectura ha tenido en la configuración material, política y simbólica del hábitat humano. Una pérdida de protagonismo y centralidad en la sociedad contemporánea que, en el discurso del arquitecto, implica necesariamente un papel subordinado. De este proceso de disolución surge un nuevo tipo de ciudad en la que la forma urbana o se ha perdido o se ha convertido en superflua, en la que se ha disuelto la zonificación funcional, cuyos espacios interiores se hallan en un proceso de permanente reprogramación que ignora las tipologías, que trasciende la división entre lo urbano y lo agrícola y que es, ante todo, un espacio de flujos y servicios. La crisis de la ciudad tradicional implica, en definitiva, un cambio en la naturaleza misma de lo urbano que pasa de considerarse un lugar físico y construido, a convertirse en una condición inmaterial y virtualmente omnipresente que se despliega independientemente de su soporte físico. En las investigaciones urbanas de Branzi convergen, además, muchas de las reflexiones que el arquitecto ha desarrollado sobre, y desde, las distintas “escalas” de la actividad profesional: diseño, arquitectura y urbanismo. Estas propuestas no sólo cuestionan las relaciones establecidas entre objetos, edificios, ciudades y territorios sino que ponen en cuestión estas mismas categorías. Unas ciudades sin arquitectura que se basan, en última instancia, en plantear preguntas que son muy sencillas y, por otra parte, eternas: ¿Qué es un edificio? ¿Qué es una ciudad? ABSTRACT The subject of study of this thesis are the urban proposals developed by Andrea Branzi over the last fifty years, with a special focus on the more developed and comprehensive ones: the No- Stop City (1970-1971), produced as a member of the architettura radicale group Archizoom, and two of his “weak urbanization models”: Agronica (1995) and the Master Plan for Philips Strijp in Eindhoven (2000). This area of his work has kept, over time, a remarkably consistent proposal for the dissolution of architecture that can be described with the motto città senza architettura (city without architecture), coined by himself. A determination, already latent in the very diverse production of Archizoom prior to No-Stop City, that crystallizes and becomes explicit in this project which was aimed to "liberate man from the architecture." Despite the continuity of this idea over time, Branzi’s city without architecture has clearly evolved leading to different types of dissolution. A dissolution that, obviously, does not mean the effective demise of the discipline, but rather, the formulation of an architecture autre based on a radical rethinking of its nature and role. This agenda against the discipline has been developed through a number of issues that undermine the canonical architectural object (its expressive emptying, the loss of importance of the envelope and the finished shape, the anticompositional character, the independence between form and function, the mutability over time...), but goes beyond it by putting into crisis the role that architecture itself has had in the material, political and symbolic configuration of the human habitat. A loss of prominence and centrality in contemporary society that, in the architect’s discourse, implies a subordinate role. From this dissolution process, a new type of city arises: a city where urban form has been lost or has become superfluous, in which functional zoning has dissolved, whose interiors are in a permanent process of reprogramming that ignores typologies, that transcends the division between urban and agricultural and becomes, above all, a space of flows and services. Ultimately, the crisis of the traditional city implies a change in the very nature of the urban that moves from being regarded as a physical and built place, to become an immaterial and virtually omnipresent condition that unfolds regardless of its physical medium. Many of the ideas Branzi has developed on, and from, the different "scales" of professional activity (design, architecture and urbanism) converge in his urban research. These proposals not only question the relations between objects, buildings, cities and territories but also these very categories. Cities without architecture that are based, ultimately, on raising simple questions that are, on the other hand, eternal: What is a building? What is a city?

Pavilion 13th Biennale Architettura, Venice (2012)

PAVILION 13TH BIENNALE ARCHITETTURA, VENICE (2012). Texto en inglés y español.

L'architettura al servicio della comunità cristiana

L'architettura al servicio della comunità cristiana

L'architettura religiosa contemporanea in Spagna

L'architettura religiosa contemporanea in Spagna

L’episcopio del Tolmo de Minateda (Albacete, Spagna). Architettura e funzione degli ambienti tra la fine del VI e l’inizio dell’VIII secolo

The episcopal complex of Eio, located at El Tolmo de Minateda, was built between the end of the sixth century and the beginning of the seventh century. It may have been created as a result of a political decision taken by the authority of the Visigothic kingdom (based at Toletum) to control the Byzantine territories of south-east Hispania. With a comprehensive study of the construction phases, and of the decoration and location of spaces, we can recreate and interpret the function of each space in the episcopal palatium or episcopium, and detail the chronological development of the building. After the Arab-Berber conquest of Hispania in the early eight century, the whole complex underwent alterations that converted the religious and monumental public area into a private, residential and artisan Islamic quarter.

Il saggio di architettura: traduzione di "Städtebau für Mussolini"

Il contenuto principale della tesi consiste nella traduzione delle pagine 20-24 del testo "Städtebau für Mussolini. Auf dem Weg zu einem neuen Rom" di Harald Bodenschatz.

Istituzioni di architettura idraulica : dedotte dalle scienze di ragione, e di natura /

Includes bibliographical references.

Gli ordini di architettura del Barozzi da Vignola /

Pages 49-56 are Vocabolario de' termini d'architettura.

Regola delli cinque ordini d' architettura /

Engraved throughout. Architectural title leaf includes the arms of Cardinal Alessandro Farnese, to whom the work is dedicated, and the half-length port. of Vignola facing to the viewer's right. Plates are printed on one side of the leaf only, and are arranged in pairs on a verso and the facing recto. The 5 leaves at the end are from the series of 7 "Porte di Michel Angelo." Over 3 of the doorways are inscriptions relating to the Farnese.

Sulla architettura e sulla scultura in Venezia dal medio evo sino ai nostri giorni /

Mode of access: Internet.

Itinerario istruttivo di Roma o sia Descrizione generale delle opere più insigni di pittura, scultura e architettura e di tutti i monumenti antichi, e moderni d quest'alma citta, e parte delle sue adiacenze /

MTSD 0160.

Della Architettura : Libri Dieci /

Mode of access: Internet.

Il primo [-secondo] libro d'Architettura, di Sabastiano Serlio, Bolognese. Le premier [-second] liure d'architecture de Sebastian Serlio, bolognois, mis en langue francoyse par Iehan Martin ...

"Premier liure de geometrie", h. 1-25, y "Il secondo libro de perspettiva di Sebastiano Serlio Bolognese. Le second livre de perspective, de Sebastian Serlio Bolognois, mis en langue francoise par Iehan Martin ...", h. 25-74.

Direzioni della prospettiva teorica corrispondenti a quelle dell' architettura : istruzione a'giovani studenti di pittura, e architettura nell'Accademia Clementina dell'Instittuto delle Scienze /

Mode of access: Internet.