Carlos Martí Arís e i suoi eteronimi: vocazione all'anonimo
- Autores: Fabio Licitra
- Directores de la Tesis: Xavier Monteys i Roig (dir. tes.), Giovanni Leoni (dir. tes.)
- Lectura: En la Universitat Politècnica de Catalunya (UPC) ( España ) en 2014
- Idioma: italiano
- Tribunal Calificador de la Tesis: Matteo Agnoletto (presid.), Giovanni Leoni (secret.), Elisa Valero Ramos (voc.)
- Materias:
- Enlaces
- Tesis en acceso abierto en: TDX
- Resumen
This research enquires into the investigating perspective of Carlos Marti Arias. To this effect his privileged field of action is framed, more concretely the articulated link that is established in architecture between theory and practice, covering also the various incursions in the world of art and human production in general, all of which turns architectonic project into a complex disciplinary field. However, the approach to his figure is instrumental, this is, it is considered as the key which allows the entrance into an articulated cultural environment which, if on one side it coincides with his town Barcelona, on the other side it transcends it thanks to those " bridges of knowledge" that occasionally CMA constructed towards the world around him. We are here referring to his theoretical construction meant to consolidate such reciprocity as exists between ltaly and Spain, its base being their urban and typological thematic, the extremes being Milan and Barcelona. We refer as well to his vision of the Modem Movement experience and the relative question of the residence, this one havling priority in his view. We are speaking of his natural vocation for silence that he opposes to the deafening noise of the contemporary and that he couples with the discreet word of craft. This would be a way of listening. Listening to the other and listening to the world. All things considered, we do refer to his idea of architecture as" labored world of times past". as a net of correspondence among the land, times, events, human beings, be they nearby or far away; these being the ideal conditions for those who wish to insert their own work in the maze of the world's paths, notwithstanding the risk of being lost in oblivion. These days, when the architectonical project is more and more a Vehicle for subjective and arbitrary formal experimentation, the lessons rendered by CMA point to a way out: to a shared World, a mode where arrogance is opposed by such discretion as leads to approach tradition and humbly seek shelter in the shadow of the masters. Tradition and Masters, Heteronomy and Names, complementary worlds to which CMA entrusts his Project for anonymity, a supra personal Project decidedly tending to outline the inedited links it contains.
