Introduction
Creating architecture is a creative act. Thinking about its features through aspects of form, elements of spatial organization, program and functional features, and possible social engagement is of great importance for the society in which we live. To anticipate the present as a state, to reveal contemporary problems of society, ambivalences and strata, are, from my perspective, the fundamental tasks of this discipline today. But theorizing the present is problematic. Today's time, markedly more complex than the previous one, is made up of a wide range of crises; economic, demographic, migrant, political, geopolitical ... The spaces in which the architect works are multiplied. Through research into contemporary phenomena, the architect is constantly questioning the postulates that define the profession as such. The work of an architect, as an individual or in a group, through a methodology enabled by his creative intention and energy (writing, drawing, designing, building) redefines the picture of the world as we know it. The most important architect of the 20th century claims: "Architecture is a beautiful play of light and shadow over illuminated volumes". By claiming this, he recognizes the distinct strength of this discipline through its geometric properties. Indeed, such an understanding of space brings the architect before new insights and motives. I believe that the architectural ambience can have an affirmative effect on a person. Man is directly connected to space.
Spatiality and materiality are an inevitable feature of architecture. Many of today’s crises and problems of the time must be recognized through the spatial framework, and thus create an architecture that will properly respond to the problems that lie ahead. Architecture as a medium has the power to strongly influence the context around it, and to transform it in an affirmative sense. The inherited language of architecture, which is certainly the sediment on which I continue my own work, is the starting point for testing new spatial models. Familiar elements of architecture can create a new architectural space. We build our own world through architecture. But we also react to it.
Concept
Intent: An autonomous architectural artifact (autonomy of architecture) opposed to context (contextualization).
The most important moment of the 20th century architectural histography, as P. Eisenman claims in one of his lectures, is Colin Rowe's comparison of two villas, Corbusier's villa in Garches and Palladio's villa Malcontenta ("The mathematics of ideal villa"). This stunning juxtaposition, as he claims, confirmed that historical heritage is very present in modern architecture, but, certainly, in the subtlety of the reading this comparison, it was also confirmed that in the background of the modern, as with Palladio, was hidden manifestations of the Ideal. Then, he added, that architecture, in its vision, idealized its own materiality (reinforced concrete, steel structures ...), where painting and music did not have that obligation and intention. At the same time, this idealization prevented modernity from achieving its own goal. Thus, the diagram became a means of communication, transcending the time in which it was created. Today’s world, where hyperreality is replaced by virtual, materially digital, certainly needs to include digitality, and the current state, according to Eisenman, is a project of erasure, where it begins with a point that has no history, no context and no memory. It is the moment of time in which we find ourselves.
Can today's architecture be constructed on the ideas of historical models, fragments of inherited them? Freed from ideological representation, create a new construct, adequate to the present moment. The historical heritage of architecture, especially that of the 20th century, represents an infinite range of relations and ideas. Architectural education, grown in a school of predominantly constructivist thought, contributes to the avant-garde aspirations of the modern architect. Between archeology and innovation, the layers of arch tend to create diagrams of sovereignty. Through comparisons, juxtapositions, overlaps, and deconstruction of historical models, we can contribute to the creation of a new construct; Archeology of the Future.
Context
The history of architecture is the history of ideas. The lace of today is woven with the threads of the past, with the tendency to create a pattern that strives for the unknown and the new. Architecture, constantly changing its field, is trying to participate in the processes that sustain the world today. How to create new templates of behavior, efficiency and usage? History of ideologies, history of typologies, history of relations. History of Science, Art and Philosophy. History of architecture. The sediment we continue on. At the current Venice Biennale, V. Olgiati puts forward a thesis on non-referential architecture. He writes: "Non-referential architecture is 21st century architecture. It differs from postmodern architecture insofar as non-referential architecture is a response to the non-referential world. Non-referential architecture is free of vocabulary of fixed semantic images, symbols and historical connotations Buildings of non-referential architecture are self-based - they are based on architecture inherent qualities such as architectural space and form and the experience of space they cause in the population and visitors. external architectural concepts and ideas, imports and themes, for example, taken from the fields of economics, ecology, or politics. " How to achieve continuity of architectural discipline?
ArchitecturePiranesi's Campo Marzio is the first conceptual work in the history of architecture because it is a new depiction of Rome; a collage of typologies displaced from their imagined locality, changed scale and time of origin. We have a triad: place - size - time. A beautiful urban creation. Such a selective approach to the organization of territories, extremely avant-garde for its time, and relevant for today, is the modus operandi of the architect-thinker. The collage technique, evidently present in his project, is still used today. Above all, it represents a kind of formalism, but it undoubtedly opens the field to new ideas. Relations.
Nolli's map of Rome, where the relationship between architectural space and urban space is presented for the first time through the presented floor plan, figure and background, as PV Aureli claims, writing about Nolli's map of Rome ("The PossibilityOfAnAbsoluteArchitecture"), is being re-actualized today. PV writes: "Architectural space is defined by its internal logic, while urban space is determined by external constraints of built mass, such as circulation, ownership and density, and therefore cannot be reduced to a single form like architecture. "Question: How would it be drawn today? What is the relationship between public and private today? Accessible and inaccessible? Both projects problematize the idea of the urban and encourage urban planning as a construction concept.
The anticoncept of city-building, and the contribution to public space are two projects of deconstruction of the city. Although diametrically opposed, the Le Corbusier project for Paris (the Voisin plan) and the O. M. Ungers Green Archipelago are two projects that truly dismantle urban fabric by revealing public urban space. Emptiness. Negative. Today, they are gaining new meaning. A new perspective.
The principle of Le Corbuiser's approach when designing the monastery of LaTourette, where he modeled on the historical example of the Tuscan monastery of Emma, is very dear to me, because it speaks of the continuity of spatial ideas transposed over time. I see Venturi's view of architecture as a complex and contradictory discipline extremely important. The dual properties of architecture are very important. I ask myself: “What is the contemporary aspect of this thesis? Has he moved from the duality of form to the duality of the program? ”
Rossi's Locomotive, passes and frames, Koolhaas's Agadir, creates the field, Eisenman's Canneregio rasterizes and changes the scale, Heyduk's Wall houses hypertrophies andprolongs. Referential architecture.