Entre los años setenta y noventa París se llenó de detonadores urbanos. Esta serie de proyectos arquitectónicos, además de cumplir con necesidades específicas, buscaban reactivar y/o potenciar ciertas zonas de la ciudad.

 

Renzo Piano + Richard Rogers, Centro Pompidou (París, 1971 – 1977)

“The building and great public square were intended to revitalise an area of Paris that had been in decline. The neighbouring Marais district, now vibrant and multi-cultural, underlines the enormous success of the Pompidou’s role as a catalyst for urban regeneration.”

 

Steven Paterson, Les Halles (París, 1980)

Un ejemplo más del pensamiento postmoderno, llamado contextual, buscando reconstruir ciudades europeas.

 

Paul Chemetov, Ministerio de Finanzas (Paris, 1981-1988)

 

Jean Nouvel, Instituto del mundo árabe (París, 1981-1987)

“A cultural position in architecture is a necessity. This involves refusing ready-made or facile solutions in favor of an approach that is both global and specific.”

 

Otto von Spreckelsen, Arco de la Defensa (Paris, 1982-1989)

 

Bernard Tschumi, Parc de la Villette (Paris, 1982-1998)

“The objectives of the competition were both to mark the vision of an era and to act upon the future economic and cultural development of a key area in Paris. As described in the competition, La Villette was not intended as a simple landscape replica; on the contrary, the brief for this ‘urban park for the 21st century’ developed a complex program of cultural and entertainment facilities.

La Villette could be conceived of as one of the largest buildings ever constructed — a discontinuous building but a single structure nevertheless, overlapping the site’s existing features and articulating new activities. It opposes the landscape notion of Olmstead, widespread during the 19th century, that ‘in the park, the city is not supposed to exist’. Instead, it proposes a social and cultural park with activities that include workshops, gymnasium and bath facilities, playgrounds, exhibitions, concerts, science experiments, games and competitions, in addition to the Museum of Science and Technology and the City of Music on the site. At night during the summer, the broad playing fields become an open-air movie theatre for 3,000 spectators. The park currently accommodates around eight million visitors a year.”

 

I. M. Pei, Pirámide del Louvre (París, 1983 – 1993)

La pirámide de cristal es poderosamente moderna en comparación al gran patio del Louvre, pero su forma históricamente familiar corresponde a su contexto histórico. Su estética tecnológica y sus materiales también lo hacen un proyecto rigurosamente moderno.

 

Carlos Ott, Ópera de la Bastilla (París, 1989)

 

Jean Nouvel, Fundación Cartier (París, 1991-1994)

“The visitor passes beneath the cedar and sees the spectacle of the trees surrounding the glazed exhibition hall, also eight meters high, in a reading through the depth of the site. […] Architecture where the game consists in blurring the tangible boundaries of the building and rendering superfluous the reading of a solid volume amid poetics of fuzziness and effervescence.  When virtuality is attacked by reality, architecture must more than ever have the courage to take on the image of contradiction.”

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