Sueño de habitar

Was Joseph Rykwert in his classic essay The House of Adam in Paradise who has shown how to inhabit the land has been one of the basic challenges of every culture , leaving the architecture in its most generic sense , the work of my solving forms and ways in which such dwelling is defined , and daring to establish a certain parallelism between two ends of history : first , the Arunta tribe , located in the valley of the Finke river in central Australia , who resigned even the most basic ways to solve your room , and on the other , the ideas of Le Corbusier in Towards an architecture , attentive to problematize the home of modern man.

Reading Rykwert merely affect all aspects history of forms of culture have to clarify . In his later work , Pierre Bourdieu has made clear how the house reveals the precise position of an individual in the social space and symbolic space , giving the coordinates of a number of factors that define the individual socially . In the symbolic hierarchy , the visibility of the house is relentless. Nothing like it enough to define the aspects that build rather than an individual in the economic , social and even cultural context of a particular time.

Indeed , both Bourdieu provides perspective on the symbolic significance of the house , the history of the forms of living that Rykwert analyzes , show us a historical evolution must be understood from a more sociological perspective typological . The house is presented as the quintessential synthesis converge all those variants that define the status of the subject of

each time. It contains reiterates Bourdieu, economic and social , cultural and symbolic .

Visit today, for example , the house of Schinkel or Reynolds allows us to understand how the universe rests in them transcends the strictly typological or formal orders to get us into a world in which everything from the architecture to the decorative arts, is conjugate from the thought of a particular taste that the individual who inhabits it imposes on its composition. A taste , from the eighteenth century , is the expression of a new individual that changes the relationship of appropriation of the arts , becoming these a projection of a fixed subjectivity that his understanding of the life, history , experience human .

Without a doubt, was the birth of the metropolis bringing the debate on cities and the ways of modern living takes on new significance . The emergence of a new individual , the bourgeois of Werner Sombart – laden attributes, subject of a story that the industrial revolution had started , and the first results were evident – makes the inherited forms of the eighteenth century are questioned . The metropolis , which becomes the metaphor par excellence of modern life , is also the place of the occurrence of a particular individual who will set its new scenarios and rituals of representation. Interiors that Honoré de Balzac and Emile Zola described, or that we see in the works of Impressionism, just note this change of taste and perception. Walter Benjamin has been able to identify relationships that link these life changes and their consequences for the formal organization of the city and house . In 1935 the Journal wrote: ” Under the reign of Louis- Philippe made ​​his entrance in history For this particular individual , local housing are in opposition for the first time working with local [ … ] . . the particular that his office considers only realities , calls inside you feed the illusions in the arrangement of his private environment rejects concerns Hence they derive all the phantasmagoria of the interior , . . for the particular , this represents the universe . Gather regions and distant memories. Their living room is a box on the theater of the universe. “

The triumph of the metropolis as a privileged scenario of modern life drags forms of housing and , as Georg Simmel later recorded , the relationships of the modern individual with the social space. This happy relationship that opens the nineteenth century and became a model for modern life , will be shaken by criticism , from the fin-de- siecle , bursts and problematizes legitimacy century naturalism had established. A hidden complicity leaving the increasingly dramatic split between life and form , and Simmel recognized as the cause of the drama of modern life . Adolf Loos establish the border and limit a concept that undoubtedly contained in his own speech ideas of a new concept of modern living .

Loos Tension tour opened by the first decades of the twentieth century , finding in the intellectual debate that follows the end of the Great War its central point. The idea of ​​Berlin as Weltstadt had all those ideas that are the basis of the definition of a new project, built from what Walter Gropius defined as a new universalist perspective, a project whose construction the best intentions to be dedicated the 1920s . Without going into a detailed assessment of what these ideas meant and difficulties that accompanied its implementation, we meet with the ethical manifesto, which, in favor of a new architecture , Mies van der Rohe proposed and will appear at 7 Die Form , in June 1931 . Mies writes: ” The property of our time does not yet exist , however, the transformation of living conditions will make it necessary . ” . Once again it will return to the view that understands the project articulated architecture with the social and cultural processes that ultimately define an era. Everyone knows that the years following the Great War were decisive in defining a project that political circumstances made ​​it impossible . But , however , that tension that marked passionately toured the interwar years .

At the end of the eco has a special lecture by Martin Heidegger on 5 August 1951 under the Darmstadter Gesprache II : Bauen Wohnen Denken [ Building, dwelling , thinking] . Heidegger was no intention other than to open a reflection on the project of reconstruction after the catastrophe of the war, made ​​possible ” live in the world .” We all know how this uplifting purpose of sending resolved Heidegger reading a classic tradition for the task of all philosophy is none other than ” save the polis ” as Plato had advocated the Charter VII , leaving different times in history define and specify what is meant by “save” and what by ” polis ” . The vicissitudes of this story are well-known , and the dramatic character of the postwar

became then in a difficult argument to avoid, especially for those who were thinking of a story like experience and realization of human reason .

Read again the study of White Lleó, Dream of living , is tantamount to re-think the architecture from all those conditions that are the basis of the so-called culture of the project. Somehow the debate on the house is central to the debate on architecture, either necessarily refer to a context in which they operate the great transformations of our time. The sequence is proposed in walking places, a canonical and other symptomatic of contemporary architecture , showing his obsession Rykwert had already identified , to which every culture must respond under different forms of human habitation . So to speak, all households are one possible in this game to facing the difficult time in history and Blanca Lleó walking with lucidity. ( … )