This is not a factory
Lecture by Blanca Lleó School of Architecture eauclm , 21 building campus weapons factory in Toledo.
Title : This is not a factory
( Lesson of Chair of Architectural Design . ETSAM , Higher Technical School of Architecture of the Polytechnic University of Madrid , July 2012).
When a century of the first photographs of American silos spread in Europe by Walter Gropius is true, we can not stop thinking about the mythical fascination architects exercised those giants in the prewar period. Since then, the construction industry has been present in all of the modern project trasnformaciones , sometimes as a model of ideological inspiration , at other times as an expression of social change , as well as a new aesthetic and even as a framework for creating excitement and show.
This research , which includes fragments within an overall package , intended to approximate the various modes that have been invested the old premises of the industrial era , or in other words , explores an approach to their changing meaning in the last hundred years .
We structure the course in four stages: 1912 a century, without rhetoric ’50s , ’70s counterculture and millennium .
In 1912, a century ago , the architects pushed into dire confusion revealed the civilizing force beating in the imposing industrial buildings . The engineer then represented as noble savage releasing the styles and construction necessary. In those years before the Great War , also in architecture a turnabout that would bear fruit in the most paradigmatic began coming years , the project was born and modern structures of industrialization inspired his ideas .
After the two world wars , the world changed and the relationship between man and the machine was now complex and contradictory . The new generations of artists and architects found in the mixture of popular culture with the archaic and the industry , the echo of the sensitivity of his time. The world had lost its unitary character and now consisted of fragments. Even the banal everyday acquired an unusual value and industrial production was the focus of interest of creators, but not from a mythologizing look but with the desire of appropriation of their elements, their language and their direct assembly methods . The Hunstanton School of Smithson 1954 offers us to analyze a position equidistant between the teacher ventured exemplary Mies and direct pragmatism of Albert Kahn.
The passage leading from the production of goods and materials to the social revolution took place in the 70s. The social gains then found a way of expression in the construction industry as a model for a new, more flexible and open to changing vital transformations architecture. The Pompidou Centre and Rogers and Piano Factory Secs Pompeia Bobardi Lina are two examples of ” socially productive container” inspired by Cedric Price ‘s research and theories of Henri Lefebvre.
The artists of land art and abstraction, minimalism and new objectivity , changed the way we see the ruins and industrial waste; since then contemplate as archeology of our civilization, also as an expression of the destructive capacity of man and as art works that move us .
When they move to the new millennium, the reuse of these old industrial structures show two opposite attitudes in the mode of intervention : one that drift into the seductive spectacle of great effects , and another that focuses on sustainable recycling containment makes a new mode ready made .