O Domínio Público da Arquitetura. Os Smithson e Aldo Rossi

• Autor(a) principal: Marta Ribeiro Moreira
• Data de Publicação: 2019
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: https://hdl.handle.net/10216/127374
• topic: Artes; Arts

Public architecture seems redundant. In a way, all architecture is public given that it manifests itself publicly - it has a public presence - and it is seen and recognized by a public, an audience. However, when the term public architecture is involved, it is commonly associated with only some architectures, usually public works, public program buildings or interventions in public space. Thus, and because the expression public architecture - associated with public works - seems nowadays constrained by failed promises and unreasonable ventures (even though one does not lose hope in its meaning), let us take public domain as an expression which is apparently innocuous and still free from contamination. Broader than the concept of public work, the public domain can include architectures which are private but appear to be more public than many public buildings, such as churches, private schools or some cultural institutions. Given the option of limiting the research to a few specific authors and works or, on the other hand and considering the amount of research material available, trying to include as many different contributions as possible, one chooses to focus the discussion on three characters that seem relevant for such an investigation. On the basis of the work by Alison and Peter Smithson and on the work from Rossi's most rational phase was the belief in the possibility of architecture taking precedence as a tool for manipulating reality. By freeing architecture from corrupted narratives and shaping new aspirations, progress would come. According to Alison and Peter Smithson, as well as Aldo Rossi, form is generated partly as a response to forms that already exist and partly as an agent that changes its context. Therefore, it is not only important that they recognized the public domain as a theme in the project, but, above all, the fact that this recognition arises as part of the project's strategy to respond to a given problem in a given context. It should be clarified, then, that the choice of Alison and Peter Smithson and Aldo Rossi is not only because of the known proximity between their respective theory and practice - at least in some defining moments - but also because of the relevance of the projects that are called upon.