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La Difusió D ADVERTIMENT . La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX ( www.tesisenxarxa.net ) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX. No s’autoritza la presentació del seu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA . La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR ( www.tesisenred.net ) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR. No se autoriza la presentación de su contenido en una ventana o marco ajeno a TDR (framing). Esta reserva de derechos afecta tanto al resumen de presentación de la tesis como a sus contenidos. En la utilización o cita de partes de la tesis es obligado indicar el nombre de la persona autora. WARNING . On having consulted this thesis you’re accepting the following use conditions: Spreading this thesis by the TDX ( www.tesisenxarxa.net ) service has been authorized by the titular of the intellectual property rights only for private uses placed in investigation and teaching activities. Reproduction with lucrative aims is not authorized neither its spreading and availability from a site foreign to the TDX service. Introducing its content in a window or frame foreign to the TDX service is not authorized (framing). This rights affect to the presentation summary of the thesis as well as to its contents. In the using or citation of parts of the thesis it’s obliged to indicate the name of the author La arquitectura como texto: El Danteum, entre la selva y el paraíso. Arq. Edgar A. Torres Paredes Director de Tesis: Josep Muntañola Thornberg Universidad Politécnica de Catalunya Escuela Técnica Superior de Arquitectura Barcelona Proyectos Arquitectónicos - Factores Sociales e Históricos Barcelona 2009 a edgar y nancy, por haberme enseñado a nombrar el mundo. a irene, por enseñarme a nombrar los rostros del silencio y de lo invisible. El compromiso adquirido de antemano por el director de tesis para guiar una investigación debería excluirle de recibir cualquier muestra de agradecimiento dada su obligada y tácita labor docente. Pero bien, sé por mí, que esta formalidad no me impedirá rendir una especial gratitud a Josep Muntañola por su invalorable amistad y el apoyo personal dedicado a este trabajo fuera de las fronteras del diálogo académico. A mi padre, tanto por las invalorables viñetas que adornan este documento como por sus palabras de apoyo, necesarias guaridas. A mi madre, por hacerme ver el final de esta travesía. A mis hermanos por sostener la distancia. A los distintos grupos de estudios por dejarme participar de su saber y de su experiencia. A mis compañeros de los distintos pisos de Cataluña en los que he vivido, por haberme hecho sentir como en casa. Al Archivio Giuseppe Terragni por la documentación facilitada; a la Agencia Española de Cooperación Internacional (AECI) por otorgarme la beca de dos años para realizar los estudios de doctorado. Finalmen- te, un agradecimiento muy especial a todos los amigos y amigas reales e imaginarios, por haberme dado su experiencia, su apoyo y su cariño indistintamente. Sin ellos y ellas - que saben quienes son, lo que han hecho y que en este momento, leyendo estas líneas, deben estar tratando de encontrar su nombre en vano - este documento no hubiera sido posible. Barcelona, 2009 preámbulo: soportes .6 entre lo uno y lo otro promenade .7 LA SELVA: retórica .I EL PARAISO: ficción .IV danteum .1 símbolo .1 monumentalidad .2 templo .2 simbolismo .3 número .3 aulicidad .4 recinto .4 alegoría .5 EL INFIERNO: voces .II escena .6 escenografía .7 muzio .1 montaje .8 bontempelli .2 selva: experimentalismo .9 novecento .3 lingeri .4 bibliografía racionalismo .5 anexo le corbusier .6 Relazione sul Danteum fascismo .7 sironi .8 eisenman .9 EL PURGATORIO: tramas .III huellas .1 roma .2 geometría .3 apuntes .4 itinerarios .5 ... si la arquitectura estuviera por completo desligada de cualquier lenguaje institucionalizado, como por ejemplo de la ley escrita, sería, o bien porque estaríamos todavía inmersos en una ley de la selva, o bien porque habríamos llegado a un paraíso en el que sobran las leyes. Un mínimo de realismo me inclina a creer que el hombre y su arquitectura no han sido nunca, ni lo serán, ni una selva ni un paraíso, sino casa, ciudad, paisaje y lugar; es decir: algo que nace, se desarrolla y muere entre la selva y el paraíso, y que se nutre precisamente de su diferencia. Josep Muntañola Topogénesis I preámbulo entre lo uno y lo otro 0 A menudo el recorrido que traza la investigación de una obra arquitectónica puede ser imaginado como la elaboración de un anti-laberinto sencillo y lineal. Un mapa que revelaría el recorrido tortuoso de la concep- ción del proyecto arquitectónico con el fin de descubrir el enigma que encierra o, de aventurada manera, de sustituirlo. Sin embargo el camino que traza toda escritura, incluso si este se ve reducido a la simple reproducción descriptiva del fenómeno, tiende a recordar su condena mise en abîme. La puerta que se abre con toda pesquisa no anuncia la salida de ningún laberinto sino la entrada a otro. Una puesta dia- lógica entre dos laberintos: el objeto interpelado y la interpelación misma. Ninguno sustituye la ausencia 1: “Écrire par fragments: les fragments sont alors del otro, ninguno es mero reflejo de la presencia del otro. No hay contraposición ni mera representación des pierres sur le pourtour du cercle: je m’étale en rond: tout mon petit univers en miettes; au centre sólo desplazamiento, condición alternante de voces, devenir donde permanece el extravío y el desafío. Un quoi?” [el subrayado no está en el texto original], 1 (R. Barthes. Oeuvres complètes. Paris, Editions du pequeño universo en pedazos. Seuil, 1975, p. 165). 2: “Nato a Crema nel 1889 e laureatosi in giuris- 1 prudenza a Genova, Rino Valdameri aveva fondato nel 1920, con il pittore genovese Amos Nattini, la Casa editrice di Dante, in seguito Istituto nazio- Mayo de 1938. Mussolini recibe a Hitler en la estación de Florencia. Desde Milán Rino Valdameri,2 presi- nale dantesco, con sede prima a Genova e poi a Milano [...] La passione per Dante di Valdameri, dente de la Academia de Brera, y el senador Alessandro Poss proponen a las autoridades en Roma un fascista della prima ora, rientra in quel clima di monumento en homenaje a Dante Alighieri, el máximo poeta de los italianos. El encargo es encomendado ‘attualizzazione’ dell’opera del poeta che ne privi- legia la lettura profetico-politica in funzione cele- a los arquitectos Giuseppe Terragni y Pietro Lingeri, el nombre del proyecto: el Danteum. En Octubre de brativa del duce”, (C. Baglione. “Artigiani, artisti, 1938, los arquitectos y los promotores son convocados, para el jueves 10 de Noviembre hora 17:30, al industriali: il mondo di Pietro Lingeri”, en C. Ba- glione; E. Susani [a cura di]. Pietro Lingeri. Milán, Palacio Venecia para presentar el proyecto a Benito Mussolini, Capo de Governo, Duce del fascismo.3 Electa, 2004, p. 9). El proyecto es bien recibido aprobándose su continuación. En mayo de 1939 Alemania e Italia firman el 3: Cfr. “Telegramma di O. Sebastiani a R. Vald- “Pacto de acero”. Este mismo año es suspendida una segunda audiencia con el Duce, la posible realiza- ameri, 25 ottobre 1938”, [Appendice 2. Documen- tazione del progetto attraverso la corrisponden- ción del proyecto se ve amenazada. El 1 de septiembre de 1939 Alemania invade Polonia. A los continuos za], en T. Schumacher. Il Danteum di Terragni. pedidos de esta segunda audiencia, el 4 de septiembre de este mismo año los promotores reciben la Roma, Officina Edizioni, 1980, p. 147. respuesta del Segretario particolare di S.E. il Capo del Governo, comunicándoles que el actual momento 4: Cfr. “Lettera di O. Sebastiani a R. Valdameri, 4 4 settembre 1939”, [Appendice 2. Documentazione no es el más oportuno. Un día después Terragni es movilizado y asignado, con el grado de Teniente, al del progetto attraverso la corrispondenza], en T. III regimiento de artillería de cuerpo de armada en Cremona; aún así se realizarán algunas modificaciones Schumacher, op. cit., p. 154. 11 al proyecto hasta la primavera de 1941. A finales de enero de 1943 Terragni es repatriado e internado en 5: Entre lo encontrado actualmente se puede su- mar algunos bocetos preliminares y dos informes. el hospital militar de Cesenático. El 19 de julio, inesperadamente, Terragni muere a pocos metros de su Para una descripción detallada de todo el mate- casa. El 25 de julio el rey Victor Manuel III hace apresar a Mussolini, el régimen fascista se hunde sin pro- rial conservado del proyecto, véase G (abriele) M (ilelli), “1938-1940. Progetto per il Danteum nunciar palabra. Durante el bombardeo aliado de 1944, Pietro Lingeri salva los originales del proyecto del a Roma”, en G. Ciucci (ed.). Giuseppe Terragni, catalogo della mostra alla Triennale.
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