Il testo è diretto a mettere in evidenza come nel lavoro di Lina Bo Bardi il concetto di "economia " assuma sempre un duplice significato per configurarsi da un lato come economia di materia (nell'uso consapevole di ciò che è disponibile ), dall’altro come ricerca della 'coerenza dell’opera’ (il rapporto di necessità tra le parti che compongono l'edificio). La questione dell’assunzione e nobilitazione del relitto come materiale della costruzione e della composizione architettonica è stata affrontata a partire dall’analisi critica di alcune opere e oggetti costruiti dalla Bo Bardi, dove economia (di materia) e poesia (la ricerca della dimensione lirica della costruzione) sembrano fondersi in funzione dell’obiettivo (la dignità civile dell’architettura). To the world of architecture the contemporary notion of recycling descends not only from environmental and economic considerations. Instead, it comes in the wake of a series of aesthetic experiences that, from Surrealism to Dada, have accustomed us to perceiving the contrast and dissonance between objects as a part of our visual experience. The three-dimensional assembly of old and new buildings, or parts of buildings, of old and new spaces in the design of architecture belongs to the culture of transformation and metamorphosis experimented with by all of the other arts throughout the twentieth century. To date, only a handful of masters have applied this technique to the invention of architecture, adopting the recomposition of fragments as a field of investigation that does not translate into the passive acceptance of the heterogeneous, of the ready made as a ludic practice. Composing the heterogeneous fragments generated by collective memory, the abandoned bodies of past civilisations or human desires for the future, it is possible to imagine a realist architecture, neither rational nor irrational, but intent simply on interpreting recycling as poetry and economy. In this sense, Lina Bo Bardi’s design of the SESC Pompéia assumes a paradigmatic value. It metabolises the periphery of the South American metropolis, «loading» the new intervention with the energy deposited in the forms of a city in transformation. It sublimates and assigns dignity to suburban space beginning precisely with an element common to the cities of both the first and third world: industrial ruins. The SESC stands apart from a banal operation of reuse, but also from certain contemporary operations of recycling where, for example, the use of Surrealist or Dada techniques appears to have no other aim than the production of self referential amazement, by the contrasting primary intention that animates it: the desire to make it a space integrated within the urban and social fabric of the megalopolis and at the same time a space for the integration of popular cultures.
«L'Arte da sola non consola, l'economia insieme con la Poesia, sì»
GALLO, ANTONELLA
2014-01-01
Abstract
Il testo è diretto a mettere in evidenza come nel lavoro di Lina Bo Bardi il concetto di "economia " assuma sempre un duplice significato per configurarsi da un lato come economia di materia (nell'uso consapevole di ciò che è disponibile ), dall’altro come ricerca della 'coerenza dell’opera’ (il rapporto di necessità tra le parti che compongono l'edificio). La questione dell’assunzione e nobilitazione del relitto come materiale della costruzione e della composizione architettonica è stata affrontata a partire dall’analisi critica di alcune opere e oggetti costruiti dalla Bo Bardi, dove economia (di materia) e poesia (la ricerca della dimensione lirica della costruzione) sembrano fondersi in funzione dell’obiettivo (la dignità civile dell’architettura). To the world of architecture the contemporary notion of recycling descends not only from environmental and economic considerations. Instead, it comes in the wake of a series of aesthetic experiences that, from Surrealism to Dada, have accustomed us to perceiving the contrast and dissonance between objects as a part of our visual experience. The three-dimensional assembly of old and new buildings, or parts of buildings, of old and new spaces in the design of architecture belongs to the culture of transformation and metamorphosis experimented with by all of the other arts throughout the twentieth century. To date, only a handful of masters have applied this technique to the invention of architecture, adopting the recomposition of fragments as a field of investigation that does not translate into the passive acceptance of the heterogeneous, of the ready made as a ludic practice. Composing the heterogeneous fragments generated by collective memory, the abandoned bodies of past civilisations or human desires for the future, it is possible to imagine a realist architecture, neither rational nor irrational, but intent simply on interpreting recycling as poetry and economy. In this sense, Lina Bo Bardi’s design of the SESC Pompéia assumes a paradigmatic value. It metabolises the periphery of the South American metropolis, «loading» the new intervention with the energy deposited in the forms of a city in transformation. It sublimates and assigns dignity to suburban space beginning precisely with an element common to the cities of both the first and third world: industrial ruins. The SESC stands apart from a banal operation of reuse, but also from certain contemporary operations of recycling where, for example, the use of Surrealist or Dada techniques appears to have no other aim than the production of self referential amazement, by the contrasting primary intention that animates it: the desire to make it a space integrated within the urban and social fabric of the megalopolis and at the same time a space for the integration of popular cultures.
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