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1 - Legitimação da arquitectura:
1 - Legitimação da arquitectura:
O que é que um vídeo com pessoas dançando surpreendemente no quotidiano metropolitano de uma cidade, na visão "Fritzlangiana" do termo Metropolis, tem a ver com a validação a priori ou a posteriori de um projecto de arquitectura? Aparentemente, nada... (note-se que o "aparentemente" só fortalece o carácter polémico e visionário de tudo o que se seguirá, e que as reticências aumentam as expectativas, toda a gente sabe).
(nota mental do redactor: "Ena! Intercalar referências cinematográficas eruditas e em tons de cinza, ainda que tão repetidas que de alternativas tenham já pouco, com dúvidas linguísticas e prováveis erros ao arriscar cunhar um termo novo só acrescenta allure a uma mensagem pseudo - intelectual, confere-lhe aquele je ne sais quoi que só se verifica num daqueles encontros cósmicos entre uns óculos de massa, um penteado assimétrico comprado num cabeleireiro alternochic e uma toalha de mesa aos quadrados, muito colorida, onde pousa um pires de tremoço e um rádio que toca neo folk português)
2 - "Modern Utopia"
Cito Jing Liu e Florian Idenburg, arquitectos do atelier So- Il, na revista Mark #39 de Ago / Set 2012:
"... there will always be a gap between the intention and the execution of a project.But inconsistency is about that weekened modernitiy we´re talking about as well - the cracks in the foundation that we're focused on. It's impossible and even impractical to be consistent in the real world."
"... we´ve always felt that discomfort can be productive."
"... I think the vacuum we face by having an office in Brooklyn allows us to explore rather than just produce."
"Within this uncertainty, I hope we can discover a new aesthetic, which isn´t about perfection, definition or certain control. We want to use uncertainty as an aesthetic impulse."
O que quer dizer isto, em relação ao anteriormente avançado? A ideia de que o desconforto possa ser produtivo e a recusa "metafórica" da perfeição estética, procurando, sim, o máximo de coerência entre campo conceptual explorado / proposto e proposta final constituem pontos de partida claros e fortes. Os dogmas linguísticos do Moderno estão, claramente, obsoletos (não há polémica nenhuma nesta última oração, o que por si só pode ser profundamente polémico). No entanto, permanecem nas fundações ideológicas de inúmeros arquitectos marcados pelos direitos adquiridos da disciplina da arquitectura, muitos deles cimentados ainda num ambiente académico que favorecia uma ligação às Belas - Artes, a cultura de um "Venustas" quase intemporal e a uma ideia de contribuição social da arquitectura que, em muitos casos se transformava num encerramento monástico e, diria, efectivamente anti-social na realidade actual. Ninguém nega a contribuição real que muita arquitectura, especialmente a habitacional, teve em alterações sociais a um nível primário; no entanto, o termo "social" aplicado à arquitectura actual deve ser entendido como relacionado com uma economia muitíssimo marcada pela comercialização de uma imagem de cruzamento disciplinar, de cooperação intelectual e de multi - referenciação; um brainstorming global e contínuo, no qual a arquitectura sai fortalecida quanto mais interligada estiver com todas as outras actividades, e não o contrário.
3 - Lucky Luke é mais rápido que a própria sombra!
E quando a sombra é maior e melhor que nós, o que fazer?
O medo é um sentimento fundamental, que está na raiz dos mais surpreendentes êxitos. E o medo profundo da perda de influência no mundo da arquitectura em vias de extinção, esta que não admite que eu retire de um vídeo com pessoas a saltitar numa gare a "inspiração" que possibilitará a criação de um projecto efectivamente válido condena-a a minguar até desaparecer.
Dêem-me diagramas em tons garridos! Dêem-me imagens manipuladas digitalmente até à náusea onde eu possa ver a Rainha de Inglaterra sentada numa cadeira de Niemeyer enquanto assiste ao "Portugal no Coração"!
EN_
1 – Legitimisation of architecture:
What does a video with people dancing surprisingly on a metropolitan daily setting of a city, in the “Fritzlangean” view of the term Metroplis, has to do with an a priori or a posteriori validation of an architectural project? Apparently, nothing… (notice that this “apparently” only strengthens the polemical and visionary character of everything that will follow, and the reticence enhance the expectation, everybody knows).
(Author’s mental note: “Wow! Balancing erudite cinema references in shades of grey, even if they are so overused they are no longer very alternative, with linguistic doubts and probable errors trying to invent a new term that only adds allure to a pseudo-intellectual message, gives it that je ne sais quoi that only happens in one of those cosmic meetings between thick frame glasses, an asymmetrical hairdo bought at an alternative-chic salon and a colorful checkered table cloth, where a plate of lupin beans lays and a radio plays Portuguese folk).
2 - "Modern Utopia"
EN_
1 – Legitimisation of architecture:
What does a video with people dancing surprisingly on a metropolitan daily setting of a city, in the “Fritzlangean” view of the term Metroplis, has to do with an a priori or a posteriori validation of an architectural project? Apparently, nothing… (notice that this “apparently” only strengthens the polemical and visionary character of everything that will follow, and the reticence enhance the expectation, everybody knows).
(Author’s mental note: “Wow! Balancing erudite cinema references in shades of grey, even if they are so overused they are no longer very alternative, with linguistic doubts and probable errors trying to invent a new term that only adds allure to a pseudo-intellectual message, gives it that je ne sais quoi that only happens in one of those cosmic meetings between thick frame glasses, an asymmetrical hairdo bought at an alternative-chic salon and a colorful checkered table cloth, where a plate of lupin beans lays and a radio plays Portuguese folk).
2 - "Modern Utopia"
I quote Jing Liu and Florian
Idenburg, architects at atelier So- Il, on Mark magazine #39 (Aug / Set
2012):
"... there will always be a gap between the intention and the execution of a project. But inconsistency is about that weakened modernity we´re talking about as well - the cracks in the foundation that we're focused on. It's impossible and even impractical to be consistent in the real world."
"... we´ve always felt that discomfort can be productive."
"... I think the vacuum we face by having an office in Brooklyn allows us to explore rather than just produce."
"Within this uncertainty, I hope we can discover a new aesthetic, which isn´t about perfection, definition or certain control. We want to use uncertainty as an aesthetic impulse."
What does this mean, in relation with was written before? The idea that discomfort can be productive and the “metaphorical” refusal of aesthetic perfection, searching instead for a maximum coherence between the explored / proposed conceptual field and the final proposal are clear and strong starting points. The linguistic dogmas of the Modern are, clearly, obsolete (no polemic in this statement, which in itself can be profoundly polemical). However, in the ideological foundations of several architects close to the acquired rights of the subject of architecture, many of them created in an academic environment which favoured the connection to Fine Arts, there still remains the culture of an almost timeless “Venustas” and the idea of social contribution of architecture which in many cases turned itself into monastic confinement which would be, I would argue, effectively anti-social in the current reality. No-one denies the real contribution that architecture, especially residential, gave to social changes at a primary level; however, the term “social” applied to contemporary architecture must be understood as being related to an economy heavily related to the commercialization of an image of disciplinary crossing, of intellectual cooperation and multi-referencing; a global and continuous brainstorming, in which architecture is strengthened the more connected it is to all the other activities, and not the contrary.
3 - Lucky Luke is faster than his own shadow!
And what if the shadow is bigger and better than us, what to do?
"... there will always be a gap between the intention and the execution of a project. But inconsistency is about that weakened modernity we´re talking about as well - the cracks in the foundation that we're focused on. It's impossible and even impractical to be consistent in the real world."
"... we´ve always felt that discomfort can be productive."
"... I think the vacuum we face by having an office in Brooklyn allows us to explore rather than just produce."
"Within this uncertainty, I hope we can discover a new aesthetic, which isn´t about perfection, definition or certain control. We want to use uncertainty as an aesthetic impulse."
What does this mean, in relation with was written before? The idea that discomfort can be productive and the “metaphorical” refusal of aesthetic perfection, searching instead for a maximum coherence between the explored / proposed conceptual field and the final proposal are clear and strong starting points. The linguistic dogmas of the Modern are, clearly, obsolete (no polemic in this statement, which in itself can be profoundly polemical). However, in the ideological foundations of several architects close to the acquired rights of the subject of architecture, many of them created in an academic environment which favoured the connection to Fine Arts, there still remains the culture of an almost timeless “Venustas” and the idea of social contribution of architecture which in many cases turned itself into monastic confinement which would be, I would argue, effectively anti-social in the current reality. No-one denies the real contribution that architecture, especially residential, gave to social changes at a primary level; however, the term “social” applied to contemporary architecture must be understood as being related to an economy heavily related to the commercialization of an image of disciplinary crossing, of intellectual cooperation and multi-referencing; a global and continuous brainstorming, in which architecture is strengthened the more connected it is to all the other activities, and not the contrary.
3 - Lucky Luke is faster than his own shadow!
And what if the shadow is bigger and better than us, what to do?
Fear is a fundamental feeling,
which is in the root of the most surprising achievements. And the deep fear of
the loss of influence that this endangered architecture feels, this
architecture that doesn’t allow me to use a video of people hopping up and down
in a train station as the “inspiration” that will make the creation of an
effectively valid project possible condemns it to shrink and until it
disappears.
Give me diagrams in lavish
colours! Give me images digitally manipulated ad nauseam where I can see the Queen of England seating on a
Niemeyer chair while watching “Eastenders”!
pt_
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