observations about the book: "Against the indifference as a standard" Moneo and Siza
By: Germain del Sol Stuven
On the text of Rafael Moneo on Alvaro Siza - Vieira, I propose to analyze the major issues revolving around the idea of \u200b\u200barchitecture. Whereas
Moneo begins by giving some hints about what characterizes the Portuguese architect, then implement its parameters in a detailed analysis of some of his works, I think the important thing in this essay is to highlight those aspects that made Siza a unique artist, and I think this requires, first of all, understand the ethics in which builds his craft.
If we take into account some of the teachings of Sartre, "Existentialism is a Humanism" understand that he gives responsibility to the individual. But not a single individual but an individual who is part of a social body and that the same thing - saying in simple - should weigh their actions according to what the world if they all acted like him. I mean, is not revolutionary try to change their minds masses or adhere to certain doctrines, but is the man in the privacy of their decisions, changing the world and sets the example.
In the context of modernism, where perhaps the ego of the artist has been greatly overrated, becomes even more value the presence of a character like Alvaro Siza, faithful keeper of ethics to do the things taught to them.
a greater or lesser extent we are all witnessing the proliferation of architectures purely aesthetic, in which it appears that the architect wanted to yell at the pedestrian: "I built this, look at me." Projects planned for the facade, or photo published. But Moneo, Siza said about that "he does not act simply reveals that with which we are surprised." I understand from the above that the architect is not to impose ways of living, or move. Asked how it works, Siza replied that first looks, and then recognizes the reality, always attentive to the place, people, materials.
For this reason, it appears that their work is not - obviously - the God who creates, in every sense of the word, but the poet, who takes what exists, and gives a new look. The boldness of his job is to stop, to understand what happens in the place, how people move, what are your needs. His expertise lies in being able to envision what occurs, and give it a suitable place.
is why that does not fit the modern egotistical, and that when this purpose is fulfilled, the artist disappears. Siza says also that "a place is what it is and what he wants to be" and then "No, I test the wood of the ship at sea, the excesses would destroy it. Study of currents, eddies. Hence not make much sense to require the space that is, from scratch, what the architect wants.
The aim will be to take what already exists, and let him become what he wants to be. Through their greater or less in harmony with man, the architect will try to what is already present, get its heyday in the work. But this does not happen if it is isolated from the randomly projected own life, seeking the new for the new, in the coldness of his study. Instead, it passes into contact with reality and ambivalence in the understanding of the epicenter of conflict that any human activity.
And I understand that is the way to solve this problem where art is born itself, whose end result is - tell Siza - always a surprise. For as he is not expecting the place to become a given, the finished project appears in the eyes and the way congenial clearest available variables. Y. when this is achieved without ostentation, could not be less than shocking.
It serves as an example of this, the Boa Nova restaurant, which receives a steep rocky area Siza by the sea. The architect could have blown up the rocks, and built on what came to his whim. But, according to the ethics that we have described, he chooses to take advantage of what the landscape offers not to imitate, but to articulate their project around it.
And that does not mean, that seems absurd example, that the restaurant should have a rock to resemble his environment, but simply that the walls emerge from adopting them its essential characteristic, the foundation. Then
then comes the determination, what Siza "says" about what was already said, the horizontal line of the roof which unequivocally states modest but human presence through a geometric continuity, nonexistent in nature (the line .)
Something similar can be seen in the pools of Leca da Palmeira, where he again received a rocky Siza, this time with a different mission. To allow people to bathe, the only thing really needed was to contain and appease the waters, which the architect gets small vertical walls rising from the rocks that allow water to accumulate and do not drain.
But it's the little details that matter. Why not build all the walls that can, but only the essentials, using rocks to perform the remaining work. And I would not call it minimalism, but common sense, consciousness scale, finally, humility.
As if that were not enough examples, we Malagueira social housing, where to get organized parking cars, painting Siza no lines of demarcation, it is sufficient to establish the extent of the street just for that to happen as happens. In poetic terms, we would say that verse will not construct the reader, gives only the foot forced to so he can finish.
In conclusion, we could say that the work of Siza light shines out from the inside, talking with what things are in essence, and this is given by a strong sense of responsibility involved in making architecture.
So out with the feeling that the origin of the quality of his work is in ethics, not aesthetics.
Moreover, I think he built from the incessant questions from the contrasts, so if we get to look like in his last works was diverted some of the usual way, we will see Pessoa come to his defense: "Nothing is more representative of life that those news of newspapers that give the lie to what those same newspapers said yesterday "(Book of Disquiet, Emecé).
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