Il pro­get­ti­sta (di­gi­ta­le) to­ta­le The To­tal (Di­gi­tal) De­si­gner

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In po­chi me­si la nuo­va ca­sa edi­tri­ce Puen­te Edi­to­res ha pub­bli­ca­to una serie di li­bret­ti di sto­ria e teo­ria dell’ar­chi­tet­tu­ra tra i qua­li spic­ca Au­thor­ship in Ar­chi­tec­tu­re in the Po­st-Di­gi­tal Age di Lluís Or­te­ga. Iña­ki Ába­los, che fir­ma la pre­fa­zio­ne, Or­te­ga, ar­chi­tet­to e pro­fes­so­re che la­vo­ra tra Chi­ca­go e Bar­cel­lo­na, è una del­le po­che per­so­ne in gra­do di af­fron­ta­re il te­ma del ruo­lo svol­to dal com­pu­ter nel cam­po del­la pro­get­ta­zio­ne ne­gli ul­ti­mi trent’an­ni, per­ché pos­sie­de sia una for­ma­zio­ne ma­te­ma­ti­ca e scien­ti­fi­ca, sia la sen­si­bi­li­tà pra­ti­ca del pro­get­ti­sta. Il li­bro ha uno sti­le lim­pi­do e di­ret­to e rap­pre­sen­ta un con­tri­bu­to cru­cia­le per ca­pi­re la con­di­zio­ne de­gli ar­chi­tet­ti con­tem­po­ra­nei al­le pre­se con le nuo­ve tec­no­lo­gie: un con­cet­to che at­tra­ver­sa il sag­gio è che l’ar­chi­tet­tu­ra non pos­sa es­se­re con­si­de­ra­ta se­pa­ra­ta­men­te dal con­te­sto ge­ne­ra­le en­tro la qua­le ope­ra, e che com­pu­ter, stam­pan­ti 3D, te­le­fo­ni in­tel­li­gen­ti ab­bia­no cam­bia­to le no­stre esi­sten­ze. Or­te­ga con­si­de­ra quin­di co­me i nuo­vi pro­ces­si di cir­co­la­zio­ne dell’in­for­ma­zio­ne (do­ve lo stes­so di­se­gno elet­tro­ni­co può es­se­re mo­di­fi­ca­to da de­ci­ne di sog­get­ti – di­se­gna­to­ri, in­ge­gne­ri, con­su­len­ti) ab­bia­no al­te­ra­to il ruo­lo dell’ar­chi­tet­to. Sem­pre più si­mi­le a un di­ret­to­re d’or­che­stra, “il pro­get­ti­sta to­ta­le” è de­scrit­to nei ven­ti pun­ti con­clu­si­vi del li­bro: un ma­ni­fe­sto ot­ti­mi­sta sul fu­tu­ro di un me­stie­re che si rin­no­va da se­co­li. (Fa­bri­zio Gallanti)

Over the la­st few mon­ths the Puen­te Edi­to­res pu­bli­shing hou­se has brought out a se­ries of short books on ar­chi­tec­tu­re hi­sto­ry and theo­ry, pro­mi­nent among them Au­thor­ship in Ar­chi­tec­tu­re in the Po­st-Di­gi­tal Age by Lluís Or­te­ga. Or­te­ga is an ar­chi­tect and pro­fes­sor who works bet­ween Chi­ca­go and Bar­ce­lo­na and in Iña­ki Ába­los’ fo­reword is de­scri­bed as one of the few peo­ple ca­pa­ble of tac­kling the que­stion of the part played by com­pu­ters in the field of de­si­gn over the la­st thir­ty years, be­cau­se of bo­th his ma­the­ma­ti­cal and scien­ti­fic trai­ning and his prac­ti­cal sen­si­bi­li­ty. The book is writ­ten in a clear, di­rect style and is a cru­cial con­tri­bu­tion to our un­der­stan­ding of the cur­rent si­tua­tion of ar­chi­tec­ts, and how they are get­ting to grips wi­th the new tech­no­lo­gies that ha­ve pro­found­ly chan­ged their ro­le and the way they work. One con­cept run­ning th­rou­gh the es­say is that ar­chi­tec­tu­re can­not be di­vor­ced from the ge­ne­ral con­text in whi­ch it ope­ra­tes, and that com­pu­ters, 3D prin­ters and smart­pho­nes ha­ve tran­sfor­med all our li­ves. Or­te­ga con­si­ders how the new pro­ces­ses for cir­cu­la­ting in­for­ma­tion (whe­re the elec­tro­nic de­si­gn itself can be mo­di­fied by do­zens of peo­ple) ha­ve al­te­red the ro­le of the ar­chi­tect, who is in­crea­sin­gly co­ming to re­sem­ble and or­che­stra con­duc­tor. This new fi­gu­re, de­fi­ned by Or­te­ga as “the to­tal de­si­gner”, is de­scri­bed in the twen­ty poin­ts that end the book, an op­ti­mi­stic ma­ni­fe­sto on the fu­tu­re of a pro­fes­sion that has been re­newing itself for cen­tu­ries

Au­thor­ship in Ar­chi­tec­tu­re in the Po­st-Di­gi­tal Age Llu’s Or­te­ga Puen­te Edi­to­res, 2017 pp 80, € 32

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