As Lições de Modernidade em Veneza: Le Corbusier, Aldo Rossi e Álvaro Siza

• Autor(a) principal: Juliana Santos Sousa
• Data de Publicação: 2018
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: https://hdl.handle.net/10216/118120
• topic: Artes; Arts

Venice, city of fascination, is born as a "complete and perfect artifice" and quickly develops its autonomous traditions, al modo nostro di Venetia, that accompanies its growth until the present moment. With internationally recognized cultural and artistic interest, Venice affirms its power of charm and fertility but, contradictorily, also of embarrassment and controversy. Firstly, the present investigation is related to the deepening of the "Venetian Controversies and Trends" throughout the twentieth century, in relation to the advances and retreats - practical and theoretical - inherent to the problem of intervening in historical context and the importance of the study of the city for a comprehensive planning, in addition to the expansion of the city by land. It is acknowledge early on, as central, the creation and participation of the School of Venice - a politically and socially active institution - and that of the Biennale di Architettura di Venezia, that works as a way of enlightening and expand the debate throughout its first years of existence. It is verified an "anti-modern vocation" intrinsic to the character of Venice and a widespread "inability to project". Faced with such one questions whether: if it is possible to built in Venice? Can one be modern in an anti modern city? Three case studies were selected, that attempt to relate all the controversial architectural discourse about modernity in Venice and the way of city making. Le Corbusier's Nuovo Ospedale di Venezia (1965), Aldo Rossi's Teatro del Mondo (1980), Álvaro Siza's Campo di Marte (1985). The second half - "Allure: the Masters and Venice", which develops from the connection each architect forms with the city, either by their trips, theoretical analysis or works, converging in the projects they develop for Venice. The analyses of Nuovo Ospedale, Teatro del Mondo and Campo di Marte produce three lessons - "The Venice Lessons". One concludes that each of these - architect and project - represent an hypothesis for modernity in Venice, transforming the city into a project. It highlights the importance of History, of the Collective Memory and the Tradition for the development of rational and cautious intervention, suited to the condition of such a remarkable city.