Posta Bellinzona

More and more frequently in recent years, many architectures have expressed a desire for reconciliation with the city, with the surroundings and with the existing buildings – as a search for legitimacy for an architecture that had otherwise lost all reference after the modernist movement was still justified by the ideology of the “new”. All too often, however, history was reduced to simple stylistic and evocative material; and this “delusion of history” (Vittorio Gregotti) seems to have become one of the characteristics of the design of these years. And it is this delusion that establishes a relationship of kinship, similarity and correspondence (sometimes sameness) with our past; the search, then, for adaptation rather than possible confrontation. In the effort to avoid the danger of confusing history with styles, the search for analogies with the past sometimes leads, as in the case of Leon Krier, to the rejection of new materials and modern technologies that have replaced artisanal construction techniques. There is an attempt to preserve the integrity of architecture in this way, but unfortunately only by repeating the past. Despite its retrograde tendency, this attitude reveals a real problem: for it is precisely the integrity of architecture that is increasingly threatened and rejected. En los últimos años, muchas arquitecturas han expresado cada vez con más frecuencia un deseo de reconciliación con la ciudad, con el entorno y con los edificios existentes, como una búsqueda de legitimidad para una arquitectura que, por lo demás, había perdido toda referencia después de que el movimiento modernista siguiera justificándose con la ideología de lo “nuevo”. Sin embargo, con demasiada frecuencia la historia se redujo a un simple material estilístico y evocador; y este “engaño de la historia” (Vittorio Gregotti) parece haberse convertido en una de las características del diseño de estos años.