This book collects in a total of 10 texts, and throughout 196 pages, some reflections on the house and the contemporary dwelling; from the notion of dwelling and the conciliation between art and the idea of home, to more specific questions related to the patio or to the generative systems of housing present in some modern architects.
Authors VVAA
Pages 223
Language Spanish
Format 21 x 17, soft cover
ISBN 978-84-937221-0-4
House for house. Reflections on inhabiting
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This book collects in a total of 10 texts, and throughout 196 pages, some reflections on the house and the contemporary dwelling; from the notion of dwelling and the conciliation between art and the idea of home, to more specific questions related to the patio or to the generative systems of housing present in some modern architects.
Authors VVAA
Pages 223
Language Spanish
Format 21 x 17, soft cover
ISBN 978-84-937221-0-4
As Jorge Torres explains in his prologue, the texts presented here
"constitute a small sample of the looks that this issue has raised among us, as practicing architects and teachers. A fictitious dialogue that the reader can thread between these disparity monologues in their contents, but common in their desire to offer our intimate reflections on the house.
Some deal with the performance of certain architects. Here Mendes da Rocha and Paul Rudolph parade, as interpreters of an architecture understood as part of a slow process, patient and rooted in a specific cultural space, from which new lessons can be drawn.
Others focus their attention on the place where the house is implanted and its belonging to a culture and a land. The house as a principle of architecture has Louis Kahn as protagonist, who referred to it his particular epiphany. There are those who wondering about the house where they would dwell inviting us to rethink their rooms, their closeness to the land and their condition of support, not only physical, of the essence of living. Another, taking as an excuse the house that Julio Cano Lasso built for his family, dwells on the origins of his architecture and the identity between the architect and his work: he built his dwelling as his life.
The loss of matter in modern architecture implies a new configuration of the pieces of service that were there, this will be the subject of another article where Pierre Chareau, Le Corbusier, Richard Neutra, Louis Kahn and Robert Venturi are examples. Another text reflects on the courtyard in architecture, its presence and modes of transformation. A traveling between the Malaparte House of Adalberto Libera and the filming of Le Mepris by Jean Luc Godard constitutes the setting where relations between architecture and cinema can be established. They are very diverse arguments, as different their authors, who propose us new readings on the place -the house- where our humanity is welcomed".
"constitute a small sample of the looks that this issue has raised among us, as practicing architects and teachers. A fictitious dialogue that the reader can thread between these disparity monologues in their contents, but common in their desire to offer our intimate reflections on the house.
Some deal with the performance of certain architects. Here Mendes da Rocha and Paul Rudolph parade, as interpreters of an architecture understood as part of a slow process, patient and rooted in a specific cultural space, from which new lessons can be drawn.
Others focus their attention on the place where the house is implanted and its belonging to a culture and a land. The house as a principle of architecture has Louis Kahn as protagonist, who referred to it his particular epiphany. There are those who wondering about the house where they would dwell inviting us to rethink their rooms, their closeness to the land and their condition of support, not only physical, of the essence of living. Another, taking as an excuse the house that Julio Cano Lasso built for his family, dwells on the origins of his architecture and the identity between the architect and his work: he built his dwelling as his life.
The loss of matter in modern architecture implies a new configuration of the pieces of service that were there, this will be the subject of another article where Pierre Chareau, Le Corbusier, Richard Neutra, Louis Kahn and Robert Venturi are examples. Another text reflects on the courtyard in architecture, its presence and modes of transformation. A traveling between the Malaparte House of Adalberto Libera and the filming of Le Mepris by Jean Luc Godard constitutes the setting where relations between architecture and cinema can be established. They are very diverse arguments, as different their authors, who propose us new readings on the place -the house- where our humanity is welcomed".
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