Integración contemporánea con edificios antiguos: la intervención como síntesis histórica. Castelvecchio, mnar, kolumba
- Autores: Josué Nathan Martínez Gómez
- Directores de la Tesis: Magda Saura i Carulla (dir. tes.)
- Lectura: En la Universitat Politècnica de Catalunya (UPC) ( España ) en 2020
- Idioma: español
- Tribunal Calificador de la Tesis: Fernando Espuelas (presid.), Jaime José Ferrer Forés (secret.), Luis Angel Domínguez Moreno (voc.), Vincenzo Paolo Bagnato (voc.), Marta Benages (voc.)
- Programa de doctorado: Programa de Doctorado en Proyectos Arquitectónicos por la Universidad Politécnica de Catalunya
- Materias:
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- Resumen
The fundamental objective of this PhD dissertation is to analyze the architecture thanks to some strategies coming from recent theories developed inside and outside the traditional and usual disciplinary field of architecture.
For example,the theory that to confront is to relate. As Paul Ricoeur proposes in one of his books on the theory of poetics, where poetics is the confrontation between the parts. Therefore, the dialogue generated between subjects and between objects from different historical periods through abstractions is the main objective of this dissertation. The concern started when the research intended to identify where is and how the relationship between different times and spaces in a building was carried out,, what things remain and what are the innovations in this type of intervention.
From the foregoing, I propose the hypothesis that the abstraction of references in the tangible and intangible vestiges of ancient buildings makes the intervention a historical synthesis that generates new relationships between subjects and objects from different eras.
It is at this point that the intention to preserve memory is reinforced by the appreciation of the space where it can be found, from an object to a city. The controversy begins when we ask ourselves: what is the best way to intervene in an old building? Times and spaces are synthesized in the chosen cases of study, contemporary museums in coexistence with archaeological remains and historical architectures.
The systematic way in which the projection process of a building is carried out is not simple, since it is necessary to establish a series of factors in an orderly manner to arrive at the best result. This order varies according to the architectural program that is intended to develop, so something that could seem a problem such as the fact that there is no single procedure is an advantage, because it allows you to turn to a specific strategy with a unique result.
It is considered that having a specific strategy is to establish an ethical position regarding the history of the place and other conditions, so the order and hierarchy that are given to these factors will cause the result to vary from one building to another or from one author to another. History, conceived as a set of facts that can be synthesized by the architect when he manages to extract from those fragments crucial points that he considers important, helping him to materialize his work.
Various concepts such as Specific Modernity, Time and Space, Memory, Abstraction, Metaphor, Relationship between subjects, Criticism, Phenomenology, Synthesis, Historical Multiplicity, virtual images, among others, are explored as relevant topics to study their relationship and carry out a theory that addresses the integration of contemporary intervention in a historical context.
To get an idea of this complex phenomenon, three works are analyzed: Carlo Scarpa's Castelvecchio Museum, Rafael Moneo's National Museum of Roman Art and Peter Zumthor's Kolumba Museum. The interventions of these three case studies are different among them but have the common goal of preserving memory. These museums together with the written reflections of their authors, as well as the theoreticians upon whom I support myself, will describe the projectual mechanisms, defined thanks to references and practices as important aspects in their interventions and then the dissertation will explain the degree of innovation provided.
The background of this research is dialogue and memory; I establish a link that starts from the collective to the individual memory, because the memory of a single building is permanently confronted with a wider context. Therefore, as an introductory theme to the cases of museums, I resolved to analyze theoretically and analytically the "Del Liceu al Seminari" project by Lluís Clotet architect in the Raval of Barcelona.
