Taking this term out of any connotation in which one can use it in life, where it really acquires literality and has its essence is in architecture . Generalizing, yes, is the place from which a person observes a situation. But the important thing about generalization is the subjectivity and the elaboration of thought that generates the individual essence of each point of view drawn up by different people.
In Architecture , it is the basis of diversity. There are two reasons, or several, but the elementary thing to highlight is, on the one hand, the pragmatic opinion that generates the concepts that each person acquires throughout his professional training — if we talk about architects- or the visual experience and 'crush' and developed architectural interest. In Creole, a person, based on what he likes or considers to be well based on his experience -professional or not- forms his architectural point of view and becomes a theoretical (when he sees) and practical (when he lives).
On the other hand, the most “theoretical” version of this concept, sought in architects methodically, and in non-architects unconsciously but as valuable as the other, is the physical point of view from which a work of architecture is observed. To explain this definition, the concept of what is badly called perspective is essential — this term refers to drawing on paper that recreates depths -: visual perception. This refers to how the eye captures external stimuli and sends information to the brain.
Each person has worked his perception based on what he learns about how to observe a work, taking into account concepts of depth, light, dimensions and the last but not least concept that is the “Line of horizon”. This term refers to the horizontal plane, something that is neither old nor modern, neither classic nor avant-garde. It is a mechanism, the line that divides the sky from the sea, the tool that the person has to see a work from above or from below, mount it or elevate it, architecturally conceive it stereotomic or tectonics — read Campo Baeza-.
Every day you see houses, even your own. Now you have the bar a little higher. At eye level, where the plane becomes the line you can admire the architecture with pedagogical or unsoncent sense, or both, but each work is thought — some more accomplished and others less- according to the point of view.
Three architectural jewels by Clorindo Testa.
Clorindo Testa was an Italian architect who left a mark on Buenos Aires architecture. Here we review three of his most emblematic works.
1. Recoleta Cultural Center
The building once belonged to the General Asylum Viamonte. The work for this cultural space so important for the city was designed by architects and plastic artists Clorindo Testa, Jacques Bedel and Luis Benedit. Although the former mayor of the military dictatorship, Cacciatore, proposed to maintain the classic style of the building, the architects chose a more contemporary language for his work. They installed metal stairs next to the old vaulted corridors and demolished several of the old pavilions designed 100 years ago.
2. Mariano Moreno National Library
In 1960, three hectares were allocated between the avenues of Libertador and Las Heras avenues , and Agüero and Austria streets for the construction of a library. Until 1956 there was the Unzué Palace used by Juan Domingo Perón as a presidential residence and demolished for this reason.
The work was awarded through a competition that closed in April 1962. Important studies of the time participated, but the one chosen among dozens of proposals was the project of architects Clorindo Testa, Francisco Bullrich and Alicia Cazzaniga de Bullrich.
3. Bank of London
In 1959, the Clorindo Testa team in partnership with the SEPRA Studio won the competition requested by the Central House of the Bank of London and South America . The land used for this project is the corner of Reconquista and Bartolomé Mitre streets in the heart of Buenos Aires's microcenter.
The proposal of this project is framed in the so-called Architectural Brutalism . The innovation of this style lies in the integration of the building into the urban landscape. This generates a continuity space and not a closing space.
As the streets where it is located are very narrow, about 10 meters wide each, the project was designed to take advantage of this angle delimited by the neighboring buildings. The main idea was that the city penetrate into the bank, without there being any division between internal and external space, widening the narrowness of the streets. According to its authors, the Bank of London should not function as a conventional building, but rather as a covered square.
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