Axonométrica exterior Axonometric
MHD HG Axo Hülle
11.06.2013 M 1:200
Axonométrica espacial Axonometric
GRAFIK Grafische Überarbeitung für Print- und Web-Publikationen
gez.: HS
Bruno Fioretti Marquez Architekten Schlesische Strasse 26 10 997 Berlin
DIN A2
GSPublisherEngine 0.0.100.100
How has the work for the Houses of the Masters been, where it is a matter of rebuilding nothing less than a work designed by Gropius for the Bauhaus of Dessau. A responsibility with many eyes on the commission, and of which you came to speak at the Docomomo seminar. - Docomomo is an examination of what we can do to preserve the value of this type of architecture in particular. The bombings of 1945 destroyed two of the Masters’ Houses, of one of them only the basement survived and of the other one, half of it. Here we are not dealing with an existing object that has suffered the passage of time or must be preserved, but it is about combining reconstruction and reinterpretation. If one considers this group of houses as a whole with two pieces missing, the common effect no longer exists. It is not about preserving what was saved but completing what was lost, and in the absence of these two pieces the challenge is to preserve the historical document and at the same time complete the assembly, contradictory concepts. But we could defnitely not do historicism. A complex decision ... - Actually, it is very simple and the way to solve the problem was always clear. When presenting the project before the commission of the municipality of Dessau, we gave as an example a reconstructed Chinese dynasty vase. This vase is missing some pieces and the pieces with which it was completed are different, but it is a set of pieces that collaborate for a common effect. The new pieces are not painted nor are they intended to resemble what the vase was like two thousand years ago. With the houses it is the same: two are missing and you must rebuild the missing pieces, but without pretending that they were not lost. Whoever visits them should know and notice, we can’t forget that we have lost them. But the project must not return to the past, it must allow the aesthetic experience of the whole without denying the history; it must remain as a record of what was destroyed and declare its timelessness, so that whoever looks in 100 years time sees the vase - the whole - and understands what happened to it. GRAFIK Grafische Überarbeitung für Print- und Web-Publikationen MHD HG Axo Raum Variante grau Bruno Fioretti Marquez Architekten Schlesische Strasse 26 10 997 Berlin DIN A2 11.06.2013 M 1:200 gez.: HS
In Europe, architectural work is defined by energy standards, whereas in Chile we are affected by earthquakes, which conditions an architecture strongly marked by the structure. That is why the railway center of Pollegio is striking, its structure could be in Chile or in any seismic country more than in Switzerland. Why did you decide in this case to use reinforced concrete and define that marked expression to the building? - Nature in Switzerland is very powerful, and the Swiss live like the Hobbit , between mountains, on rocks, in deep cliffs, between valleys. And they also build spectacular engineering works, tunnels, dams, hydroelectric power stations, works built at 3,000 meters above sea level in exposed concrete and with gigantic, impressive spaces. There is a very strong tradition of pragmatic engineering work, of large dimensions and almost always in concrete. Our building is the control tower of the longest 60-kilometer tunnel in the world, built to concentrate truck traffic and get that flow out of the highways of the Alps. It is a gigantic work with a spectacular investment, imagine, a tunnel dug into the mountain. The control tower gathers all the support and logistics services and has the role of announcing the tunnel and the presence of this engineering work. We did it on purpose, and that’s why one of the names of this project was ‘periscope’ and the other ‘sentinel’. It is not a building in the city, it is in a valley with an imposing context. If the building wants to be heard, it must be presented in nature as saying, ‘here I am’. It could not be in wood or brick, it had to be in a stony material. The other line of definition - with which we convinced the jury - is that it is a typical railway control station, with a torso and with a cantilever to stretch out and see the tracks. Finally, the proposal leads to a greater structural condition, but it comes from the proposal. - It’s just that, architecture is not a service to give satisfaction to the program, I always tell the students. We, architects, are vintners, we are not to quench the thirst - which is the program -, we make wine. Architecture is another human activity that must think beyond strictly functional needs and make beauty in the things we use to live. And a tower, even for a railway, has the same obligation. Whether or not that beauty appears will be determined by the community, but our duty is always to try. GSPublisherEngine 0.0.100.100
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