10/29/07
PROJECTO, May 07, 2005
Podemos servirnos de la noción de “proyecto”, entendido como núcleo de la praxis arquitectónica, y que consiste básicamente en el proceso conceptualizador de la arquitectura. El prefijo “pro” que compone el término italiano “progetto” refleja la idea de proyección, de anticipación de “algo” que es anterior a su actualización “construtiva”. Con base en esta idea, creemos que es posible ver en la arquitectura algo subliminar, subyacente a la construcción, que a nustra forma de ver lleva esencialmente a imaginar “formas de vivir”
modernity vs postmodernity, May 05, 2005
The “Post” syndrome (and the Fukuyamist intention of departing from history) can only be understood , paradoxically, within the rereading of the historical continuity, as way of overcoming the projectual inconsistence that exists.
In this context debates emerge about the utopian component and the question of sustainability of the modern project, and about society as a platform for communication .
It must be said that the post-modern debate (Vattimo, Lyotard, etc) was conformed by some gaps opened by modernity itself (as the conscience of a difficulty in the articulation between the aesthetic and the politic, the resistances existing on the relationship between form-use, the difficulty in really controlling aesthetically the relationship between production-consuption, etc.).At the limit, we could conceive that post-modernity could even be a short expression in the historical manifestation of modernity (“large” and “inconclusive”) and that its archaeology point to the re-reading of modernity. In this perspective our exposition feels no need to understand the post-Modern as it is frequently seen, that is as a contra-project of Modernity
The “Post” syndrome (and the Fukuyamist intention of departing from history) can only be understood , paradoxically, within the rereading of the historical continuity, as way of overcoming the projectual inconsistence that exists.
In this context debates emerge about the utopian component and the question of sustainability of the modern project, and about society as a platform for communication .
It must be said that the post-modern debate (Vattimo, Lyotard, etc) was conformed by some gaps opened by modernity itself (as the conscience of a difficulty in the articulation between the aesthetic and the politic, the resistances existing on the relationship between form-use, the difficulty in really controlling aesthetically the relationship between production-consuption, etc.).At the limit, we could conceive that post-modernity could even be a short expression in the historical manifestation of modernity (“large” and “inconclusive”) and that its archaeology point to the re-reading of modernity. In this perspective our exposition feels no need to understand the post-Modern as it is frequently seen, that is as a contra-project of Modernity
CRITICAL ARTEFACT, MAY 01, 2005
The project developed by Goncalo Furtado, was centered on the idea of designing a “Critical Artefact” (2004) in the complex context of the post-modern city.
The author belive that, beyond the converncional practices there must be critical acts to the productive surroundings.
They insert themselves in a practice, that does not distinguish cultural production from social intervention.
It´s a practice that avoids being mere instrument of it´s reproduction, of the degrading status quo focusing initially on the auto-critic of the Architecture-instituion itself, conceiving “other” culturally critical artefacts present on the “borders”, that ambitionate to produce a post-modern interventive disciplinary body.
The poststructural speech infiltrates the institutional speech to discipline, wich we inherit...
The author belive that, beyond the converncional practices there must be critical acts to the productive surroundings.
They insert themselves in a practice, that does not distinguish cultural production from social intervention.
It´s a practice that avoids being mere instrument of it´s reproduction, of the degrading status quo focusing initially on the auto-critic of the Architecture-instituion itself, conceiving “other” culturally critical artefacts present on the “borders”, that ambitionate to produce a post-modern interventive disciplinary body.
The poststructural speech infiltrates the institutional speech to discipline, wich we inherit...
AUTONOMIA, APRIL 25, 2005
Se as condições da modernidade não foram as do imediato pós-guerra, em que o problema do indíviduo se tornou vigente para lá das classes; as condições que conformaram o debate dos anos 60 também obviamente não são os que se nos apresentam contemporaneamente. Mas quando vivemos numa realidade cultural tão difusa quanto difícil de apreender, perante uma aceleração tão experiencial quanto material, em que próprio individual ameaça socumbir na ameaça niilista, que experiências produtivas podemos desenvolver desde a práctica de representação do projecto - um dos últimos resticíos de reflexão sobre a disciplina e o arquitecto?
THE CONSTRUCTION OF THE CRITICAL PROJECT,APRIL 25, 2005
"On defining “Architecture”, a connotation of spatial organization always emerges
The concept of “space” originally meant “an infinite extension where body-objects float” and, although it later became more complex, more often than not it was only shy and circumstantially broaden the understanding of Architecture to that of an idea of a lived space, that is to constituted by a fourth dimension (time) apprehended through the subjective body.
We can also attest that the current discourse of Architecture remains intrinsically closed to the physicality of space and its phenomenological appropriation. For the rest, if we look up the term “Architecture” in a dictionary, we immediately come upon the reductive idea of “art of building”, and furthermore, the specialized critic stipulates validity mainly on the logics of “actual” construction.
The Architect is then seen as he who conceives the organization and supports the constructions of such spaces for life, provided with individual creativity, when not presuming a disciplinary authority conferred by tradition.
Nevertheless, from our point of view, the architect’s “autonomous-criticism”, that is, the possibility of him and of Architecture “speaking” is very residual.
Both definitions and aspects referred to Architecture, very often present themselves as obvious, but rarely do we ask ourselves if the obviousness implies a conceptual atrophy.
Actually, this implies a certain hierarchy between construction, project and theory that might have been working as motor on the instrumentalisation of the discipline.
In front of this eventuality, it is suggested that the discipline should develop also (among others), a kind of “Critical Project”, destined to continue the never-ending debate on its social role, before a simulacrum of the discipline takes place. Maybe we are already living it, a simulacrum in which theory and project are instrumentialised to serve the world of construction “tout court” (and the spectacular objectives of control, mercantile speculation, etc, which it have sadly assumed) and where any social interventionism fades away in its own institutional ritualisation". (Gonçalo Furtado, THE CONSTRUCTION OF THE CRITICAL PROJECT, 2003)
The concept of “space” originally meant “an infinite extension where body-objects float” and, although it later became more complex, more often than not it was only shy and circumstantially broaden the understanding of Architecture to that of an idea of a lived space, that is to constituted by a fourth dimension (time) apprehended through the subjective body.
We can also attest that the current discourse of Architecture remains intrinsically closed to the physicality of space and its phenomenological appropriation. For the rest, if we look up the term “Architecture” in a dictionary, we immediately come upon the reductive idea of “art of building”, and furthermore, the specialized critic stipulates validity mainly on the logics of “actual” construction.
The Architect is then seen as he who conceives the organization and supports the constructions of such spaces for life, provided with individual creativity, when not presuming a disciplinary authority conferred by tradition.
Nevertheless, from our point of view, the architect’s “autonomous-criticism”, that is, the possibility of him and of Architecture “speaking” is very residual.
Both definitions and aspects referred to Architecture, very often present themselves as obvious, but rarely do we ask ourselves if the obviousness implies a conceptual atrophy.
Actually, this implies a certain hierarchy between construction, project and theory that might have been working as motor on the instrumentalisation of the discipline.
In front of this eventuality, it is suggested that the discipline should develop also (among others), a kind of “Critical Project”, destined to continue the never-ending debate on its social role, before a simulacrum of the discipline takes place. Maybe we are already living it, a simulacrum in which theory and project are instrumentialised to serve the world of construction “tout court” (and the spectacular objectives of control, mercantile speculation, etc, which it have sadly assumed) and where any social interventionism fades away in its own institutional ritualisation". (Gonçalo Furtado, THE CONSTRUCTION OF THE CRITICAL PROJECT, 2003)
METODO
METODO, April 24, 2005
Em arquitectura penso que o que se constata em várias plataformas é por vezes ainda alguma dificuldade em ver um lugar-método que se foi denominando por “projecto” (da arquitectura neste caso, mas que de facto se verifica em muitas áreas) como investigação. Calculo que a argumentação contra a saudável hibridez metodológica do dito projecto por parte dessas plataformas advenha do previlégio mais exclusivo e excluente da “autoridade” de um “modelo” que frequentemente definem por “científico” (isto é, uma espécie de “objectivar” “verdades” demonstráveis pela reprodução de “experiências”, etc.); apesar da debilidade de qualquer das noções assinaladas (e da debelidade das respectivas oposições que inscrevem e persupõem). Como corolário, o quotidiano fica também ele marcado pela convivência com muitas outras assumpções redutoras, como por exemplo a dialética entre teoria-prática, que superficialmente vê a segunda como exprimindo a primeira e a primeira como explicação ou descrição da segunda, etc., impondo a homogenização de qualquer específico, diferente ou complexo “outro” .
10/26/07
PORÉTICA, May 07, 2005
Caro amigo escrivinhador peretico Silva Carvalho
Disfrutei muito a tarde de ontem em redor da tua obra. Queria telefonar-te a desejar-te boa viagem de regresso a Sintra, mas só tenho o teu telefone fixo. Espero que meus comentarios de ontem para os 20 minutos que sugeriras tenham correspondido ao pretendido, apesar do meu cansaço e de que nao previa nem pretendi encaixar-me de forma academica.
Aproveito para te escrever um comentario que pensava agora... gostei mesmo muito da comunicacao do Frias Martins que me pareceu a mais inteligentemente focada na tua obra (penso que algumas abordagens pecavam por focarem a tua obra demasiado sobre as filiacoes-matrizes de cada critico, frequentemente alheias as referencias pos-modernas em que tu proprio incluis o teu trabalho) e tambem a mais honestada e generosamente propositiva. Penso que os comentarios finais que emitiu sobre o futuro da tua obra, reflectiam atender ´com acutilancia a´ espeficidade da tua obra-vida, as caracteristicas do teu acto enquanto escritor-homem e do tenso relacionamento que deverias presistir em manter com a instituicao literaria. Como ele, tambem penso que nao há nada de paradoxal na tua massiva e anti antologica producao, na tua paradoxal dialetica de afrontamento e reclamo de prestigio, etc Essas sao precisamente algumas das caracteristicas motrizes daquilo que escreves e que tenho tido o previlegio de constatar em cada livro que me envias: um problematizar esteticamente conceptual e complexo da vida que ocorre no literario e do literario que te marca a vida.
Deixo um grande abraco amigo, cumprimentos teus, e ficarei sempre aguardado noticias tuas
Gonçalo Furtado
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