Carlos Martí Arís e i suoi eteronimi : vocazione all'anonimo

Abstract

This research enquires into the investigating perspective of Carlos Marti Arias. To this effect his privileged field of action is framed, more concretely the articulated link that is established in architecture between theory and practice, covering also the various incursions in the world of art and human production in general, all of which turns architectonic project into a complex disciplinary field. However, the approach to his figure is instrumental, this is, it is considered as the key which allows the entrance into an articulated cultural environment which, if on one side it coincides with his town Barcelona, on the other side it transcends it thanks to those " bridges of knowledge" that occasionally CMA constructed towards the world around him. We are here referring to his theoretical construction meant to consolidate such reciprocity as exists between ltaly and Spain, its base being their urban and typological thematic, the extremes being Milan and Barcelona. We refer as well to his vision of the Modem Movement experience and the relative question of the residence, this one havling priority in his view. We are speaking of his natural vocation for silence that he opposes to the deafening noise of the contemporary and that he couples with the discreet word of craft. This would be a way of listening. Listening to the other and listening to the world. All things considered, we do refer to his idea of architecture as "labored world of times past" as a net of correspondence among the land, times, events, human beings, be they nearby or far away; these being the ideal conditions for those who wish to insert their own work in the maze of the world's paths, notwithstanding the risk of being lost in oblivion. These days, when the architectonical project is more and more a Vehicle for subjective and arbitrary formal experimentation, the lessons rendered by CMA point to a way out: to a shared World, a mode where arrogance is opposed by such discretion as leads to approach tradition and humbly seek shelter in the shadow of the masters. Tradition and Masters, Heteronomy and Names, complementary worlds to which CMA entrusts his Project for anonymity, a supra personal Project decidedly tending to outline the inedited links it contains.

Este trabajo indaga en la perspectiva investigadora de Carlos Martí Arias. A tal efecto, se delimita su campo de acción predilecto, más concretamente el nexo articulado que en arquitectura se instaura entre la teoría y la práctica, incluyente de las diversas incursiones en el mundo del arte y de la producción humana en general, que hacen del proyecto arquitectónico un campo disciplinario complejo. Ahora bien su figura se enfoca de modo instrumental, esto es, como clave para adentrarse en un ámbito cultural articulado, que, si bien por un lado coincide con su ciudad, Barcelona, por el otro la trasciende gracias a aquellos “puentes del conocimiento” que ocasionalmente CMA tendía en su entorno. Nos referimos aquí a su construcción teórica destinada a consolidar aquella reciprocidad existente entre Italia y España, cuya base la constituyen sus temáticas urbanas y tipológicas, siendo Milán y Barcelona los extremos. Nos referimos a su visión sobre la experiencia del Movimiento Moderno y al tema relativo de la residencia, para él prioritario. Nos referimos a su natural vocación al silencio que opone al fragoroso ruido de la contemporaneidad y pone a la par la discreta palabra del oficio. Una manera de ponerse a la escucha . Escucha del otro y del mundo. Nos referimos en resumen a su idea de la arquitectura entendida como “territorio roturado de los tiempos remotos”, como trama de correspondencia entre tierra, tiempo, hechos, hombres, cercanos o lejanos; condiciones ideales para quienes desean disolver su propio trabajo en el sendero laberíntico del mundo, indiferentes al riesgo de perderse en el olvido. Hoy, en que el proyecto arquitectónico resulta cada vez con mayor frecuencia vehiculo de experimentación formal subjetiva y arbitraria, las lecciones de CMA indican una vía de salida: un mundo, un modo, compartido en que a la arrogancia se opone la discreción, que incita a acercarse a la tradición y a abrigarse humildemente en la sombra de los maestros. Tradición y Maestros, Heteronimia y Nombres, complementariedades a las cuales CMA confía su proyecto de anonimato, supra personal y obstinadamente tendente a poner en él de relieve las relaciones inéditas.