Sto­rie di le­gno e ce­men­to

Sto­ries of Wood and Con­cre­te

Abitare - - BOOKS -

Due re­cen­ti usci­te – 100 Con­tem­po­ra­ry Wood Buil­dings (Ta­schen) e Con­cre­te. Pu­re. Strong. Sur­pri­sing (Braun) si fo­ca­liz­za­no su due ma­te­ria­li co­strut­ti­vi, il le­gno e il ce­men­to che, sep­pur agli an­ti­po­di, so­no tor­na­ti pro­ta­go­ni­sti nell’ar­chi­tet­tu­ra con­tem­po­ra­nea an­che gra­zie all’im­pie­go del­le nuo­ve tec­no­lo­gie che ne mol­ti­pli­ca­no le po­ten­zia­li­tà. Il pri­mo vo­lu­me pre­sen­ta cen­to pro­get­ti rea­liz­za­ti tra il 2010 e il 2015 da ar­chi­tet­ti co­me Ta­dao An­do, Ren­zo Pia­no o Ate­lier Bow-Wow, insieme a stu­di emer­gen­ti co­me Al Bor­de in Ecua­dor o Ro­dri­go Sheward in Ci­le. Og­gi, sia per l’al­ta so­ste­ni­bi­li­tà, che per l’uti­liz­zo di so­fi­sti­ca­te tec­no­lo­gie che per­met­to­no di mo­del­la­re for­me e det­ta­gli ar­chi­tet­to­ni­ci pri­ma ir­rea­liz­za­bi­li, il le­gno vie­ne uti­liz­za­to per rea­liz­za­re ope­re di ogni ti­po, su gran­de sca­la o dal­le for­me sem­pre più com­ples­se. Con­cre­te. Pu­re. Strong. Sur­pri­sing pro­po­ne un viag­gio si­mi­le, al­la ri­sco­per­ta di un ma­te­ria­le pri­vi­le­gia­to in ar­chi­tet­tu­ra fin dai tem­pi dei ro­ma­ni, per ce­le­brar­ne la ver­sa­ti­li­tà e ma an­che la bel­lez­za, spes­so in pas­sa­to ne­ga­ta. Dal Mu­sée Jean Coc­teau in Fran­cia al­la nuo­va sta­zio­ne del­la me­tro­po­li­ta­na di Bu­da­pe­st M4 Fo"vám tér, ope­ra del­lo stu­dio Spo­ra Ar­chi­tec­ts, si ar­ri­va fi­no in Bra­si­le all’HI-LO Sto­re di Be­lo Ho­ri­zon­te tra spazi pub­bli­ci e re­si­den­ze pri­va­te, tra ne­go­zi, pa­le­stre e sta­zio­ni. (On prin­ted pa­per) Two re­cent pu­bli­ca­tions fo­cus on two con­struc­tion ma­te­rials, wood and con­cre­te, that are po­les apart and yet ha­ve on­ce again ta­ken a lea­ding ro­le in con­tem­po­ra­ry ar­chi­tec­tu­re, in part thanks to the use of new tech­no­lo­gies that grea­tly in­crea­se their po­ten­tia­li­ties. 100 Con­tem­po­ra­ry Wood Buil­dings (Ta­schen) pre­sen­ts a hun­dred pro­jec­ts rea­li­zed bet­ween 2010 and 2015 by ar­chi­tec­ts li­ke Ta­dao An­do, Ren­zo Pia­no and Ate­lier Bow-Wow, as well as emer­ging stu­dios li­ke Al Bor­de in Ecua­dor or Ro­dri­go Sheward in Chi­le. To­day, owing bo­th to its su­stai­na­bi­li­ty and the use of so­phi­sti­ca­ted tech­no­lo­gies that ma­ke it pos­si­ble to mo­del forms and ar­chi­tec­tu­ral de­tails hi­ther­to unat­tai­na­ble, wood is being uti­li­zed to crea­te works of eve­ry kind, on a lar­ge sca­le or wi­th in­crea­sin­gly com­plex sha­pes. Con­cre­te. Pu­re. Strong. Sur­pri­sing pro­po­ses a si­mi­lar jour­ney in re­di­sco­ve­ry of a ma­te­rial that has been fa­vou­red in ar­chi­tec­tu­re sin­ce Ro­man ti­mes, in or­der to ce­le­bra­te not on­ly its ver­sa­ti­li­ty but al­so its beau­ty. From the Mu­sée Jean Coc­teau in Fran­ces to the new Fo"vám tér un­der­ground sta­tion of Bu­da­pe­st’s M4 li­ne, the work of the stu­dio Spo­ra Ar­chi­tec­ts, and to the HI-LO Sto­re in Be­lo Ho­ri­zon­te, Bra­zil, bet­ween pu­blic spa­ces and pri­va­te ho­mes, shops, gyms and sta­tions

Buil­ding The Ci­ty To­ge­ther

Con­cre­te. Pu­re. Strong. Sur­pri­sing

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