In fact, his works are internationally understood
as an architecture that fits exactly in what the places require, given the
sense that are already there for a long time (Siza, 2000). For example, the
decision for the Contemporary Art Centre position in Santiago de Compostela (1993) made comprehensive his urban relations.
The landscape is not an empty dashboard, there is history, the geographies, the
built environment and all the ingredients of sites are tools to improve the
projects for citizens (Molteni, 1997). Through his sketches and research drawings,
it is possible to reveal the eyes and hands studying the places where he is
called to work, making them also his own cities (Siza, 2001).
The urban theories had shown that there are
different dimensions in city planning and design, connected to the various
morphological, technical and social approaches (Sanchez, 2008). But of course the
cities need them all together and Architects are known as professionals who can
make that synthesis. After the Portuguese revolution, Siza was called to plan
and design a new neighborhood in Évora, and certainly this experience contribute
to his methods and approach (Rodrigues, 1992), especially at urban scale. The
goal of this research is to explain the legacy of Malagueira and Álvaro Siza for
urban theory.
The projects of Siza were mostly studied when
focused on architecture, but it is also important to explore his contribution
to plans and operational instruments in a larger scale. Being always attentive
to the sites, it is relevant to scope the urban dimension and parameters of his
works. Operating in diverse geographies, with unequal developments and
ordinances, how his design defines the cultural and social variables associated
to other case studies. Finally, since drawing is a good way to reveal the ideas
of Álvaro Siza, it is possible to find the boundaries of his vision for
regional planning.
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