{"id":62028,"date":"2016-11-21T00:17:05","date_gmt":"2016-11-20T23:17:05","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=62028"},"modified":"2023-04-03T15:43:42","modified_gmt":"2023-04-03T13:43:42","slug":"relato-analogo-aldo-rossi-marcelo-gardinetti","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/relato-analogo-aldo-rossi-marcelo-gardinetti\/","title":{"rendered":"[:es]El relato an\u00e1logo de Aldo Rossi | Marcelo Gardinetti[:gl]O relato an\u00e1logo de Aldo Rossi | Marcelo Gardinetti[:en]The analogous statement of Aldo Rossi | Marcelo Gardinetti[:]"},"content":{"rendered":"

[:es]

\"El
El relato an\u00e1logo | Fondazione Aldo Rossi<\/span><\/figcaption><\/figure><\/p>\n

En la segunda mitad del siglo XX, la b\u00fasqueda arquitect\u00f3nica de posguerra se esfuerza por alcanzar una propuesta alternativa de la modernidad. Figuras como Robert Venturi<\/a>, Denise Scott Braun, Charles Moore y Robert Stern propulsaban, en sinton\u00eda con el capitalismo consumista, una vuelta a la representatividad y el simbolismo suprimido por el movimiento moderno, no para actualizar el dise\u00f1o sino para suplantarlo.<\/p>\n

Simult\u00e1neamente en Inglaterra la obra te\u00f3rica de Banham, el contextualismo de los hermanos Smitshon y los esquemas de ilusorios de Archigram, buscan el modo de actualizar el movimiento moderno mediante el uso de un lenguaje de expresi\u00f3n tecnol\u00f3gica m\u00e1s contundente que se progresa a\u00f1os despu\u00e9s en la obra de Richard Rogers, Renzo Piano y Norman Foster.<\/p>\n

\"El
El relato an\u00e1logo | Fondazione Aldo Rossi<\/span><\/figcaption><\/figure>\n

En Italia, mediando en ese contexto y mientras el movimiento NeoLiberty<\/a> se disuelve en sus propias dificultades, la figura de Aldo Rossi emerge como la voz te\u00f3rica m\u00e1s sugestiva y coherente del panorama arquitect\u00f3nico.<\/p>\n

Rossi<\/a> adopta una posici\u00f3n r\u00edgida que nace en la admiraci\u00f3n por la racionalidad de Adolf Loos y fundamenta en sus escritos, donde propone la construcci\u00f3n de una estructura racional que impulse a reflexionar cada proyecto de manera cient\u00edfica, hurgando relaciones an\u00e1logas con el lugar.<\/p>\n

\"El
El relato an\u00e1logo | Fondazione Aldo Rossi<\/span><\/figcaption><\/figure>\n

Rossi concibe la arquitectura como una creaci\u00f3n inseparable de la vida civil y de la sociedad en que se manifiesta, <\/em>pero construida con pocos elementos que proceden de arquetipos de la memoria colectiva, para concertar un mundo r\u00edgido unido a su esencia urbana que no complique al hombre provocando voluntades pasionales.<\/em><\/p>\n

Esta inmanencia metaf\u00edsica que propone agita im\u00e1genes del lugar para reducirlas a arquetipos de la memoria colectiva mediante formas geom\u00e9tricas elementales. De un modo casi surrealista, la ciudad an\u00e1loga se nutre de la realidad urbana para construir una nueva realidad, mediando el conocimiento adquirido por el an\u00e1lisis tipol\u00f3gico.<\/p>\n

\"el-relato-analogo-4-fondazione-aldo-rossi\"
El relato an\u00e1logo | Fondazione Aldo Rossi<\/span><\/figcaption><\/figure>\n

Las invariantes provienen de dibujos esquem\u00e1ticos que desnudan obras de la arquitectura popular invocando figuras simples que escenifican evocaciones urbanas, concretando una manera cient\u00edfica de catalogar y cualificar el proyecto arquitect\u00f3nico. En el desarrollo de ese ejercicio, el cilindro personifica a las columnas de la antig\u00fcedad, el tri\u00e1ngulo equil\u00e1tero al t\u00edmpano, la semiesfera o la pir\u00e1mide a la c\u00fapula y el cuadrado a la ventana.<\/p>\n

Como este conocimiento solo es perceptible para un contexto social que comparte una misma memoria colectiva, la evoluci\u00f3n de los valores tradicionales est\u00e1 \u00edntimamente relacionada a estos estudios. Por esta raz\u00f3n, el an\u00e1lisis debe ser mejorado en cada ciudad mediante la fragmentaci\u00f3n met\u00f3dica de su memoria, hurgando la tradici\u00f3n hist\u00f3rica alineada a los diferentes per\u00edodos de la arquitectura del lugar.<\/p>\n

\"El
El relato an\u00e1logo | Fondazione Aldo Rossi<\/span><\/figcaption><\/figure>\n

Los signos trascendentes de la voluntad expresiva los define como monumentos, para los que propone escasas reglas en pos de evitar el desorden de la ciudad moderna. A estas pautas de simplicidad, proporci\u00f3n y claridad tipol\u00f3gica, el locus<\/em> les confiere el car\u00e1cter necesario para el an\u00e1lisis morfol\u00f3gico, porque supone la relaci\u00f3n universal que rige las construcciones del lugar.1<\/sup><\/p>\n

Mediante la l\u00f3gica cient\u00edfica, Rossi<\/a> traza los par\u00e1metros que dan forma a su arquitectura, aunque las analog\u00edas est\u00e1n sometidas a un proceso de depuraci\u00f3n tan exhaustivo que macera la sem\u00e1ntica de los monumentos en esquemas conceptuales construidos.<\/p>\n

\"El
El relato an\u00e1logo | Fondazione Aldo Rossi<\/span><\/figcaption><\/figure>\n

Aunque el propio Rossi<\/a> no niega la ambig\u00fcedad que propone, la indagaci\u00f3n arquet\u00edpica reducida a tan escasos elementos da como resultado un objeto gen\u00e9rico que s\u00f3lo se sublima por la luz y se exalta mediante el uso del color y la manera estricta de su geometr\u00eda.<\/p>\n

El relato de Rossi invoca a la historia para instalar la investigaci\u00f3n cient\u00edfica como un hecho liminar del proceso de dise\u00f1o arquitect\u00f3nico. Y en este aspecto, aunque su sintaxis resulta tan extrema que hace compleja la conexi\u00f3n de sus analog\u00edas con otros elementos del entorno urbano, su obra intenta poner en debate un inapreciable desaf\u00edo por recuperar la identidad de las ciudades mediante la lectura racional de sus hechos urbanos.<\/p>\n

\"El
El relato an\u00e1logo | Fondazione Aldo Rossi<\/span><\/figcaption><\/figure>\n

Marcelo Gardinetti. Arquitecto
\nLa Plata, Argentina. Noviembre 2015<\/p>\n

Nota:<\/p>\n

1<\/sup>. \u201c\u2026se ha se\u00f1alado muchas veces el valor del locus<\/strong>, entendiendo con ello aquella relaci\u00f3n singular y sin embargo universal que existe entre cierta situaci\u00f3n local y las construcciones que est\u00e1n en aquel lugar.\u201d Aldo Rossi, La arquitectura de la ciudad<\/a>, <\/em>GG colecci\u00f3n punto y l\u00ednea, pag. 185<\/p>\n

 [:gl]

\"El
O relato an\u00e1logo | Fondazione Aldo Rossi<\/span><\/figcaption><\/figure><\/p>\n

Na segunda metade do s\u00e9culo XX, a procura arquitect\u00f3nica de posguerra esf\u00f3rzase por alcanzar unha proposta alternativa da modernidade. Figuras como Robert Venturi, Denise Scott Braun, Charles Moore e Robert Stern propulsaban, en sinton\u00eda co capitalismo consumista, unha volta \u00e1 representatividade e o simbolismo suprimido polo movemento moderno, non para actualizar o dese\u00f1o sen\u00f3n para suplantarlo.<\/p>\n

Simultaneamente en Inglaterra a obra te\u00f3rica de Banham, o contextualismo dos irm\u00e1ns Smitshon e os esquemas de ilusorios de Archigram, buscan o modo de actualizar o movemento moderno mediante o uso dunha linguaxe de expresi\u00f3n tecnol\u00f3xica m\u00e1is contundente que se progresa anos despois na obra de Richard Rogers, Renzo Piano e Norman Foster.<\/p>\n

\"El
O relato an\u00e1logo | Fondazione Aldo Rossi<\/span><\/figcaption><\/figure>\n

En Italia, mediando nese contexto e mentres o movemento NeoLiberty<\/a> dis\u00f3lvese nas s\u00faas propias dificultades, a figura de Aldo Rossi emerxe como a voz te\u00f3rica m\u00e1is suxestiva e coherente do panorama arquitect\u00f3nico.<\/p>\n

Rossi<\/a> adopta unha posici\u00f3n r\u00edxida que nace na admiraci\u00f3n pola racionalidade de Adolf Loos e fundamenta nos seus escritos, onde prop\u00f3n a construci\u00f3n dunha estrutura racional que impulse a reflexionar cada proxecto de maneira cient\u00edfica, furgando relaci\u00f3ns an\u00e1logas co lugar.<\/p>\n

\"El
O relato an\u00e1logo | Fondazione Aldo Rossi<\/span><\/figcaption><\/figure>\n

Rossi concibe a arquitectura como unha creaci\u00f3n inseparable da vida civil e da sociedade en que se manifesta<\/em>, pero constru\u00edda con poucos elementos que proceden de arquetipos da memoria colectiva, para concertar un mundo r\u00edxido unido \u00e1 s\u00faa esencia urbana que non complique ao home provocando vontades pasionais<\/em>.<\/p>\n

Esta inmanencia metaf\u00edsica que prop\u00f3n axita imaxes do lugar para reducilas a arquetipos da memoria colectiva mediante formas xeom\u00e9tricas elementais. Dun modo case surrealista, a cidade an\u00e1loga n\u00fatrese da realidade urbana para constru\u00edr unha nova realidade, mediando o co\u00f1ecemento adquirido pola an\u00e1lise tipol\u00f3gico.<\/p>\n

\"el-relato-analogo-4-fondazione-aldo-rossi\"
O relato an\u00e1logo | Fondazione Aldo Rossi<\/span><\/figcaption><\/figure>\n

As invariantes prove\u00f1en de debuxos esquem\u00e1ticos que ispen obras da arquitectura popular invocando figuras simples que escenifican evocaci\u00f3ns urbanas, concretando unha maneira cient\u00edfica de catalogar e cualificar o proxecto arquitect\u00f3nico. No desenvolvemento dese exercicio, o cilindro personifica \u00e1s columnas da antig\u00fcidade, o tri\u00e1ngulo equil\u00e1tero ao t\u00edmpano, a semiesfera ou a pir\u00e1mide \u00e1 c\u00fapula e o cadrado \u00e1 xanela.<\/p>\n

Como este co\u00f1ecemento s\u00f3 \u00e9 perceptible para un contexto social que comparte unha mesma memoria colectiva, a evoluci\u00f3n dos valores tradicionais est\u00e1 intimamente relacionada a estes estudos. Por esta raz\u00f3n, a an\u00e1lise debe ser mellorado en cada cidade mediante a fragmentaci\u00f3n met\u00f3dica da s\u00faa memoria, furgando a tradici\u00f3n hist\u00f3rica ali\u00f1ada aos diferentes per\u00edodos da arquitectura do lugar.<\/p>\n

\"El
O relato an\u00e1logo | Fondazione Aldo Rossi<\/span><\/figcaption><\/figure>\n

Os signos transcendentes da vontade expresiva def\u00edneos como monumentos, para os que prop\u00f3n escasas regras en pos de evitar a desorde da cidade moderna. A estas pautas de simplicidade, proporci\u00f3n e claridade tipol\u00f3gica, o locus<\/em> conf\u00edrelles o car\u00e1cter necesario para a an\u00e1lise morfol\u00f3gico, porque sup\u00f3n a relaci\u00f3n universal que rexe as construci\u00f3ns do lugar.1<\/sup><\/p>\n

Mediante a l\u00f3xica cient\u00edfica, Rossi<\/a> traza os par\u00e1metros que dan forma \u00e1 s\u00faa arquitectura, a\u00ednda que as analog\u00edas est\u00e1n sometidas a un proceso de depuraci\u00f3n tan exhaustivo que macera a sem\u00e1ntica dos monumentos en esquemas conceptuais constru\u00eddos.<\/p>\n

\"El
O relato an\u00e1logo | Fondazione Aldo Rossi<\/span><\/figcaption><\/figure>\n

A\u00ednda que o propio Rossi<\/a> non nega a ambig\u00fcidade que prop\u00f3n, a indagaci\u00f3n arquet\u00edpica reducida a tan escasos elementos d\u00e1 como resultado un obxecto xen\u00e9rico que s\u00f3 se sublima pola luz e ex\u00e1ltase mediante o uso da cor e a maneira estrita da s\u00faa xeometr\u00eda.<\/p>\n

O relato de Rossi invoca \u00e1 historia para instalar a investigaci\u00f3n cient\u00edfica como un feito liminar do proceso de dese\u00f1o arquitect\u00f3nico. E neste aspecto, a\u00ednda que a s\u00faa sintaxe resulta tan extrema que fai complexa a conexi\u00f3n das s\u00faas analog\u00edas con outros elementos da contorna urbana, a s\u00faa obra tenta po\u00f1er en debate un inapreciable desaf\u00edo por recuperar a identidade das cidades mediante a lectura racional dos seus feitos urbanos.<\/p>\n

\"El
El relato an\u00e1logo | Fondazione Aldo Rossi<\/span><\/figcaption><\/figure>\n

Marcelo Gardinetti. Arquitecto
\nLa Plata, Argentina. Novembro 2015<\/p>\n

Nota:<\/p>\n

1<\/sup>. \u201c\u2026sinalouse moitas veces o valor do locus, entendendo con iso aquela relaci\u00f3n singular e con todo universal que existe entre certa situaci\u00f3n local e as construci\u00f3ns que est\u00e1n naquel lugar.\u201d Aldo Rossi, A arquitectura da cidade<\/a>, <\/em>GG colecci\u00f3n punto e l\u00ednea, p\u00e1xina. 185<\/p>\n

 [:en]

\"El
The analogous statement | Fondazione Aldo Rossi<\/span><\/figcaption><\/figure><\/p>\n

In the second half of the 20th century, the architectural search of postwar period strains for reaching an alternative offer of the modernity. You appear as Robert Venturi, Denise Scott Braun, Charles Moore and Robert Stern were promoting, in tuning in with the consumer capitalism, a return to the representation and the symbolism suppressed by the modern movement, not to update the design but to supplant it.<\/p>\n

Simultaneously in England the theoretical work of Banham, the contextualismo of the brothers Smitshon and the schemes of illusory of Archigram, they look for the way of updating the modern movement by means of the use of a language of technological expression more forceful that one progresses some years later in the work of Richard Rogers, Renzo Piano and Norman Foster.<\/p>\n

\"El
The analogous statement | Fondazione Aldo Rossi<\/span><\/figcaption><\/figure>\n

In Italy, happening in this context and while the movement NeoLiberty<\/a> dissolves in his own difficulties, Aldo Rossi’s figure emerges as the most suggestive theoretical and coherent voice of the architectural panorama.<\/p>\n

Rossi<\/a> adopts a rigid position that it is born in the admiration for Adolf Loos’s rationality and bases in his writings, where he proposes the construction of a rational structure that stimulates to think over every project of a scientific way, poking analogous relations with the place.<\/p>\n

\"El
The analogous statement | Fondazione Aldo Rossi<\/span><\/figcaption><\/figure>\n

Rossi conceives the architecture as an inseparable creation of the civil life and of the company in which it demonstrates<\/em>, but constructed with few elements that come from archetypes of the collective memory, to coordinate a rigid world joined his urban essence that does not complicate the man provoking passional<\/em> wills.<\/p>\n

This metaphysical immanence that he proposes waves local images to reduce them to archetypes of the collective memory by means of geometric elementary forms. In an almost surrealistic way, the analogous city is nourished of the urban reality to construct a new reality, happening the knowledge acquired by the analysis typological.<\/p>\n

\"el-relato-analogo-4-fondazione-aldo-rossi\"
The analogous statement | Fondazione Aldo Rossi<\/span><\/figcaption><\/figure>\n

The unvariants come from schematic drawings that undress works of the popular architecture invoking simple figures that escenifican urban evocations, making concrete a scientific way of cataloguing and qualifying the architectural project. In the development of this exercise, the cylinder personifies to the columns of the antiquity, the equilateral triangle to the eardrum, the semisphere or the pyramid to the dome and the square to the window.<\/p>\n

Since this alone knowledge is perceptible for a social context that shares the same collective memory, the evolution of the traditional values is intimately related to these studies. For this reason, the analysis must be improved in every city by means of the methodical fragmentation of his memory, poking the historical tradition aligned to the different periods of the local architecture.<\/p>\n

\"El
The analogous statement | Fondazione Aldo Rossi<\/span><\/figcaption><\/figure>\n

The transcendent signs of the expressive will are defined by it as monuments, for that he proposes scanty rules in pursuit of avoiding the disorder of the modern city. To these guidelines of simplicity, proportion and clarity typological, the locus they awards the character necessary for the morphologic analysis, because he supposes the universal relation that governs the local constructions.1<\/sup><\/p>\n

By means of the scientific logic, Rossi<\/a> plans the parameters that give form to his architecture, though the analogies are submitted to a process of purification so exhaustively that it softens the semantics of the monuments in conceptual constructed schemes.<\/p>\n

\"El
The analogous statement | Fondazione Aldo Rossi<\/span><\/figcaption><\/figure>\n

Though the own Rossi<\/a> does not deny the ambiguity that he proposes, the archetypal investigation diminished to so scanty elements gives like proved a generic object that only is sublimated by the light and gets excited by means of the use of the color and the strict way of his geometry.<\/p>\n

Rossi’s statement invokes to the history to install the scientific investigation as a fact liminar of the process of architectural design. And in this aspect, though his syntax turns out to be so extreme that it makes complex the connection of his analogies with other elements of the urban environment, his work tries to put in debate an invaluable challenge for recovering the identity of the cities by means of the rational reading of his urban facts.<\/p>\n

\"El
The analogous statement | Fondazione Aldo Rossi<\/span><\/figcaption><\/figure>\n

Marcelo Gardinetti. Architect
\nLa Plata, Argentina. November 2015<\/p>\n

Note:<\/p>\n

1<\/sup>. \u201c\u2026The value of the locus<\/strong> <\/em>has distinguished itself often, understanding with it that singular relation and nevertheless universal that exists between certain local situation and the constructions that are in that place.\u201d Aldo Rossi, La arquitectura de la ciudad<\/a>, <\/em>GG colecci\u00f3n punto y l\u00ednea, pag. 185<\/p>\n

 [:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] En la segunda mitad del siglo XX, la b\u00fasqueda arquitect\u00f3nica de posguerra se esfuerza por alcanzar una propuesta alternativa de la modernidad. Figuras como Robert Venturi, Denise Scott Braun, Charles Moore y Robert Stern propulsaban, en sinton\u00eda con el capitalismo consumista, una vuelta a la representatividad y el simbolismo suprimido por el movimiento moderno, […]<\/p>\n","protected":false},"author":4,"featured_media":62031,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[4500,3850,2119,2232,120,6657,2264,6666,4766,318,319,5751,10359,668,4985,3255,2422,2447,10833,4445,3607,4346,1278,2048,7601],"class_list":["post-62028","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-adolf-loos","tag-aldo-rossi","tag-analisis","tag-analisis-urbano-y-territorial","tag-archigram","tag-arquitectura-italiana","tag-arquitectura-organica","tag-arquitectura-racionalista","tag-bruno-zevi","tag-ciudad","tag-denise-scott-brown","tag-ernesto-nathan-rogers","tag-historia","tag-marcelo-gardinetti","tag-memoria","tag-norman-foster","tag-renzo-piano","tag-revista-casabella","tag-reyner-banham","tag-richard-rogers","tag-robert-venturi","tag-teoria","tag-venturi-scott-brown-and-associates"],"yoast_head":"\n[:es]El 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