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La última casa

Mónica Gili Galfetti (ed.) Pedro Azara (intro.)

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ISBN 10: 8425217342 / ISBN 13: 9788425217340
Edité par Editorial Gustavo Gili, 1999
Neuf(s) Etat : New Couverture souple
Vendeur AG Library (Malaga, Espagne)

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Desde la antigüedad, la tumba como monumento funerario representa la casa del muerto, entendida como última morada. Es también un reflejo de las creencias y la actitud del hombre ante la muerte. A pesar de vivir en una época que trata a la muerte con tanta ocultación, la arquitectura del siglo XX no ha dejado de interesarse por el tema y ha contribuido con significativas aportaciones al lenguaje de la arquitectura funeraria. La última casa recoge una selección de 60 tumbas, intervenciones de pequeña escala poco divulgadas, que son ejemplo de la amplia variedad de propuestas realizadas por arquitectos, desde principios de siglo hasta la actualidad. Se muestran tumbas realizadas por algunos de los maestros de la arquitectura del siglo XX, por arquitectos contemporáneos de consolidado prestigio y por jóvenes arquitectos del actual panorama internacional. El texto introductorio, a cargo del arquitecto Pedro Azara, realiza un exhaustivo recorrido por la historia de la tumba desde la antigüedad hasta nuestros días. *** Nota: EL COSTE DE ENVÍO A CANARIAS ES 11.49 EUROS. Si ha realizado un pedido con destino a CANARIAS no podemos hacer el envío con el coste actual. Nos pondremos en contacto con usted para comunicar el coste total del envío a Canarias y si está de acuerdo, Abebooks le efectuará el cargo adicional. N° de réf. du libraire 160290

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Détails bibliographiques

Titre : La última casa

Éditeur : Editorial Gustavo Gili

Date d'édition : 1999

Reliure : Soft cover

Etat du livre :New

A propos de ce titre

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The Last House brings together a selection of 60 tombs, little-known, small-scale interventions which demonstrate the wide variety of schemes designed by architects from the beginning of the century until now. Tombs created by some of the masters of 20th-century architecture are shown, plus others by prestigious contemporary architects, as well as by younger architects on the current international scene.

Text from the introduction The house and the dead by Pedro Azara.

"The tombs of the 19th and 20th centuries employ a formal vocabulary which relates to ancestral tradition. Just as in ancient art, we enter into the kingdom of metaphors.
Modern tombs employ bridges which evoke the fatal and final step, the crossing of the abyss, as can be seen in the works of Scarpa. They call on massive, enclosed volumes of classical composition, similar to those of treasure-houses of the ancient Delphic sanctuary whose entrance was hidden from the profane, or as in those configuring the Malmströmvault of Sigurd Leverentz or various Gunnar Asplund's pantheons.
Walls and grilles (in Josep Llinàs small vault) enclose a sepulchral emptiness, as in Anderson Wilhemson tomb, or in the pantheon a team of Italian architects (Alesi, Bidetti, Defilippis and Labate) constructed near Bari, as if such tombs were open for families to come and hold a annual wake -as used to happen in ancient Rome-, in the hopes of meeting their dead relatives once again.
In other instances, however, the tombstones recall the covers of those modest Romanesque tombs which were mingled with flagstones of the church. See, in that respect, some examples included in this book: the simple and slender Hernaus tomb by Mario Botta, resting on the grass; the headstone Win Cuyvers dedicated to his father or the beautiful tomb of Teodor Bergen Family by Leverentz, resting in the generous and protective shade of an ancient tree on the remote island of Utterö, which recall the venerable, gnarled oak the knights of the Arthurian saga prepared to rest under, for one last time, on the lost island of Thule. Luigi Non's tomb, designed by Arata Isozaki, is a slab planted with ivy which hardly protrudes from the cementery undergrowth. Likewise, Le Corbusier's tomb consists of a simple and discreet horizontal slab placed at the foot of a tall and massive cypress whose trunk, perennially and eternally erect, akin to an undulating and incombustible flame, incarnates the mythical and fecund tree of life which in most cultures symbolizes ladder or pillar uniting the underworld to heaven."

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