Atemporalitat en l’obra madura de Livio Vacchini (1987-2007)
This thesis aims to analyze in depth the latest works of the Ticino's architect Livio Vacchini (1933-2007) in order to be able to conclude that what makes it different and charm lies in the atemporal character of which is imbued. An atemporality that is due to the sum of several vectors as the...
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| Formato: | tesis doctoral |
| Fecha de publicación: | 2015 |
| País: | España |
| Recursos: | Universitat Politècnica de Catalunya (UPC) |
| Repositorio: | UPCommons. Portal del coneixement obert de la UPC |
| Idioma: | catalán |
| OAI Identifier: | oai:upcommons.upc.edu:2117/95768 |
| Acesso em linha: | https://hdl.handle.net/2117/95768 https://dx.doi.org/10.5821/dissertation-2117-95768 |
| Access Level: | acceso abierto |
| Palavra-chave: | Vacchini, Livio (1987-2007) Arquitectes -- Suïssa Àrees temàtiques de la UPC::Arquitectura |
| Resumo: | This thesis aims to analyze in depth the latest works of the Ticino's architect Livio Vacchini (1933-2007) in order to be able to conclude that what makes it different and charm lies in the atemporal character of which is imbued. An atemporality that is due to the sum of several vectors as the synthesis, the monumentality, the afunctionality, the acontextuality, the representativeness of the structure, the ritual, ... Attracts the idea that architecture intends to control the time - never the most never is proposed as an aim- beyond controlling the space -almost always is the aim-. Four of his latest works are choosen: House in Costa (1987-93), Postoffice in Locarno (1988-95), Gymnasium in Losone (1990-97) and Ferriera building in Locarno (2000-03) in order to make them pass first through the sieve of the ancient laws of the classical tripartite composition (base, development and ending) observing the reductionism and the synthesis present in them , to finally interweave them, as a warp to the weft, various conceptual aspects recognized so recurrent and relevant in them. This study will look at a long list of preciding references and closing influences that clearly contextualise his work inside the evolution and the history of architecture from its origins up to the present day. lndeed, in his latest and unique own publication, Capolavori (2007) -exemplarly foreword by professor Carles Martí- Vacchini somehow shows us the keystone of its architecture, surrounding masterpieces of Mies van der Rohe, through characteristic examples of the lslamic world, mesoamerican monumental architecture or the Parthenon, to finish setting up the origin of the architecture at Stonehenge, son of the first dolmen. the trilithon. Rather than describe his work as classic, a risky and random term . Vacchini's work overcomes this classical-modern bipolarity, being conclusive in this respect one of his many aphorisms left writings that says: "prove that quality modern is classic, atemporal". A thorough analysis of the selected works we learn that beyond them. beyond pure constructed objects, there is no problem to confront in a same page of the thesis works as diverse as Stonehenge with the Mies van der Rohe's Neue Nationalgalerie, or Tunisian houses of Ksar-Haddada with the Kahn's Kimbell Art Museum, although they were separated by oceans, millenniums, civilizations and meanings . Vacchini's work, therefore, is placed inside a cloud of references, contrasted all of them by the passage of time, of which directly takes the essence. Ali this temporary game ends showing that the linear dimension of time is not the most important, is not transcendent, but that's only basic and essential to bear in mind that in the whole of the architectural practice there must have implied the joined and unseparated study from this big cultural cloud of just a few thousands of years of history. We are part of the past to build the present, and make tabula rasa can be considered an impertinence that can't bring us anywhere. lmpregnating from thousands of years of architecture, embedding its elf in this substrate hidden to the short-lived glances, drinking from the sources of the past, the Vacchini's work gets a trace, a sediment. Gets effectively the atemporality in his works, so, the transcendence of the passage of time. An exquisite domain of the fourth dimension, time dimension. Get that not he but his works become new capolavori. Precisely in an age where they make shine the iconic, speaker, mutant, advertising architecture, is when makes a higher impression on us the humble vacchinian constructions, projected from the silence, on which there is no reason for rejection or contradiction, absolute truths of the first constructive fact, stripped of specific styles and languages, silences perfectly built. |
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