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SABAprojects |
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Studio Architect Andrea Bozza |
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01.2011 |
The problems of designing |
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Reproduce below excerpts of a written application, which I fully shared by Giacomo Polin sull'Almanacco 2009 (G. Polin, and others, eds,. Casabella's Almanac, 2009 Italian architects, Mondadori, 2009) on the many difficulties Italian architecture and design of the subsequent work by the younger generation of architects, where many initiatives to reward and promote architectural quality can not penetrate deep into the fabric of society and when this happens often becomes the object of criticism and disapproval. "The situation we all know the contemporary Italian. And 'that a country with a university system to collapse, fragmented into a hundred little insignificant locations (now scaled by recent bills), with a huge number of students, dominated by bands of barons and girth, without resources and programs date. With a precarious economic situation and declining at the national level, with companies-especially those in construction-backward and craftily inclined to disregard neither the safety nor the Building Regulations, neither the tax obligations. The country and the abuses of pardons, the complicated and conflicting regulations, government unable or collusion, of the nicely ignored seismic standards, houses collapsing, the lot of the landscape, the public works that may require more than twenty years to be constructed, the client generally ignorant and arrogant, then come to expect more than agreed. The country of smart, the old and the absence of controls. ... The town where the mass media-newspapers, television, magazines-even when they do not inform and describe the processes of urban transformation, of any type and scale, and always use only a kind of magic word, 'restyling'. A country ruled by conformity, by the provincialism of the small vessels, where everyone was dressed in black for years, so why would the fashion, all to drive big SUVs, of course blacks. A country of sheep, not of free thinkers. There are those who know everything about Rem Koolhaas, or Toyo Ito, and does not know who we are and Gustave Perret Giuseppe Samona, placed its focus on this meta dell'ipermanierismo planetarium, perhaps the fact that so aptly called the newspaper redesign, you lose of view, or perhaps you do not want to consider the tectonic structure of the volumes, their joints, the materials they are made. The provincial approval as a backdrop to these works, and perhaps they try desperately to redeem himself, is based on the superficiality of the coatings, the spectacular color effects (as in a video) on the trash and the supposed aesthetics of the conformity 'use of materials, especially on 8anche) baleful influence of CAD on the alienation of the hand from the mind and eye, in a few words on the damn computer. Why (as in the case of City Life in Milan) to look at Dubai instead of Michelangelo, or Pierluigi Nervi or Albini? Because no copy of Peter Zumthor, and all copies of the copy of Music deconstructionist? Because as said proponents are ignorant, because the media are almost always misinformed, because no one enters the technical merit of proposals, because 'sounds better', and also because Zumthor, like all great architects, he goes on his way without care of the Clones. " Immediately inform you that clients are not, and not all "ignorant" in the generic sense of the word, of course, here the word ignorant is to indicate that part of the client arrogant, who thinks he knows things, that does not accept the advice from the their professional, doing architecture is reduced to meet, more often than timing or area requirements of the yard, neglecting even those of quality and performance space. Fortunately on this front has been established an award for the commission, appointed Dedalo Minosse Prize and came to light more than ten years ago with the intention of boosting its quality of architecture by looking at the results, analyzing and focusing on planning and construction process and the figures that determine the success of the work: the 'architect and the client, with the performers on their side (companies) and policy makers (the government). Hours while leaving aside, as noted above, the architects more or less known, more or less the 'fashion', the real masters are there to refer and know them all because we have studied: Le Corbusier, Wright, Aalto by Mies, Gropius from, to Fuller. But then the young generation of designers from which draws its inspiration, its poetic and references required if the same university, they said, does not prepare properly, the logic and interests of the market take precedence over everything and everyone, the same clients often do not even know what I want, or worse you do the project themselves and then if they do sign with a technical? The issue is delicate and timeless. It would take a veritable industrial revolution in architecture, which evolves university education, more technical and more related to the reality of modern constructions, which changed the relationship between client and designer, no longer purely real but of subordination in respect of the roles of each, the same client, please ask your practitioner right quality beyond the cost and time, defining clearly the powers and the preparation of graduates, which multiplies the opportunities for preparation for Young designers during the period of study and training to be immediately competitive in the world of work both in research in the profession, to regulate and reorder uniquely large number of professional companies currently present in our country. The list goes on. We hope for better times. |
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