2016Proyectos-2019
There is something profoundly obscure in the physical character of what is told about the ancient world that is interwoven with climate as much as with matter and that coexists with the presence and silence of the nature of all lived time. Perhaps this is what Pasolini had in mind and what Wittgenstein manages to formulate in a way that is both exceptionally clear and exquisite, that ultimately every philosophical question is a question about the meaning of words, or in other words that every question about human language is nothing other than a reflection on the displacements of human culture. This definition has always disturbed me because of the possibility that it could be formulated in a similar way in architecture. It is not so much, What is it? but How, when and where is it? -This formula can be translated into a material approach.
For ancient man, myth and ritual are concrete experiences, comprising his daily existence. For him, reality is a unity as perfect as the emotion he feels in front of a summer sky. That, for example, is equivalent to the most intimate personal experience of a modern man?
Everything is holy. Perhaps you take me for a liar because you think I am half-poetic.
*Remember my boy: There is nothing natural in Nature, keep it in mind, when it seems natural to you, everything will be over Pier Paolo Pasolini in 1969 released Medea, a film version of Euripides' tragedy told for the first time 2400 years ago. In this version that Pasolini gives us. Pholus, Jason's protector, narrates to him in a tone of lessons, the meaning of the ancient world and his impossibility of accessing it as a son of modern man.
Giorgio Agamben in The Power of Thought writes a lecture entitled Vocation and Voice. In it, he tells us the story of the displacement of the word Stimme to Stimmung. Stimme, voice, belonging to the acoustic-musical sphere derives without losing contact with its origin to Stimmung, state of mind, that is to say, the sense of the word migrates from the musical to the psychological sphere during medieval philosophy. There it was used to refer to climate, movement, tuning, and above all to the atmosphere of a group of people or to certain descriptions of nature that would later be present in the work of Rainer Maria Rilke. It seems to us that these projects (drawings) with their uselessness and lack of objectivity want to draw the secret solidaritythe how - that exists between myth, matter, climate, time, and the semantic complexity that makes stimmung and stimme to be associated to a group of words, and between them try to meet forming an atmospheric time that dialogues with matter.
and something different will begin: Goodbye sky, Goodbye sea. Look behind you, what do you see, something natural? No, what you see is an apparition. At every point where you look there is a god hidden. And if he is not there, he has left the trace of his sacred presence, or silence, or the smell of grass, or the freshness of fresh water.
For only the mythical is realistic and only he who is realistic is mythical."
1 0 5.0 12.50 22.50 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 1818BACDEFG BACDE FG PLAN A PRIMER NIVEL +1,30 M.S.N.M. 1
ISOMÉTRICA CONSTRUCTIVA1 23 4 5 6 1 - Explananda en proyección 5 - Playa interior / pasillo sucio 2 - Lucernarios 6 - Sala de camara 3 - Baños 7 - sistema estructural cubierta 4 - Acceso baños 8 - sistema de prensas carpa 7 8 1,25 ISOMÉTRICA CONSTRUCTIVA 1,25 2
R2.49R1.05R1.03R1.06 R1.04 A B C D E A B C D E R1.04 1 22 1 3 3 Ø5.74 Ø2.09 Ø2.14 Ø2.20Ø2.Ø2.21 90° 90° años90Cypress años90Cypress años90Cypress 3
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acceso Ascensor Kiosko Flo Kiosko Floes Kiosko KioskodeFlo KioskodeFlo Kioskode Kioskode Kioskode Kioskode oyecciónlosasegundonivel Marmolerias 5
A B C D E F H I J K L G M L N O P Q K J I H G F E D C B A L P Q M O N 1 1 3 2 2 3 45 67 45 67 terraza estaurant Ha acceso Ascensor KioskodeFlo es KioskodeFlo es KioskodeFlo es KioskodeFlo es KioskodeFlo es KioskodeFlo KioskodeFlo es KioskodeFlo es Kiosko Flo oyecciónlosasegundonivel Plaza hundida Marmolerias N Planta nivel 1 +- 0.00 mts esc 1 : 300 nivelnivelnivelnivelnivelnivelnivelnivel -1 6
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ADMINISTRACION CAFE ACCESO MEMORIAL ES ANQUEORORIO ACCESO TUNEL ACCESODESDEESCALERA +-0.00 -3.00 + .30 9
01 PIE DERECHO s/c 13 x 39 x 2500 mm 02 VIGA HILAM s/c 13 39 1800 mm 03 SOLERA ESTRUCTURAL s/c 130 130 190.5 mm - 12 04 DIAGONAL 39 X 13 X 287 mm 3 05 VIGA HILAM s/c 13 39 1800 mm 06 PIE DERECHO HILAM s/c 13 x 39 x 2500 mm 07 PERNO x 40.68 mm - 12 A X O N O M E T R I C A - D E S P I E C E AXONOMETRICA + 6.65 + 3.65 + 0.00 + +25.39+21.65+18.65+15.65+12.659.65SEC_01 X-X1SEC_01 1 75 10
11 horno de ladrillo convencional formato de 2.6x 3.9 mts ladrillo de 6,5 x 15 x 31 cmbanquillaparillamuro tronera y andanas
12 isometrica - modulo residencia - equipamiento - servicios - parque
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14 Chungungo Lontra felina Chorlo Charadrius modesto Cururo Spalacopus yanus Gaviota Domenicana Larus Domenicanus Gallinazo Cathartes aura jota Cormoran de Cuello negro Phalacrocorax brasilianus Pelicano elecanos thagus Pinguino de Humboldt Spheniscus Huboldt enca Mimus thenca Colibri Gigante Patagonas Gigas Gigas Zorro Culpeo Lycalop culpaeus culpaeus Lobo Marino Pilpilen Haematopus leucopodus Flora Huiralessupramareal Flora supramareal Flora sábana Matorral arborescente Flora introducida Flora cuenca sabána Flora humedal 1.50 20.50m.s.m.m.s.m. 0 100 175 250 325 Forma de vida unidad biótica “tematizando de tal forma la relación entre arte y naturaleza, entre artificio y lo natural. De tal manera también para Roithamer las “criaturas rellenas” en calidad de criaturas artísticas habían sido siempre motivo para hacer diversas consideraciones sobre la naturaleza y el arte y el arte y la naturaleza” (Bernhard, 1975). 500 1000 1500 2000 2500 3000 500500 10001500200025003000
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17 31.79° 8.23° 14.00° 129.09°107.74° 24.91° 20.01° 31.63°38.00°41.31°30.04°58.58° 0.07 0.02 0.04 0.02 0.090.03 0.20 0.08 0.01 0.02 0.08 0.04 0.030.110.06 0.040.110.060.09 0.05 0.16 31.79° 8.23° 129.09°107.74° 24.91° 38.00°41.31°30.04°58.58° 0.26 0.02 0.06 0.07 0.02 0.02 0.01 0.02 0.08 YYYY Y Y Y Y Y Y Z Z Z Z Z Z Z Z Z Z Z Z Z Z Z Z Z Z Z Z Z Z Y Y YYYYYYYYY Y Y Y Y YYYYY Y Y
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