El círculo sin centro. Tradición moderna, clásica y vernácula en la Casa Visser de Aldo van Eyck

  1. Ana Rodríguez García 1
  2. Rafael Hernando de la Cuerda 1
  1. 1 Universidad de Alcalá
    info

    Universidad de Alcalá

    Alcalá de Henares, España

    ROR https://ror.org/04pmn0e78

Journal:
ZARCH: Journal of interdisciplinary studies in Architecture and Urbanism

ISSN: 2341-0531

Year of publication: 2018

Issue: 10

Pages: 74-87

Type: Article

DOI: 10.26754/OJS_ZARCH/ZARCH.2018102932 DIALNET GOOGLE SCHOLAR lock_openDialnet editor

More publications in: ZARCH: Journal of interdisciplinary studies in Architecture and Urbanism

Abstract

An extraordinary interest in the vernacular, the primitive and the popular went through post-war Europe in the 1950s. It is a period of great industrial development that will also show, probably by contrast, a revived interest in tradition. How to approach the dichotomy between industrial society and tradition is a central issue of the architectural debate of that time, carried out by architects born between wars, the Third Generation of the Modern Movement, and is the context of this text: an exploration on how tradition, and especially “the vernacular”, influenced the proposals made by Aldo van Eyck (1918-1999), in his work of transferring to architecture what had already happened in the art of the avant-garde at the early twentieth century, and in science with the Theory of Relativity. Van Eyck presented at the last CIAM held at the Kröller Müller Museum, the Otterlo circles, a diagram formed by two circles that represent the interrelation, “the in-between”, between the three great traditions: classical, modern and vernacular. This paper delves deeper into the work carried out by Van Eyck, in the Visser House extension (1967-1969), developed as an interpretation in Holland of a “kiva” -the Pueblo Indians sacred place-, and a paradigmatic example of the interrelation mentionated

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18 La colección Visser es la colección privada de arte de neo vanguardia más importante de los Países Bajos, y sus diseños de mobiliario para Spectrum, entre los que se encuentra el icónico sofá-cama Bro2 realizado en 1958, están considerados como clásicos del diseño holandés.

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