Casa Lucio Muñoz

This article is part of the Hidden Architecture Series “Tentative d’Épuisement” , where we explore the practice of an architectural criticism without rhetoric and based mainly on the physical experience of the work itself. Este artículo forma parte de la serie “Tentativa de Agotamiento” , comisariada por Hidden Architecture, donde exploramos la práctica de una crítica arquitectónica ausente de retórica y fundamentada sobre todo en la experiencia física de la propia obra. “A device used by ancient orators to memorise their long speeches consisted in choosing a well-known house and placing an unexpected object in the centre of each room, which could be associated by analogy or contrast with a part of the speech. When he began to speak, the orator had only to go through the house, room after room, and pick up, with each surprising object waiting behind the door, one part after another of his speech”. “Un recurso utilizado por los oradores de la Antigüedad, para memorizar sus largos discursos, consistía en elegir una casa conocida y colocar en el centro de cada habitación un objeto inesperado, asociable por analogía o por contraste a una parte del discurso. Al empezar a hablar, el orador no tenía más que ir recorriendo la casa, habitación tras habitación, y recoger, con cada objeto sorprendente que aguardaba tras la puerta, una parte tras otra de su parlamento.” Quetglas, Josep. Casa en Mallorca. Restos de Arquitectura y de Crítica de la Cultura. Arcadia, Ayuntamiento de Barcelona, Instituto de Cultura, Barcelona, 2017 Francisco Giner de los Ríos and Manuel Bartolomé Cossío have taken the lead. From a distance we can only make out the outline of their figures and the trail that their footsteps are leaving on this territory that they are now opening up, discovering and illuminating for all of us. They are shadows that advance, as are the few holm oaks that remain standing on this slightly steep hillside. July, 1883.