Delirio y anomia en la obra de Lebbeus Woods

  1. Fernando Díaz-Pinés Mateo
Revista:
Proyecto, Progreso, Arquitectura

ISSN: 2173-1616,  2171-6897

Año de publicación: 2018

Título del ejemplar: Arquitecturas al margen

Número: 18

Páginas: 102-115

Tipo: Artículo

DOI: 10.12795/PPA.2018.I18.07 DIALNET GOOGLE SCHOLAR lock_openAcceso abierto editor

Otras publicaciones en: Proyecto, Progreso, Arquitectura

Objetivos de desarrollo sostenible

Resumen

The article offers a critical perspective of the work of Lebbeus Woods (1940, Lansing, Michigan - 2012, New York), from the argument of the concept of delirium. This approach, in parallel to that of the postmodern deregulation of the discipline, shows contemporary architecture itself as a delirious subject and a divergent conduct in Woods, derived from an anomie greater than that which is so extensive in contemporary architectural practice. In order to understand the marginality of this heterodox architect, his context of origin and basic biographical data are outlined, periodising the career of his expansive creativity, in which the concept of Anarchitecture was central. It is shown how he went beyond the limits, close to delirium, in the extent and great intensity of his work, persisting in fantasist experimentation and in his refusal to build. This he maintained throughout his life, operating outside the system of building codes and policies, well beyond a time when this was considered distinguished. Even though his thinking was neoliberal, Woods served in the margins of Capitalism until he built his only structure. He was invited by Steven Holl, in 2007, to design the Light Pavilion in the Sliced Porosity Block, an enormous multifunctional complex in Chengdu (China). The Pavilion, finished one week before his death, condenses the evolution of Woods’ ideology. The analysis of this project serves as a final conclusion.

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Fuente de los datos: Dialnet