Amereida, 1975
Amereida is a poetic collective creation which was shaped in the creative style of the poet Godofredo Iommi Marini, work that has the participation of Alberto Cruz although the first edition does not certify any authorship, not even Godofredo Iommi’s own. Even so it is known who are the authors of many of its fragments. I would like to bring a capital dimension to this work which aims to the highest poetic level, that of the epic, as to reveal a possible reality for the South American continent. For this we must stop briefly to hear what the work itself proposes to us. Amereida is a poetic text constructed in the inheritance of the modernity enabled by the poet Stephan Mallarmé with his Golpe de Dados, in which the white of the page is a supporting actor in the poem. Amereida is conceived in this acting white, thus it has no punctuation marks and the white of the page is what grants the silences that effectively supplement the traditional signs. Continuing, we have a fundamental feat, together with the revealing words that constitute the poem some maps appear. These maps are not the usual illustrations that accompany the luxury editions that are not part of the poem as such. These maps, done by Alberto Cruz, are a constituent part of the poem. We are going to take our time in the first of them, given that it seems to us that it inaugurates a different period for South America and after its construction it has had consequences that persists in time since they constitute an inaugural opening. The plane in question is the first that appears in Amereida. It refers to a plane in the American continent specially drawn for the occasion; consists in the contours of the continent, in the line that separates the water from the earth and next, the plane extends towards the perimeter of the page tracing the depths of the seabed surrounding the continental mass. Thus the continent appears by what is not drawn. This plane allows us to capture various dimensions, which are all revealed. First it is a cartographic plan, it is the exact continent, not an expression nor a continental allegory. It is not an America that is located in the heart or mind of the poet. Thus, the poetic America is the concrete continent inhabited by the Americans. The following and more important construction that this plane does is the entrance of the South American continent in the poetic whiteness of the page. It refers to the architectural contribution in the Amereida poem that makes the entry possible of just the extension of the continent in the whiteness that sustains poetry until today.
This inauguration of the American continent as poetic material has place in that instant, and has not stopped being object of the construction of the College of Architecture and Design of the Pontifical Catholic University of Valparaíso until present day, enabling the foundation of the Open City and the realization of Passages without interruptions since 1984. As such it constitutes a permanent opening in the possibility of conceiving an American construction without exclusions or nostalgia, which the present is manifested as a gift. This text does not attempt to embrace all of Alberto Cruz’s written work, it has only taken three of them to demonstrate its direction, to reveal what it has brought to the country, which is the opening to a new creative horizon in architecture, urbanism and in the arts in the possible destination of the American continent. This whole discourse grounds on another construction that goes further than text and that has the same context in terms of being an original opening guide by Alberto Cruz: it refers to the relationship between poetry and architecture. It is not about the normal interpretation that a reader carries out on a poetic text that inspires him or that makes sense as the culmination of an understanding. This is a relationship with the word in terms of being a word –the poem– heard by the profession of architecture at the start as unknown. This hearing is to be accommodating, which to be so requires of all the architects, go from a destination to such an opening. From his texts and from the construction of his work and study life, Alberto Cruz has built a creative opening that grants on America a possibility of the world.
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