Within the framework of the VII Congress Interacional architecture organized by the University of Navarra, I had the opportunity today to attend a conference architect and historian Beatriz Colomina . The conference focused on the theme of travel in the transition from architecture to modernity, specifically, architects travel to or from Spain. Colomina has the last lecture of the conference and talked about the figure of Le Corbusier as the first global architect. Although many architects and made trips had work in many places throughout the twentieth century , one could say that none had as extensive a work around the world, and none was so fascinated with transportation and the trip itself as the famous architect Switzerland. Amid colorful anecdotes of the character of Le Corbusier as being brilliant, eccentric and media , Colomina has reflected on the role of modern man as being "post-human" an animal capable of flying and manage time and space at breakneck speeds . A being with a deep connection capacity. At the end of his lecture, Colomina has tied the revolutionary practices of the architect and his desire to travel to the offices modern transnational days, that having offices in New York and China working almost 24 / 7. The hypermobility of the second half of the twentieth as a symptom of a global society may look now replaced by a hyper . The means of communication in general and specific internet today allow days is not necessary to travel to establish a communication .
The tradition of the court is bound to fund the lifestyle of Latin American house. The patio is a gathering place for contemplation, but also a meeting. Is a distributor and a destination in itself. In the case of the courtyard of the Museum MARCO in Monterrey, the arch. Ricardo Legorreta, is easy to read the influence of the Mexican hacienda. It is also easy to see water management as Barragán.
But perhaps more interesting to look at extending the long tradition of iconic buildings in central areas of architecture.
In the Villa Rotonda, for example, Palladio created a central space of the Pantheon way it distributes to four identical rooms. This site has been copied profusely from summer villas to the White House. It also incorporates the types of museums, the moment they cease to be private art galleries to become more knowledge and public recreation.
A museum paradigm, the Altes of Schinkel, has this central space. The "sanctuarium" as he calls it, is really the heart of your project. Between this space and two rectangular courtyards distributes traffic to a set of rooms the same size.
In Mark, this central area is also surrounded by a portico, but the galleries are of different sizes, colors and lighting qualities. Instead of robotically through the museum, the experience becomes an individual discovery. The space is compartmentalized, but in an asymmetrical and gradual. Accessing the museum from the city, the courtyard becomes a welcome respite, a place where there is light and the sound of water. Walking the halls, it becomes a reference point. Like the old haciendas, and in their houses, as in Altes or Villa Rotonda and the Pantheon: a space to understand what distinguishes architecture building.
