MAPA

mapa_Rogers

La hyperrealidad como superestructura

La geometria como el lenguage del hombre

• Modulo
• Orden
• Geometria
• Medida
• Relaciòn
• Proporciòn
• Control
• Regla
• Malla
• Simmetria

Lo que caracteriza al arquitecto en la sua producción es la capacidad para definir reglas en la base de su trabajo.

Estas normas no deben tomarse como absolutos, sino como el medio por el cual dar  orden, medida y proporción en su obra.
A esto se refiere  Le Corbusier en el capítulo sobre los trazados reguladores, que se definen como” uno de los momentos decisivos de la inspiracion, unas de las capitales operaciones.

La forma arquitectonica compleja puede organizarse refiriendola a otra geometria mas simple, que serve para situar los elementos principales de equella.

Ante el caos que se ve obligado a vivir el hombre, en  frente al desorden inherente a las formas naturales, el individuo se ve obligado a encontrar un orden, una medida de todo esto: un módulo de modo que le permita de reconocerse ” dentro de la realidad que le rodea. Implementa esta operación con la geometría, con formas simples, tales como el cuadrado, el  triángulo, l’angulo recto, a una escala que es “humana”.

De esta manera, “la arquitectura es como la primera  manifestación  de l’ hombre que crea un universo a imagen de su naturaleza”.

“Un modulo combina y unifica,un trazado regulador construye y satisface”.

“The architecture is a wise and wonderful game of volumes under the light”

 

The reference to the traditional views of some great masters – Michelangelo and Phidias above all – is combined with other elements, best suited to represent the needs and values of the new times: the great works of engineering and transport equipment . Finally, the greek temple lives on in the trains, automobiles, airplanes, ships.”Architecture is the learned game, rigorous and magnificent play of volumes assembled in light”: this phrase, an expression of logical lyricism of Le Corbusier, has its natural complement to anotherfamous formula: “The house is a machine for living “. The bridge between the two statements is, in the age of machines, the function, fruibility, and in addition the line and geometry: in a word, form.

“The construction is to take up: the architecture is to move.”

Reading the book is a method to understand how Le Corbusier pay attention to the concept of economy and how he emphasizes the method of construction as a union

between architecture and engineering to help create meaningful work that moves. Showing

that the first one is falling, it provides methods and means to revalue it in a modern society.

Understanding the idea of home as a “machine for living”, a single entity accessible in all its forms, summable in all its parties.

Tensegrity_less is more

The concept of tensegrity starts from the Fuller’s principle of “DOING MORE WITH LESS”: for the comprehension of his work it’s necessary to abandon the traditional analysis, that setting that kind of analytical metaphysics that ends up, reducing the work to a simple architectural object. It’s important to insert the architectures considered in an analysis of such phenomena (the architecture is revealedin the phenomenon) and the phenomenological analysis that is enlarged to reality (considered in all its aspects) within which architecture is defined and to understand in concrete terms and existential.

 

Fuller is a care

ful observer of

his surroundings, analyzes the current phenomena that affect the inner globe, the natural order of events, social, anthropological, political, and above all

scientific ones. Phenomena on the basis of which tax the real prophecies, however, are synthesized in the creation of a concrete space and in relation to such acts from time to time as an engineer, architect, mathematician, physicist, a philosopher, a sociologist, a biologist, a poet, an

inventor.

His projects begin with the interest on the individual, the world around him and did not conceive the existence of such as an end in itself, but as a factor that works on the principle of relations (with the world, with things and with the other men). In this space must also take account of these fundamental assumptions, ensuring that Fuller defines the quality of life.
To realize these aims Buckminster Fuller at the service throughout its scientific research, inventing new technologies and using new materials that demostrate his conception of simplicity in their creation and the estetical concept of the perfection of the geometrical forms.

The “geode”, once again, is not simply a pure form, but a system unbreakable, perfect, complex, which falls within a larger system, from which you can not ignore the parties.

“Architecture as inseparable unity, as an ensemble, whose shape and meaning to be found within the system itself.”

Firmitas-Utilitas-Venustas

“It has already been observed more than once that  a curious object that we suddenly find on the road, in a scenario in which we are not used to seeing it can appear in a new light, collected in a strange loneliness that have inside ethical and aestethical values: a deep intimacy develops between the observer and the opera itself, and it seems that it’s living in  a mysterious sense of happiness wind in his confined space it occupied on the sidewalk, in the middle of the bustling life of city and the continuous comings and goings of people: an immense and strange happiness is released in this island blessed and mysterious against the waves it unleashed in vain sensational ocean storm.”

(Giorgio de Chirico_Statues, mèubles et généraux 1927)

The concept of ethic in the buildings refers to a civic value, that means that everything made by his producer, always belongs to the city and its citizens, and therefore the appearence of each building has an intrinsic ethical value.

About those constructions, the more beautiful and  respectful of the environment and the city they will be, the more can be shared as much as its aesthetics, and  can we  said that work with ethical principles.
The ethics of architecture is for this reason  in the subject (the manufacturer) that contributes to taking care of the city with his projects and in the object itself (the product).

In these terms ethical principles can be considering like absolute values, in which live city’s history and in which all citizens represent themself;on the contrary, aestethical ones are connected to sensitive feelings in front of a building that can generate different types of perceptions depending on the different subjects.

La ciudad universal

“Espacio sin amplitud en una mezda indefinida de universal”

The “Generic City” can be considered a sort of “without plan city”:a spread one, in which the architectural product doesn’t reflect the instrument in which it’s possible to generate the urban plan.

It can be seen as a  system of irregularities and fragments that reflects the miscellaneous character of the contemporary society without ordering signs; an “amnesic city” with high demografic capacity and sprawl of discontinous elements.

In all those features(unusual and ordinary,various and homogeneous)it’s possible to lose reference points.

The “Generic City” is a process which it starts to expand itself with a mix of residence, working site and public spaces, able to answer to the people needs and regenerate itself everytime it’s necessary.

“An huge continuum urbanum made in every specific point and a summation of                      parts without connection”.

For this reasons it’s necessary to redefine new relations between spaces and single individuality: only in this terms it will be  possible to configure a new hierarchy of collective spaces and a new territorial unit.

The image of the city that we can see is a porous one because it can densify,expand or reduce itself, depending on the project’s needs that considering the original situation.