Chaired Professor of Design Studio
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 giant fascination exerted on those modern architects early last century. Since then and during the twentieth century, architecture has experienced one of the most exciting periods in its history, and no doubt that the construction industry has been present in one way or another in their transformations. Sometimes as a model of ideological vacuum, at other times as an expression of social change, as well as a new aesthetic and even as a framework for creating excitement and spectacle.
This research seeks an approach to the changes of meaning for architecture have structures of the industrial age, or in other words, we would like an approach to modes that have been invested over the last hundred years that one day those facilities were mythical.
Our approach is to integrate fragments within an overall package. So try to understand contextualizing, relating ideas and facts in different times and places. To do this, we will structure a tour in four steps and we will stop us in situations that are revealing and symptomatic.
99 * 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 Copernican shift that would bear fruit in the most paradigmatic began coming years, the project was born and modern structures of industrialization inspired his ideas.
100 * After the two world wars, the world changed and the relationship between man and machine; now it was complex and contradictory. The new generations of artists and architects found in the mixture dela 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 aim of appropriating its elements, their language and métodosdirectos assembly. The Hunstanton School of Smithson 1954 offers us to analyze a position equidistant between the teacher ventured exemplary Mies and live pragmatism of Albert Kahn.
101 * The passage leading from the production of goods and materials to the social revolution took place in the 70s.’s Social gains then found a way of expression in the construction industry as a model for a new, more flexible, changing and open architecture to vital transformations. 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.
102 * The artists of land art and abstraction, minimalism and new objectivity, changed nuestraforma to see the ruins and industrial waste; since then contemplate as archeology of our civilization, tambiéncomo expression of the destructiveness of man and as art works that move us.
When they move along the nuevomilenio, reuse of industrial structures estasantiguas actitudesopuestas show two mode of intervention: one that drift into the seductive spectacle of great effects, and another that focuses on containment sostenibleque make recycling a new way of ready made .
103 * Of the three architectures that I showed at the beginning of this presentation, there is only one standing: the factory Clesa Alejandro de la Sota. Preserve it and prevent its demolition, requiereademás Shops and good luck, such an innovative and creative attitude like Marcel Duchamp showed creoelready made when a century ago.
It is not to protect but to revitalize.
As one writer said recently, perhaps no more radical originality which rises with demolition materials