07
EL DISSENY EN ELS JOCS OLÍMPICS. UN LLEGAT PER A BARCELONA,
1992
A system called «architecture». The Palau Sant JordiReality/unreality
 As in the EEUU there is an obvious tendency towards a
strong hiper-reality syndrome, in Japan there is a trend to overcome
the phenomenon of unreality. Because hiper-reality and unreality are both
derived from reality, behind both of these lies the world according to reality.
Both are probably destined to return to reality in the future. Hiper-reality
and unreality as the description of phenomena really produced are two ways of
observing our society and concepts that are basic for approaching it; for this
reason it would be more correct to consider that these symptoms and phenomena
have appeared so as to be conducted back to reality. On the other hand, there
are other places in the world that have reality as their evaluation norm and
their projects are organized in that direction. The Palau Sant Jordi is a
project for a city that has reality as a norm. On the other hand, the Palace of International Congresses in Kita-Kyushu.
which will be referred to in the next number, is architecture for a Japanese
metropolis which is oriented towards unreality. Likewise we could say that the
Disney Office Building of Disney World in Orlando.
Florida,
whose construction is due to be finished by the end of this year for its
inauguration next year, is a project for a hiper-real city. These three
constructions initiated at different times had been designed simultaneously and
will be finished more or less at the same time. Working for three different
cities with different characteristics, Barcelona,
Orlando and
Kita-Kyushu made me try to create not only different images, because the type
of buildings are different, but also because I realized that they required
basically different solutions. This is because the world of today is not
homogeneous and the characteristics of every place require an original
solution. Even if an architect has a single style, in the development of his
work the particularities of every place play an important role and this
produces different results. I believe we must accept this reality and show the
conflict that appears during the process.
Therefore, the Palau Sant Jordi is considerably
different in its architectural characteristics from the recently constructed
buildings in Tokyo,
a city which I qualify as «unreal». In it, the site is presented as «real» in
the continuity of space and time. The reason for which Tokyo is now in an unreality phase is that
this continuity was interrupted and it appears as if everything is reduced to
"here" and "now". As a consequence of this many of the
meanings of the place have begun to float and have become a-historical. The
sedentary community vanishes, it becomes nomadic and turns into an ephimerous
phenomenon. Finally, the building breaks into fragments, becomes lighter and
the result is amorphous. Jaques Derrida also searched for these characteristics
desperately in the article «The point of folly» on the project of the park La Villette in Paris, which Derrida
refers to as the architecture of «Maintenant». One can see that La Villette is
an attempt to create an area based on an intellectual, extraterritorial type of
jurisdiction in Paris, one of the real cities in Europe.
In comparison to the great effort that must be made to achieve this, in Japan this
happens without any difficulty whatsoever, as if it were a natural phenomena.
With this strange feeling in mind, since Barcelona
is another European city with the same historical antiquity, a real city, but
in which buildings are accepted as being «Non-maintenant», I thought that I
should choose this posture and reflect it in the design.
As a result, I chose solemnity instead of lightness,
integration instead of fragmentation, continuity instead of a cut in time and
space, the «here» and «now». Historical continuity instead of a-historical
continuity, a construction not for the nomads but for the citizen community,
making it take root in the ground as a commemorative monument without detaching
it of its meaning. In any case, I live in an unreal world but have worked in a
real world for which reason I have not only stuck to its time and space
continuity. Due to this one can have the feeling that the building does not
live permanently, that it is far from everyday life and does not fit into its
surroundings. However, here I am only going to refer to its relation with the
real world. The characteristics I will point out are completely the opposite of
those I would use if I had to describe the Palace of International
Congresses in Kita-Kyushu. It will probably
appear as the work of another architect. From my point of view, the author of a
work looks for something that marks the profile of different forces tugging and
relating with each other in many ways. One's work is never the expression of oneself.
In other words, the architect acts as the mediator of the work but is not in
charge of its total expression. Different people take part, unexpected events
take place and sometimes the result is different from the initial plan. The
place or site is an especially important factor. Depending on its
characteristics, whether it is real, unreal or hiper-real, the image will
inevitably be different.
Why does Barcelona
appear as a real world? It is almost impossible to explain, I have no definite
reason. At least the place where the Palau Sant Jordi was built possesses a
great magnetic field, both historically and topographically; I could perceive
it, I worked according to this concept and this was my conclusion. Or rather,
my theory. Originally. Barcelona
was a very prosperous Roman colony. Over the ruins of this Roman period the
center of the old quarters was created, now known as the «Barri Gotic». The
Palau Sant Jordi is built on me mountain
of Montjuïc, which
dominates the Barri Gòtic and the harbour right next to it. Its name, in my
view, reveals that its original inhabitants were Jewish. The name given to the
building, «Sant Jordi», is the Patron Saint of Catalonia. This indicates that
these sports facilities are considered important as a symbol. In the urban area
of the mountain of Montjuïc the 1929 Universal Exposition was
celebrated, and of its main facilities constructed only the Museum of Catalonia
remains on part of the mountain slope. In front of it and still functioning is
the fountain which, at the time, was the largest in the world. On both sides of
this fountain are a few of the exhibition halls that are still used for the
Fairs hosted here today. Beside the Poble Espanyol, which normally appears in
any tourist route (in which there is a sample of different Spanish
architectural styles), the Mies van der Rohe pavillion has been restored,
probably the most important monument of the 20th century.
In 1929, the year of the Universal Exposition, various
sports facilities were built on the mountain
of Montjuïc, of the same
magnitude as those built for the Olympics. In 1936, Berlin obtained the Olympics, which Hitler
denominated «Festival of the Nation», But on this mountain an olympiad was
going to be held directed by the representatives of workers from socialist
countries as an alternative to the Olympics controlled by fascism. The day of
the inauguration. Franco raised the anti-revolutionary forces against the
democratically constituted power of the Popular Front. Immediately the
athletes, in representation of the workers, declared their participation in the
army of volunteers against Franco. A story as dramatic as this is engraved in
the history of this mountain. The civil war is detailed in a novel by Hemingway
and in Homage to Catalonia by George Orwell, and the places named in
these two books still exist in the city today. I suppose this war left many
scars, and a very wellknown example is the story of the plans and sketches of
Gaudí which were burnt in the fire provoked by the anarchists who locked themselves
up in the workshop of the Sagrada Família. This incident took place only ten
years after Gaudí’s death.
As an example based on the near past, the place known
as the "Olympic Ring", which the Barcelona Olympic Committee assigned
as the site for the main facilities for the Olympic Games in 1992 —including
the Stadium, Sports Palace, swimming pool and press center—, is full of
memories for the citizens, both historically and topographically. In other
words, the meaning of this land or site, like the continuity in space and time,
penetrates very deeply indeed. It is impossible to eliminate; on the contrary,
the main point is to situate the building in the continuity of its meaning.
Before finishing the construction of the building, a Barcelona publishing
company, Gustavo Gili, together with Iwanami Shoten, published Barcelona
Drawing, which contains all the sketches of the design phase. For its
publication, the writer wanted to include the sketches that I made before
beginning the design and he selected two from my drawing book. One was a view
of the mountain
of Montjuïc and the other
was the lighting of the Barcelona Expo. This selection was made from the point
of view of space and time in every place; in other words, with the criteria
that topography and history should be the ultimate factors. I agreed with him
totally. The place is clearly signified as an element that constitutes the real
world. Barcelona
shows us its history maintaining its equilibrium with unusual clarity, and the
Barri Gòtic is a good example of this. During the modernization of the 19th
century, the Barri Gòtic was surrounded by the streets and avenues that
extended radially tracing squares according to the clearly reflected concept of
block, offering a contrasting panorama in relation to the labyrinth of the
Barri Gòtic. Later the pavillion type buildings were constructed around it, on
the hill and on the slopes of the small mountain. This idea of urbanism, to
fill every part with the architectural style that characterizes every period,
seems to have been inherited like something natural in the course of time as a
tradition.
For example, in the 19th century there was an eclectic
style: the end of the same century saw the birth of Modernism, this being the
Spanish representation of what is known as Art Nouveau, and Gaudí is one of
the architects belonging to this movement who shares much with other architects
of this tendency. In the 1920's came the influence of the «Noucentisme», that
appeared in Milan
after the First World War. Eugeni D'Ors is the most wellknown critic of this
period. The majority of free-style, neo-classical buildings belong to this
period. The fantasy of Modernism gives way to classical elegance. Later, after
the war, comes Rationalism, which, contrary to Italy, develops as the contemporary
architecture with lack of imagination that characterizes the postwar period.
What wc must pay attention to during this period is the posture of ignoring the
urbanistic context that existed in «Modernite» and separating from it; at the
same time, critisizing its sometimes latent quality that can destroy the
structure of entire blocks to try to connect with the context as the urbanistic
architecture of the future. This critical attitude has always existed in this
city. Oriol Bohigas is putting it into practice, being an example of it
himself. Since he is indirectly directing the development of the Montjuïc
Olympic Ring plan I am sure that this place will remain within the continuity
of space and time and that the architecture will be integrated within the
context. Since I accepted this job within this framework I had to give a clear
idea of my own point of view in relation to the context. In this aspect, the Palau
Sant Jordi has been a construction in which solutions have been applied to
solutions in order to adapt it to the context of this real city. My
contribution to this process as an «alien» from an unreal world has caused
certain unease in relation to correctly following the context. Since this
building was not for an exclusively local occasion but rather for an
international event such as an Olympiad, this unease was partly expected and
partly limited at the same time. I believe that this time the balance between
both was necessary. The particularity of this building insofar as its external
aspect is the dome. This building is a multi-sports gym with a 200m rope and a
total capacity for 17.000 spectators (13.000 seats + arena). The enormous roof
that covers the whole building is the only singular element, in two and three
dimensions, as well as the image symbolized, therefore the concepts are all
related to the dome. Here is where I would like to describe three aspects of
this dome: the architectural process according to the advances of technology,
the cultural context of this land and the systematic architectural distribution
adopted as a result.
In Japan,
Barcelona is
wellknown for the pinnacles of the Sagrada Família. Its image is interpreted as
an unreal world of fantasy and appears in many publicity advertisements as a
fantasy scenario, like a Fellini movie. Japan,
which is an unreal world, uses this panorama to create an unreal image and Barcelona, which I
qualified as a real world, appears completely inverted. But in reality Barcelona, which has a much more real mentality than Japan, saw the appearance of the Modernist
movement which is full of fantasy, in spite of which present-day Barcelona continues to be
a part of the real world. Fantasy and unreality are concepts of a different
order. Real, as I have said before, is where a place is acknowledged as a continuity
in space and time and things are evaluated according to this way of
understanding. In comparison, «un-real» is when many phenomena which are not
originated in continuity are penetrated and produce confusion and disorder in
their relation. «Hiper-real» could be said to be the world where things with no
foundation are dominant producing imaginary rules. From this point of view, it
is easy to pass from «unreal» to «real».
Effect of the dome
 As an example, when one sees from afar the rows of
houses of Chartres or Strasbourg, the cathedral stands out
noticeably in the midst of all these constructions. This panorama is like God
descending to earth, giving the idea that the gothic style cathedral, together
with its decorations, is supported by Theomorphism. It also gives the idea that
every city had its own pattern.
Since the 15th century, the great dome has substituted
the set of gothic-style pinnacles, Florence and Vicenza still transmit
the commotion caused by the appearance of the dome. Santa Maria dei Fiore
retains its voluminosity till today and transmits the surprise caused by
Brunelleschi when he created something real following his resourceful spirit.
On the other hand, the basilica of Vicenza
is a large «City Hall» type of space and with this construction the architect
Palladio began doing exterior design. Its dome is basically characterized by
its oval shaped arch and maintains something of the gothic style. The same
shape can be seen in Brunelleschi's dome.
Its dome is not very large, like R. Buckminster
Fuller's project in Manhattan, covering only part of the city, but it probably
has a space that can accomodate all the cities inhabitants. The fact of having
such a space represents that the inhabitants of this city form an urbanistic
community.
When the great roof of the Palau Sant Jordi appeared
on the slope of the Montjuïc mountain, the citizens had the impression that
something like a cathedral or a basilica had appeared. I felt a sort of
awakening when I realized the amount of people who came to visit it during the
first days of its construction. I was used to seeing the construction of
buildings as an object of consumption. But this experience reminded me of the
first time I saw the domes of Florence or Vicenza from afar and I
understood part of what European citizens feel for their cities during
centuries. This time I felt the same emotion, the applause of all the unknown
citizens. I lived the process during which the building, which had been crowned
with the name of their patron, was offered to the community by means of an
architect's hands.
This dramatic incident which I have faced for the
first time in my career as an architect I believe stems from my decision to
introduce the dome in this project. In my usual way of beginning a design, I
looked up all the possible structures and styles for covering a large space. At
the beginning, the parabolic line arch was going to be the main feature. When
the moment came to take part in the contest, the roof had an irregular
ondulation that had nothing to do with the dome. When we were faced with the
crisis in the realization of the ondulated roof structure, the idea of the dome
appeared. Briefly, in order to construct the structure of the
irregularly-shaped roof with Space-frame I had a technical guarantee of being
able to easily construct the Ball-joint of different angles by means of a robot
synchronized with the computer. But the problem was the large surface that had
to be covered. The weight of the roof was excessively concentrated in certain
places, it could not be compensated with the homogeneous part and was not
feasible. Then I decided to reconsider the design thinking of the Pantadome
system created by Dr. Mamoru Kawaguchi. This happened after the basic concept
had been approved in the contest and before reflecting it in the design. The
people concerned thought that this change from the ondulated line to the dome
was a step backwards. The fact that I had been chosen as the architect was
because my roof contained a free line that did not exist anywhere else yet. Any
European architect could make a dome, which is typical of European culture.
Apart from this, the place originally chosen for the building was 30 mts away
from the rock bed and these 30 mis were made of residue accumulated during the
past 100 years. The state of the ground was completely inadequate and we were
forced to displace the site of the building. The Palau Sant Jordi was going to
be situated in the place originally thought for the Sports University
designed by Ricard Bofill (which will be used as the Press center). Before this
decision was made, there was much discussion but not at a technical level;
arguments were of a political nature. When the aforementioned unease arose is
when I decided to introduce the Pantadome system. I had to repeatedly explain
the construction process which challenged the imagination of many.
The Pantadome system is a rational solution that can
eliminate the scaffolding in the middle of the construction process. According
to the idea of this construction system, it is built at floor level in various
articulated components and once raised to its final height its structure is
consolidated. This unconventional idea seemed very attractive to me. Mamoru
Kawaguchi explains that the construction process of the wooden cube was the
origin of this system. The wooden cube is made up of various sheets. Joining
the parts by means of rings, a stable space is achieved in the interior. The
roof is basically divided into various parts, each part is a curved surface of
a dome-type shape and once they are ensembled together they produce the dome
effect in another even higher dimension, so that it has a double mechanism. The
«dome effect» is basically the concept of the construction project, and its
curved surface is on the limits of structural possibility. In the city scale
the buildings cover the city and enfold its massive citizenship within it.
Thanks to the historical testimonies and its morphological image I apply the
name «dome effect» when the latter gives the feeling of integration at a visual
level. The dome is a very European and historical concept. The degree of dome
effect of the Palau Sant Jordi is hardly visually perceptible, it could have
been lifted higher, like my other dome, but it was decided to leave it at its
present level. Many invisible efforts were made to give it its flatness. Its
line represents the smooth ridge of the small mountains that surround Barcelona like the mountain of Montjuïc.
It is easy to simply imitate the shape of these mountains. However, it is very
difficult to demonstrate, at the same time, that this is the result of a
rational construction system with a minimum of interior components and pillars,
without insinuating any other reason or cunning (Gimmick). What is probably
required of this type of building is that it comply with the mentioned
conditions. In other words, that its structure and construction have no
redundances but, at the same time, give the strong impression of an excess of
caprice. I have dared to describe this in my explanation as the imitation of
natural geography by means of an artificial product.
I have been asked whether trying to create a dome that
would correspond to die natural geography of its surroundings wouldn't have the
effect of subordinating this dome to the rule of natural morphology. I have
then had to answer by explaining the historical relation between nature and
artificial objects. Their separation, imitation and adjustment. The anti-natural
characteristic of the great structure whose gravity lies in the atmospheric
current. And even the freedom I had to decide on its shape. First of all one
must accept the dome from the point of view of the history of its community and
intentionally admit the influence of the ground's topography. To design after
totally accepting the latent history of the community, the topography of the
area and the technology at our disposition, which I will refer to later on,
leads us to express completely new meanings of Topos (place) as the continuity
in space and time. The place must be accepted as the real world and the project
must try to be conceived as a real project. This made me radically change the
posture I usually have in Japan
when designing. A place must be understood as a continuity in space and time
full of meanings, separated from those summarized in the «here» and «now», from
postmodernism words such as Antitopos, Ephemera, Nomad, Chaos against
Community, Non-history, Non-hierarchy, Non-order, Catachresis, Non-presence,
Absence, etc.
Japanese
distribution
At first, we did not know that the dome was a key
image, hidden like a necessary story inside a city. When the dome was finished
and we saw that unknown citizens began to show their interest in different
senses, I began to understand this. The incredible enthusiasm was not because
the Olympic sports facilities had been concluded, but rather due to the fact
that something essential for the city had been created and the citizens felt
this intuitively. I began to believe, considering the history of every European
city, that the dome had led them to feel it. I chose the Pantadome system at a
moment of crisis in the middle of the design process. Without having foreseen
it, the system connected with the deeply embedded feelings of the city and evidenced
the hidden story of the land. I applied this system not only as a tool to make
the dome but also to add another possibility to the general development of the
dome, knowing the work of Brunelleschi, Gaudí and Fuller. That is, apart from
having a double intention, building every part of the divided roof has a dome
effect in itself and the whole set put together repeats this effect again, the
process of raising it conveys it with spectacularity (in truth, the
communication media informed of the process) and, as I intended in the design,
I searched for a limiting point that would allow structural stability and froze
it in this position in the middle of the process of uniting the divided parts.
Before the divided parts formed a complete configuration, they were immobilized
in the air. And placing a Sky-light in the connection with the hinge from the
outside one can see the discontinuous surface, and from the inside every
divided part is seen separated from the rest and floating in the air.
At the beginning, when I was still thinking of the
ondulated irregularly-shaped roof, I wanted to underline the contrast between
the shape of the flat surface and the shape of the roof that would finally be joined to it,
and I was going to adopt some system for making its visual difference stand
out. If I had continued with this idea, this building would possibly have ended
up looking like the «contrasting visualizations» type that was in fashion
during the eighties. At the time, I even tried to disperse the roof.
However, the final solution adopted was probably
traditional, since it consisted of unifying the flat surface, the structure and
the construction solution in one only system. Simply uniting and articulating
the parts that were previously divided produced a state of ambiguity: the
complete silhouette of the roof appears ambiguous. The unification of the
system rationalizes the relation between the elements and is the only path that
can enable the possibility of communication between the different cultures, in
the development of teamwork in collaboration with the architects and
technicians of Barcelona.
If I wanted to, I could be arbitrary and justify it under the name of art as
many European architects do. But I did not think this was the idoneous
solution. Rather, considering the budget, the technology at our disposition and
the human team that I was going to form temporarily, I believed that this was
the most adequate solution that could be applied.
After all, once the dome was applied, the dome being
an important part of Western history, I discovered that its distribution
(Parti) coincided with the architectural system of Japanese temples. The
silhouette of the roof is divided into three parts. That is, «Omoya» (great
roof), which corresponds to the central arena, «Hisashi» (eaves), to the tiers,
and «Magobisashi» (gable-end) to the surrounding corridors. As you know, the
Omoya, Hisashi and Magobisashi divisions can be seen in Japanese temples whose
architectural system consists of achieving the form allowing the distribution
of the floor and the structure of its roof to condition each other in space.
This time I did not obtain this result on purpose. I imagined the structure of
the three parts corresponding to the arena, the tiers and the corridors, and
later the Pantadome system allowed the union of these parts. Since the presence
of the relation between the system used and Japanese architecture was not
intentional. I did not mention it to the people involved in the project. But at
one point one of them mentioned that the roof resembled that of a Japanese
temple and this made me think. The dome does not exist in Japanese culture and
I believed there was no relation whatsoever. And the roof of the temple is
normally bulging but never rounded like in the case of a dome. I was blinded by
its geometrical characteristics and the name of the construction system.
This system with an Omoya, Hisashi and Magobisashi
hierarchy was generated in a natural way by the limitation of the structural
system of those days and the division of space produced as a consequence of
this. During a time in Japan
they also tried to summarize the three parts into one only silhouette. The roof
of the sanctuary temple is an example, but it still allows the subtle
appearance of the interior division in its exterior line. Later, in the Sukiya
(building whose structure stems from the tea-drinking room) there is an
intentional underlining of the difference of its «structure = space system»
applying different materials to the roof. I could interpret the architectural
history of this shape thanks to the critics in
Barcelona
and I realized that the Western urbanistic construction, the dome, and the
Japanese system of divided space such as Omoya, Hisashi and Magobisashi, are
curiously fused together. I guess
that it is interesting in this case that when a Japanese architect designed an
urban building, he consciously or unconsciously seems to have adopted an
architectural system derived from the already-existing systems in the history
of two different lands. I feel, in this sense, once again trapped in the
magnetic attraction that the place possesses (Topos).
The "Topos" carries within it a chain of
historical meanings. I do not wish to justify it as the soul of the earth. But
sometimes when I reflect on the work carried out I realize that the
significance of its history, topography, culture, events and folklore dominate
the land in the form of beliefs, unconscious rules, a space that is difficult
to escape, like tales being told. I especially felt this when the site of a
building was in the midst of country scenery like in the case of the Hara
Museum Arc and Musashigaoka Kyuryo Country. I thought that this context had
disappeared in large Japanese cities. However, in the case of the Palau Sant
Jordi the power of the site is clearly revealed. When the existence of this
power as the key to the architectural solution is so clearly evidenced, its
world can be considered a real world.
One of the reasons that the roof reminds us of a
Japanese temple are the black enamelled tiles. The tiles are made of a type of
ceramics which is traditionally used in Catalonia.
This material and its manufacturing method have been used during centuries for
covering the cathedral dome. It was selected as the material that would more
easily cover a curved roof. I often referred to this fact to explain the
relation with my birthland. Being a Japanese architect I suppose that this
black colour, from my point of view, gives it a certain Japanese air. As for
the construction, there is a system known as Catalan Vault which I wanted to
use for this project but had to give up in the end. It is a traditional Catalan
solution which allows to construct the vault with bricks without using
scaffolding. With this system the circular stairs and the roof are constructed
with such tremendous skill that it seems almost like juggling. In the mid 19th
century it was exported to the United Slates as a patented system which has
been frequently applied in the interior of many buildings designed by McKim,
Mead and White. We must not forget that this system structurally enabled the
construction of Gaudí’s mysteriously curved surface. The artisan of the Catalan
Vault carefully enlarged in the architectural scale the chalk model presented
by Gaudí to produce the surface that traces curves both freely and
acrobatically. At one point. I began to study the possibility of fully adapting
this system to the structure of the bottom part, including the tiers. But after
extensive research I realized that no artisan still used this technique and its
application could not be carried out.
In the modernization period, even Spain allowed
the disappearance of its most traditional and singular system. As an
alternative, 1 then adopted the «Precast Concrete» system. Its finishing method
is inherited from the Catalan Vault. This system produces a sufficiently robust
construction with bricks and a little concrete brace. From the Travertine to
the Ball-joint patent of the Space-frame. I tried as much as possible to use the
construction systems and materials of this land. As a consequence, this
building has certain parts that offer a different impression in comparison to
the buildings I designed in Japan
or the United States.
Walking through the building, there are parts of it that surprise me and remind
me of surroundings that I
saw somewhere in Spain.
In spite of having selected the materials and our studio having made the maps,
I clearly remember this feeling that once the building is finished it begins to
seem like the work of someone else. This experience does not mean that the
project is carried out without control, but rather, that a long history is
formed by the accumulation of small independent histories, overcoming the
esteem of the author and that, with the authors help, someone else begins to
tell his own history. After all, it can be understood that the author is
dragged along in the gestation of his work. This is my experience with this
project.
All of this is part of the Palau Sant Jordi. In all
the articles appeared in the press on the subject of this building, once its
construction had been finished, the name «Isozaki» as its author appeared very
frequently. But once this phase has been overcome, I believe that in the near
future the time will come when this building will be acknowledged as the dome
generated by a «city» called Barcelona.
For this reason, during an interview I said that I was waiting for some citizen
of Barcelona to
give the building a nickname. Naturally the interviewer asked me what nickname
I thought would be appropriate. And I asked him: «What do you think of
"Beetle"?», But the translator who did the interpretation turned it
into «Cockroach». Immediately the media said that the architect approved of the
nickname «Cockroach». I let it be. «Cockroach» is all right with me. Anyway,
this place was a garbage dump during over 100 years, where all the citizens of Barcelona deposited their
waste. Around the building one can still detect the smell of methane.
|
Sobre l'autor
ARATA ISOZAKI
Arquitecte. Autor del Museu d'Art Modern de
Los Angeles. Coordinador del projecte Nexus Word a la ciutat de Fukuoka, al
Japó. Autor del Palau Sant Jordi.
Relacionat 07 EL DISSENY EN ELS JOCS OLÍMPICS. UN LLEGAT PER A BARCELONA, 1992 ANDRÉ RICARD El disseny de la torxa olímpica 1992 07 EL DISSENY EN ELS JOCS OLÍMPICS. UN LLEGAT PER A BARCELONA, 1992 LLUÍS ARMET Notes sobre una dècada de disseny urbà a Barcelona 07 EL DISSENY EN ELS JOCS OLÍMPICS. UN LLEGAT PER A BARCELONA, 1992 PEP SANT, RAMON BIGAS Pebeter olímpic 07 EL DISSENY EN ELS JOCS OLÍMPICS. UN LLEGAT PER A BARCELONA, 1992 MIQUEL DE MORAGAS SPÀ Disseny: promoció i identitat de Barcelona’92 07 EL DISSENY EN ELS JOCS OLÍMPICS. UN LLEGAT PER A BARCELONA, 1992 JORDI FARRÉ, JORDI BUSQUET Acceptació i apropiació social de la mascota olímpica de Barcelona'92 Aquest article consta de tres parts: 1. La primera part, relativa a l'acceptació social del Cobi, analitza breument els problemes i les implicacions que es donen en la difícil elecció d'una mascota olímpica. En segon lloc, es fa referència al grau d'acceptació popular i a les resistències que ha suscitat la mascota olímpica en importants sectors de la societat. 2. La segona part inclou una sèrie de consideracions de caràcter sociològic sobre l’«estètica» o l'«antiestètica» del Cobi com a producte de la indústria cultural i com a objecte de disseny. 3. La tercera part fa referència a l'ús i l'apropiació social del Cobi, especialment per part de grups de signe radical i contestatari. Aquesta darrera part inclou un repertori de les imatges més significatives i suggestives de l'«anti-Cobi». [...]07 EL DISSENY EN ELS JOCS OLÍMPICS. UN LLEGAT PER A BARCELONA, 1992 FRANCESC ROCA Economia política dels jocs olímpics de Barcelona 07 EL DISSENY EN ELS JOCS OLÍMPICS. UN LLEGAT PER A BARCELONA, 1992 IGNASI SOLÁ-MORALES Barcelona'92: conclusions provisionals 07 EL DISSENY EN ELS JOCS OLÍMPICS. UN LLEGAT PER A BARCELONA, 1992 JOSEP M. TRIAS Els símbols dels jocs de la xxv olimpíada de Barcelona’92 07 EL DISSENY EN ELS JOCS OLÍMPICS. UN LLEGAT PER A BARCELONA, 1992 ANNA CALVERA El kitsch'92: la dignificació del souvenir olímpic 07 EL DISSENY EN ELS JOCS OLÍMPICS. UN LLEGAT PER A BARCELONA, 1992 JOSEP MARIA MONTANER El model Barcelona |
