NUEVA FACHADA PARA SAN LORENZO | JUAN CARLOS PELLEGRINI RICCARDI

Pythagorean homage
The convocation to design San Lorenzo's facade and the acceptance to the challenge, in this cut epocal desacralizado gives bill again of the altruism of our to make. I think that the contribution that we can and we should make to the city the architects, it not only goes by our decision on that built; in the best in the cases, the city transforms, he is born, it grows or reason of political or economic measures dies; with a quick look we see the little thing that we can make in this respect, but however thanks to our intervention she modifies the space and its bigger expression, “the place”, then necessarily that place models, he transforms and it modifies the men that inhabit it.
For the architect, the form it is the essence, it is their expression way, their logoses..., the form puts us in the world.
From half-filled of the XVIII century they begin to decline the old tasks rectors, the church and the palace that traditionally had marked the art, to open the way to the new tasks: the park garden, the commemorative architectural monument, the museum, the theater, the exhibition, the factory, etc.. Some of these topics return in the XX century as having renovated, but some as the museum with an unusual virulence.
Of the tasks rectors that stand out today, not already in the predilection of the architects, but in the decision of the responsible politicians of the big cities it is without a doubt the museum. The museum exacerbates the breakdown of the art and the work passes from its conception of entirety to the fragment (it would put as limit the origins of the rebirth), of the force characteristic of the aesthetic operation of the collective participation to the individualistic view.
The form like completed feeling of the art becomes a make-up and that vivencia that it was innate to the work, it passes second plane and the man, of participant mere observer becomes.
The stylistic lining passes to have its social correlato.
It could be concluded noticing a reciprocal transmutation in the phenomenon that happens with the two more important tasks rectors, the church, and the museum. Transmutation that locates to the museum in a mystic and sacramental plane. Paradoxically, in the church, the religious element is not sacramental neither mythical, but, at most, simply poetic; it is not something organic, but a lining, kind of a conceptual mantel that he requests borrowed to the last times. They don't already exist images for the provided cult of spiritual value; the conversion of the religiosity in aesthetics has made them impossible. And consequently, a world able to believe that the most sacred thing is a museum, has to be essentially historicista, where the supreme divinity is the humanus that includes the man's creative powers.
When the culture loses dynamics and protagonism and it is confined in the museum it is of waiting an inflection. When the cult corrupts, in times of gloom, amid a shock orgiástica that springs from the temples, the classes, the parliaments the screens of the fateful shades, he will be able to feel the nostalgia hesiódica of the Muses, the hymnein perikhorético of our Kingdom lyrico, the shared mysterio of the culture agapística, in short, the nostalgia of our Greek-Latin, symbolic culture that made possible those Florentine jewels, that urban and architectural goldwork, the Partenón is a Homeric creation, it is previous to Fidias and to Calícrates.
My humble opinion is that, for this axis it passes our true cultural inheritance.
The project, as a great space virtual citizen, a centripetal urban geometry that wants to be a contention symbol and concentration to the way of the old loggias, proposes an environment to a scale related with the city, a gem of glasses that in diverse successive and alternative planes of transparency and color tries fundamentally to protect more to the city than to the temple, in a prism the other way around, it is a great box given turn whose antropometría doesn't look for the monumental thing but to include and to influence the man in its layouts, to discover the musical rhythmic-recurrent-cosmic, Pythagorean origin, as the same mysterious origin of the life and its linking with the trinitarian mystery, materializing a space light, dynamic, of glass that seeks to emerge to the cosmic thing of the dark depths in that we are today, impregnated of the golden proportions by way of generative entity, promoter and protector.
According to Paul Valery "TO Greece we owe him the discipline of the Spirit, the extraordinary example of the perfection in all the orders... The Greek geometry has been that incorruptible pattern, not only proposed to all knowledge that spreads to its perfect state, but also incomparable model of the typical qualities of the European intellect... ". In fact of the European spirit that Valery points out they seemed to emerge a sinnúmero of risky alternatives of that geometry suscitante. Geometry that includes these latitudes in the unfolding of their layouts and to the one that subscribes, either rehearsing forms, looking for a form. It is a cosmic geometry, and in that sense one could say that each form is the geometric place of the life. The morphology of the project here presented he/she attempts the semantic émulo of marras. A first approach to the scale of the materiality of the project, determines the decision of carrying out it based on three elements: the stony thing, the concrete armed martelinado, with incorporation of pigments (cobalt oxide) to achieve the blue tonality looked for for the pillars. The stainless steel, in its mission of structural nexus between the concrete and the glass will appear, so much in the retícula of the wrought superior, in the kneecaps of it assembles between the vertical elements and the horizontal ones and in the nervaduras that to coaxial way, texturado appears with vertical grooves in the center of the superior glass columns, generating elements of strong rigidity so much in the main plane as in the traverse ones, the superestructura conforms to starting from simple retículas generating napas united by planes of arriostramiento discretizados what gives to the combined character stereo and reveal, showing a depth that is virtual to scale of the project.
The types of glasses look like those that were used in the Gothic windows, the glass colored in their mass and the glass of two leaves. The glass colored in its mass was of an uniform color that was gotten adding iron oxide (for the red one), of copper (for the green) or of cobalt (for the blue) to the vitreous mass, it mixes transparent of carbonate of potassium (later, of sodium) and silica. The glass of two leaves that allowed to obtain translucent intense colors, was obtained fusing a fine layer of colored glass with another thicker layer of clear glass, when both were even hot. Of course carried out with the modern technical today in practice and with glasses of security.
The project is not only a great urban sculpture in the one which the expression of the constructive thing and the structural thing has been purified in big harmonic forms, to stop to simply be a facade (the only intervention that is practiced in the existent facade, is the three coincident cracks with the current openings, to facilitate the participation and integration of that subtle and potent interior at the same time in the new facade), but rather it offers the possibility of temporary exhibitions of works linked to the plastic one, painting and religious sculpture, in its forms of transparency, air, etc., and that they will be been able to locate in removable compartments of the so many outlined glass planes, or of icons and dynamic, holographic and digital images.
Without another reason for the time being and at your disposal, he/she greets them from the America Románica:
Architect Juan Carlos Pellegrini Riccardi