The lucid look Situacionism
“We propose to invent new scenes in movement.(…)
The architecture is the way simplest to articulate the time and the space, of modulating the reality, of making dream. It is not a question only of joints and plastic modulations, expressions of beauty passenger, but of an influential modulation, which registers in the eternal arch of the desires and of the progress in the fulfillment of the same ones.
The architecture of the future will be so a way of modifying the current conceptions of the time and of the space. It will be a way of knowledge and a way of action.
The architectural sets will be able to be modified. His aspect will change partly or totally according to the will of his inhabitants (…)
Already we have indicated the need to construct situations as one of the basic desires on which the near civilization will be founded. This need of absolute creation has been always intimately associated with the need to play with the architecture, with the time and with the space”. 1
Though it is difficult to believe, this text was written in 1953. Today, in the year 2013 we might assume it without problems, it is radically contemporary and still he would find academic and theoretical objections on having introduced shamelessly the vector time in the heart of the architectural thing. Not for so many years the concept of flexibility, that is to say the transformation of the physical space of the architecture according to the needs of his inhabitants throughout the time, opened the scene for new strategies proyectuales.
In October of this year, International Lyricist had assumed this report on urbanism of his author Gilles Ivain, who constituted a decisive element in the new orientation followed from this moment by the experimental forefront.2
The International Situacionista was founded in 1957 by artists and writers who were representing different organizations of forefront. The germ of the IS International Lyricist places in, the International Movement for a Bauhaus Imaginista and the Committee Psicogeográfico of London. His influence throughout last 50 years has been enormous and there is specially relevant his paper conceptual advanced to the theoretical, rhetorical convulsions and proyectuales of the decade of the 60. The most ample range of reflections on art, the spontaneity, the city and the spectacle are decisive in the germ of the alternative born movements to another side of the Atlantic Ocean and the revolts of the famous May, 68.
The critiques to the consumer culture of the postwar period, to the stifling funcionalismo of the urbanism of postwar period and the brilliancy like his components X-ray a future that from the current perspective has a character practically of revelation, help to generate the favorable environment of the incredible creative explosion of the later decade, up to this very day.
Before the official foundation of the IS in July, 1957 the voice of these subjects of the subversion they were the circular Potlach (1954-1957) of International Lyricist, the surrealistic Belgian publication They Lèvres Nues (1954-1958), and the collection of tests Pour forms her: Èbauche d’une methodologie des arts (1958) of Asger Jorn.
The fundamental beginning that in essence were kept during the official period of the International Situacionista (1957-1972) up to his autodissolution, and even beyond, already of individual form for some of his components, formulates the exciting rejection of any utilitarian economy, the comprehension of the city like space of game and autorrealización humanizes, and the faith in the possibilities of the urban space to generate moments of genuine democratic participation.
To understand the critical point of item of the members of the IS and beyond, the bottom of the problem that activates in an extraordinary way the reflections and offers of the future actors of the convulsed years 60, there is specially relevant the plane published by Guy Ernest Debord in the article Théorie de la dérive3, where in a synthetic way and absolutely rewatching Debord he gathers the plane elaborated by M. Alibert and S. Antoine, collaborators of the urban sociologist Lauwe’s Paul-Henry Combart in the one that shows himself the movements during the year 1950 of a resident woman in the bourgeois XVIe arrondissement of It Give birth 4 (image that this post illustrates)
In the central triangle of the plane, the subject of study reveals a monothematic reading and homogeneizadora of his urban landscape composed by his own domicile in a vertex, the lessons of piano in other one and the place where it realizes the studies in Political Sciences. For Debord it describes this plane as an example of modern poetry capable of provoking emotional sharp reactions 5 though in this case, the emotional reaction is of indignation for the fact that beech people who lives hereby.
The plane exemplifies the crisis to which the company is totally doomed. The urban space is in use in a rational, homogeneous way, unable to end up as the subject an experience that goes beyond his ordinariness, reprobate to a life small burgess, to a simple totalización.
This reading registers in a critical positioning of major fret against the capitalism of masses, which arises from the model of the consumption of masses from an insatiable and led demand. This consumption based on desires and not in needs he condemns the citizen to a closed cycle of acquisition, consumption, rejection, in a spiral without end.
Only as note to the essence of the movement situacionista, Debord in the Company of the spectacle,6 his more famous book, denounces the mutation that the capitalism does of the thought for the spectacle as ideological substratum of domination. The spectacle creates a perpetual present rested on the mirage of the technology, in which there is possible the concealment, the sham, the lie. The fiction and the appearance take the forward to the reality.
Though it is true that the levels of development are unlike between the different countries that during the 60 and beginning of the 70 are going to be shaken by these movements, yes that is true that the bases on which they agree the events of this decade are already solidly deep-rooted.
Nonetheless, it seems to be really extraordinary that so prompt as this condition of the question starts formalizing, the Situacionistas, lucidly already they start counter proposing and acting feverishly, up to turning into a reference and it influences one worldwide.
His inheritance is difficult to calculate, but on the other hand it is undoubted. During the 60s, the texts Situacionistas will be published in different alternative means, his voice and his offers will be spreading in specialized circles and of Debord’s hand, will come to The United States being constituted in historical terms in a necessary precedent to deal the convulsed years of the Utopias.
Miquel Lacasta Codorniu. Doctor architect
Barcelona, april 2013
The image of the post is the cartography of Movements during the year 1950 of a resident woman in the bourgeois XVIe arrondissement of Paris. COMBART OF LAUWE, Paul-Henry, Essais of sociologie, 1952-1964, Editions ouvrières, Paris, 1965. P. 50.
1 Ivain, Gilles, Theory of the drift and other texts situacionistas on the city, Actar and Museu Contemporani of Barcelona, 1996, pp. 14-16. Gilles Ivain, pseudonymous of Ivan Chtcheglov. Text published in 1953 and later in Internationale Situationniste núm.1 in June, 1958.
2 The complete original text International Lyricist was made from two successive conditions of the manuscript, with light differences of draft, preserved in the files of, and later they happened to be the documents 103 and 108 of the files Situacionistas. Internationale Situationniste num. On June 1, 1958, pp.15 to 20.
3 Debord, Guy Ernest, “Théorie de la dérive”, They Lèvres Nues num. 9, Paris, November, 1956, pp. 6-13 translated into a version lightly different in Theory of the Derive the English, Situationist International Anthology. pp. 50-54. The context of the concept of psicogeografía and the theory of the drift situacionista is specially interesting in Thomas McDonough’s test The drift and the Paris situacionista published in the catalogue of the exhibition Situacionistas, Publishing house Actar and Museu d’Art Contemporani of Barcelona, Barcelona, 1996, pp. 54-65.
4 The plane that they elaborated appears as illustration 6 as Paris et l’agglomération parisienne 1952 in CHOMBART DE LAUWE, Paul-Henry, Essais de sociologie, 1952-1964, Editions ouvrières, París, 1965. p. 50.
5 Op. Cit., DEBORD, 1956, p. 50.
6 DEBORD, Guy Ernest, La Sociedad del Espectáculo, Pre-Textos, Valencia, 2002.
Es cofundador en ARCHIKUBIK y también en @kubik – espacio multidisciplinario. Obtuvo un Ph.D. con honores (cum laude) en ESARQ Universitat Internacional de Catalunya UIC y también fue galardonado con el premio especial Ph.D (UIC 2012), M.arch en ESARQ Universitat Internacional de Catalunya, y se graduó como arquitecto en ETSAB Universitat Politècnica de Catalunya . Miquel es profesor asociado en ESARQ desde 1996. Anteriormente, fue profesor en Elisava y Escola LAI, y también en programas de postgrado en ETSAB y La Salle. Fue arquitecto en la oficina de Manuel Brullet desde 1989 desde 1995.