SOSTANZA DI COSE SPERATE
"For a century the history of art in Europe is not just a series of specific actions and reactions, but a movement of the collective consciousness. Recognize that means finding the contribution of the existing (...). substance of things hoped for .. " Edoardo Persico, Prophecy Architecture 1935
"Architecture is the substance of things hoped for"
This conception of architecture is closely related to the definition of modernity:
"Modernity is a crisis of value and raises an aesthetics of rupture"
Baudrillard
architecture then in order to transform "the crisis in values," those who embodies the hopes of overcoming the crisis and it is precisely so that it can become a "substance of things hoped for"
The architecture is not design, but project, carried out according to a logic of prediction, projection, planning for the future.
This process occurs in painting movements of the century (XIX)
"Mountain of Sainte Victoire" , Paul Cezanne 1898-1900
Cezanne in painting this view, landscape very dear to him and again the subject of his paintings, he portrayed not as a mountain was, as it appeared at that time but has shown that "the world should be," what in his mind that it was designed. Through
una visione astratta e frammentaria e al contempo volumetrica e analitica, la sua pittura è progetto del nuovo mondo, è la rappresentazione del mondo visto secondo un preciso sguardo e ambisce che anche gli altri vedano attraverso questo stesso sguardo.
"Il paesaggio è la rappresentazione estetica, condivisa collettivamente e culturalmente, ma in costante evoluzione, di una parte del mondo"
Questa visione è propria di una società in cui l'informazione ha fatto il proprio avvento, che passa da un'esigenza di dominio e sfruttamento della natura, tipico della società industriale, ad un rapporto simbiotico, di integrazione e reciproco scambio.
I semi di questa stessa visione in architettura, see their buds in the urban area, where zoning is changed from processes in which the areas were green and contrasted sharply divided than residential or industrial, to a modern view in which nature becomes an integral part of architecture.
Le Corbusier, plan for a city of 3 million inhabitants 1922
Frank Lloyd Wright, Broadacre City , city model 1934
These two events are exemplary models of cities differences mentioned above.
Le Corbusier The city is based on the zoning, the division in homogenous areas residential, industrial, office and green areas are completely disengaged from them. These areas are strategically placed in a regular grid.
Wright passed by a city of this vision closed, imagine arriving at a city whose texture is broken, in which functional groups are combined together, a city that is set organically in the area, according to what is the new vision " landscape as a paradigm of architectural design. "
no coincidence that Wright is defined just by Edoardo Persico, "the new architecture Cezanne."
Returning to the word "substance" would wonder, 'What are these substances architecture? "
I am not sure of the strange compound abstract but very concrete issues, related to everyday life are the themes of urbanism, as just said, the services of public housing.
Wright also devoted himself to the theme of the house, an issue of paramount importance if we consider that we are in a society where decades before the advent of industrialization, has led to huge flows of people to pour into the city, with all its consequences and where the dwelling can not be a major challenge.
Wright designs so his "Usonian house, the house that you imagine for Americans.
In America hit by the crisis of 1929, Wright wants to achieve economic buildings, renewable energy and capable of integrating into the peculiarities of the plant site and the needs of the customer.
To use this as a basic geometry of a scheme to "L".
Frank Lloyd Wright, Jacobs House 1937
This scheme, already used by Le Corbusier and the Esprit Nouveau Pavilion, by Gropius in the Bauhaus, Aalto in villa Mairea is essential in the installation of the dwelling Wright as evienzia advantages over a rectangular pattern:
-wings can be extended along the I-
6 possible points of light instead of 4-
being a hybrid with a court system to have a more closed environment and external environment inside a more intimate
The point of intersection of the two arms is the "core", the central core, the true engine of the home, the organizing principle, but also the heart of distribution plant. From here you can develop in two wings of the living and sleeping area.
From the Willey House in 1933 by a series of attempts working in this direction for about 20 years to the theme of Usonian Houses.
In 1935 was built in Bear Run, Pennsylvania in the famous house Fallingwater, Wright's work that constitutes a new beginning.
Wright lives up to some of his design principles such as centripetal development, starting with a nucleus and the structure that shapes the space, but totally denies others, there is a total rejection of the grid construction in favor of dramatic momentum in space.
In a strong contrast between vertical and horizontal planes, the architecture is part of the blend with nature this time without it, it does not have any intention, but is itself an event, a phenomenon, a sort of "man-made nature"
Le Corbusier The city is based on the zoning, the division in homogenous areas residential, industrial, office and green areas are completely disengaged from them. These areas are strategically placed in a regular grid.
Wright passed by a city of this vision closed, imagine arriving at a city whose texture is broken, in which functional groups are combined together, a city that is set organically in the area, according to what is the new vision " landscape as a paradigm of architectural design. "
no coincidence that Wright is defined just by Edoardo Persico, "the new architecture Cezanne."
Returning to the word "substance" would wonder, 'What are these substances architecture? "
I am not sure of the strange compound abstract but very concrete issues, related to everyday life are the themes of urbanism, as just said, the services of public housing.
Wright also devoted himself to the theme of the house, an issue of paramount importance if we consider that we are in a society where decades before the advent of industrialization, has led to huge flows of people to pour into the city, with all its consequences and where the dwelling can not be a major challenge.
Wright designs so his "Usonian house, the house that you imagine for Americans.
In America hit by the crisis of 1929, Wright wants to achieve economic buildings, renewable energy and capable of integrating into the peculiarities of the plant site and the needs of the customer.
To use this as a basic geometry of a scheme to "L".
Frank Lloyd Wright, Jacobs House 1937 This scheme, already used by Le Corbusier and the Esprit Nouveau Pavilion, by Gropius in the Bauhaus, Aalto in villa Mairea is essential in the installation of the dwelling Wright as evienzia advantages over a rectangular pattern:
-wings can be extended along the I-
6 possible points of light instead of 4-
being a hybrid with a court system to have a more closed environment and external environment inside a more intimate
The point of intersection of the two arms is the "core", the central core, the true engine of the home, the organizing principle, but also the heart of distribution plant. From here you can develop in two wings of the living and sleeping area.
From the Willey House in 1933 by a series of attempts working in this direction for about 20 years to the theme of Usonian Houses.
In 1935 was built in Bear Run, Pennsylvania in the famous house Fallingwater, Wright's work that constitutes a new beginning.
Wright lives up to some of his design principles such as centripetal development, starting with a nucleus and the structure that shapes the space, but totally denies others, there is a total rejection of the grid construction in favor of dramatic momentum in space.
In a strong contrast between vertical and horizontal planes, the architecture is part of the blend with nature this time without it, it does not have any intention, but is itself an event, a phenomenon, a sort of "man-made nature"
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