By Franco La Cecla

ISBN-10: 1604864060

ISBN-13: 9781604864069

With perception into the human part of structure, this serious evaluation monitors the shortcomings of recent city making plans as an acclaimed architect matters a passionate cost opposed to the celebs of the present architectural international: the “archistars.” He argues that structure has misplaced its means and its real functionality, because the archistars mould cityscapes to construct their model with out regard for the general public strong. greater than a diatribe opposed to the exchange, los angeles Cecla makes a decision to reconsider city area and take the towns again from “casino capitalism” that has left a string of failed city initiatives, similar to the Sagrera of Barcelona and the growth of Columbia collage in ny urban. Recounting his travels around the globe, los angeles Cecla offers insights to assist in resisting the planners and to discover the spirit of a spot. those commentaries at the works of earlier and current masters of city and panorama will take an immense position in persisted public discourse for years to come.

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But there were also the outskirts with hovels, a bidonville1—the bidonville of those who at the fall of the regime had believed in the possibility of flight from the misery of the country and of the mountains, who had seen in the capital the hope of social redemption. A complicated city, a good challenge to the intelligence. The jury of which I formed a part was composed of architects, some of them fairly famous, others younger, coming for the most part from Switzerland and Holland. I was the only nonarchitect, the only one on the Tir a na 49 jury who did not have professional obligations to architecture.

Between his reading of the city and that offered to us by a writer like Suketu Mehta in his book about Mumbai, Maximum City, there is the difference between the man who thinks that Sharm el-Sheikh is Egypt and the man who researches in the books of Nagib Mahfus. But everyone knows architects don’t read, they riffle. At the end of the day at least Koolhaas is amusing, at least he avoids the sniveling of Fuksas and doesn’t maintain like Gregotti and Purini that they had pledged to the left when they designed the Zen district in Palermo.

New York today is the demolition capital, and has been for a long time—at least since artists like Jean Tinguely and animals like King Kong have been around. 23 It dealt with a reprise of the self-destructing machine set in motion by the Swiss artist Tinguely in 1960 in his performance Homage to New York. On that occasion Tinguely had destroyed an old piano, an air balloon, bottles, motors, bicycle tires, and trash from the city dump. The destroying machine was programmed to selfdestruct at the end.

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Against Architecture by Franco La Cecla


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