Now, reminding me of the classic Gillo Dorfles’ “Le Oscillazioni del Gusto“, this down here is what I would call a “breakthrough”… Like a neobaroque version of SANAA, but through the schizoid binoculars of a Swedish architect.


Housing Project by Wilhemson Arkitekter. Via Dezeen.

I think this says a lot of the new world creolisation… even when it comes dressed in polar coolness. And this is something I have been writing about for an upcoming book on recent portuguese architecture.

In the end, it is all about the “traffic of influence” – or what Harold Bloom has called The Anxiety of Influence – and around how the grip of starchitects and their contenders is today more and more crucial in defining the hybrid and diverse nature of contemporary architecture.

Nothing very new. This was always the case. Think of Michelangelo, Frank Lloyd Wright or Le Corbusier. But this is also something that, nowadays, definitely should deserve more critical attention than it does.

So, as a small contribution for the discussion, here is a preview excerpt of my forthcoming essay “Under the Influence: From Volcano to Gene Pool”…

All “regional architectures” that currently enjoy some international recognition possess one, and only one, common denominator.

What, for some time, has united Spanish, Dutch, Swiss, Portuguese, Mexican or Japanese architecture? And what has made these architectural practices stand out from those of neighbouring countries such as Poland, Belgium, Luxembourg, Norway, Argentina or Thailand?

Think about it.

Once it has been proven that the “resistance” of critical regionalism has been ground down for good, there must exist a deeper reason for creating a distinction between practices that, in geographical terms, could only be close to each other in their truths and consequences.

Have you guessed?

In each of these countries, personalities or architectural players have emerged who, whether a little earlier (like Luís Barragan, winner of the 1980 Pritzker Prize), or a little later (like Rem Koolhaas or Herzog & de Meuron, winners of the 2000 and 2001 Pritzker Prizes), have brought an overwhelming influence to bear on the contexts in which they acquired pre-eminence.

In many cases, we must not undervalue the fact that the reasons behind the emergence of these and other personalities (who have always been significant in turning the Modern Movement towards the current condition of architectural production) are located in a particularly rich historical context, as in the case of Spanish or Dutch architecture, and as in the (much earlier) case of American architecture.

However, this is not what concerns us here, just as it is only marginally relevant that these personalities formed part of the current starchitecture system from the start. The highly personalised and deterritorialized star system which currently regulates international architecture, and which is also subject to the principle that the times they are a-changin’, might have something to do with the arguments developed here, but only in the sense that these personalities generate a kind of enduring influence that marks the architectural production which is seen as representing a benchmark, whether on the regional or the international level.

Like the presence of a volcano on the near horizon, the influence of these personalities produces a particularly fertile terrain. However, in the presence of the permanent eminence of the devastation, it also generates an almost permanent state of anxiety.

Picture 1

A.Siza Vieira: influential and under the influence… Via FG+SG Photography.

Ultimately, with regard to the various interpretations provoked by the 80 works of Portuguese architecture in Habitar Portugal 06-08, it is worth examining briefly the anxiety surrounding the personalities that are considered to be unavoidable. After all, contemporary Portuguese architecture, like other architectures, is still living both intoxicated and sullen under the volcano.

Since, in this respect also, Portuguese architecture is the same as the “others”, the conclusions that can be drawn here may turn out to be more general than might first be imagined…

… More to come after October 3rd…

8 responses to “Breakthrough

  1. vê lá é se da próxima vez que plagiares “odesproposito” não te esqueces de fazer – foi, por certo, um esquecimento… – a merda do respectivo link

  2. Bem, como não vi o despropósito nos últimos meses, a acusação de plágio é capaz de ser leviana e… despropositada.
    Lamento desapontá-lo…

  3. Mas ainda bem que a coincidência foi notada. Assim posso sempre fazer desaparecer a referência… e evitar o despropósito de ter tido a mesma ideia… que, portanto, cada vez me parece mais óbvia…

  4. Pingback: Breakthrough | Helsingborg Travel - Culture and Recreation

  5. ah, ah, não viste o despropósito nos ultimos meses!!!???
    deve ser o fantasma do teu blogue que aparece no (meu) sitemeter…
    a despropósito…
    a (minha) posta não tem meses, tem (barbas) anos (é de janeiro de 2008)
    pois é… as ideias são todas óbvias… depois de alguém as ter…

  6. mil perdões… não é (não foi) plágio
    tudo não passou, na imortal expressão do seu amigo, o “nulo”, de uma “co-incidência”…

  7. What is the correct phrase … super, great idea

  8. Pingback: Guess what I’m working on… #04 « shrapnel contemporary

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