Penetrating into topics related to the investigations of the development of the Modern Architecture I thought that there exists a suggestive mien that differentiates and emphasizes the architectural quality of the studied works. The quality to which I refer is that one that allows to estimate the force in the Modern Architecture: “The timelessness ”.
CCertain it is that one of the characteristics of the Modern Architecture is atemporal of the architectural, but certain object is also, that not all the modern works enjoy an imminent and prominent atemporalidad. To my to seem, one of the modern works “more timeless” for this way is the German Pavilion for the Universal Exhibition of 1929 in the city of Barcelona, of the architect Mies Van Der Rohe. An extraordinary work that has been recognized as one of the icons most distinguished from the Modern Architecture, where an impeccable managing of the space is observed: the materials, the light, the traffics, the spatial relations (interiors and exteriors) and an endless number of attributes that expose the qualities of this “Way” of approaching an architectural order, a Modern Form.
One of the comparisons, which it was in the habit of doing, to demonstrate this atemporalidad to my pupils is to compare the Pavilion of Grain with a vehicle of the year in which it was constructed, for example a Ford of 1929. Then he was comparing it with other vehicles of later years and finally he was comparing it with the last model of diverse brands of cars “futurist type”. And what was demonstrating the above mentioned comparisons was that the Pavilion was meeting “more modern” than the cars descontinuados and in relation it saw the last model in force, without being obvious that there is a difference of 83 years.
The fact that motivated me to elaborating this article was the publication of the model Giulietta of the brand Alpha Romeo, in the year 2011, where the vehicle appears on the water mirror of the Pavilion in Barcelona, demonstrating atemporal of the building and revealing an evident response to my questions: that is, specifically, what it does atemporal to the pavilion of Grain and to the Modern Architecture in general? The response was in the evolution of the vehicles across the years, correspondent to the technological advance, allowing major benefits like that for the user. This happens because the technology for the manufacture of cars has allowed the use of new materials, to reduce the consumption of fuel and to achieve major power in relation to the consumption. The comfort of the vehicles across the years is every time major and it it allows the advances reached by the self-propelling industry, demonstrating that the evolution will follow in agreement to the technological advances in the future years. Opposite case happens with the Pavilion of Grain, the technological advance does not allow the same thing in the architecture. The technological advance has not developed a material or structural system that it displaces to the materials used in the Pavilion, neither as well as have been achieved spatial relations that overcome the cleanliness and perfection of the espacialidad in this architectural example. The Modern Architecture does not have very much space where evolving and is as it that proves evidently atemporal, since it came to the ceiling as for spatial architectural solution as consequence of the utilization of the beginning that apply to the Modern Movement.
Fernando Freire Forga · Doctor Architect
Lima · juny 2013 · Author of the Blog La Forma Moderna en Latinoamérica
Fernando Freire Forga nace en Lima el 21 de marzo de 1977. Entre los años 1994 y 2000 realiza estudios de arquitectura en la Universidad Peruana de Ciencias Aplicadas en la misma ciudad. En 1999 obtiene el primer premio en el Concurso a nivel nacional organizado por PROCOBRE-PERÚ con la tesis: Edificio Automatizado de Oficinas: “Usos del Cobre en la Arquitectura”.
Ha realizado estudios de Doctorado sobre Arquitectura Moderna en la ETSAB, Escuela Técnica Superior de Arquitectura de Barcelona en la Universidad Politécnica de Cataluña, España. Actualmente, se encuentra inmerso en el desarrollo de trabajos de recopilación e investigación de Arquitectura Moderna en el Perú. Es docente de la Pontificia Universidad Católica del Perú y se desenvuelve como proyectista de manera independiente.