Barcelona 2004. After captivating
the world with the urban interventions surrounding the Olympic Games of 92, Barcelona
decided to celebrate another event to keep boosting its development. The program of the
Universal Forum of Cultures 2004 will be staged on the last strecht of the coast which had
not yet been incorporated to the city, and this strip by the water along with the
extension of Diagonal Avenue to the sea form the core of an ambitious project where the
concurrence of private developers and 'star' architects draws a new and polemic frame of
debate concerning the future of the Catalan capital.
|Public Landscapes. Forgas; Lay, Muro, Páez
& Azulay; Balcells; Ruiz-Geli; Lapeña & Torres; FOA; Beth Galí; Casas &
Torres; BCQ; Ferré & Domingo; Ábalos & Herreros; and Bru design new artificial
and green topographies.
Esplanade, Park and Beach
Northeast Park and Campus
|Experimental Housing. A plan by Jorner,
Llop & Pastor, and housing by Fargas & Rovira; TAU+aSZ; Mercadé & Fernández;
Coll & Leclerc; BOPBAA; Gili; Llobet & Serra; FFPV; Actar; Salvadó, Aymerich
& Rieradevall; and Valor.
||La Mina Neighborhood
11 Residential Projects
|Views and Reviews
||Art / Culture
|From Surrealism to Melodrama. Broad and canonical, the exhibit at the Pompidou blurrs the transgressive line of surrealism; multitudinous and multimedia, the Artium opening explores the expressive paths of unrestraint.||Juan Antonio Ramírez
Javier San Martín
Art and Melodrama
|Green and Ephemeral. Landscape architecture
and the design of nonpermanent structures are no longer marginal disciplines; recent
titles on both subjects offer contemporary views with historical perspectives.
Alberto Campo Baeza
|To close, the most popular sport serves to inspire in one of its greatest admirers a reflection on the risks and the rules. Peter Eisenman analyzes the game strategies used by the national teams of Italy and Spain to face the World Cup, and transforms them into metaphors of the architectural panoramas of each country, respectively withered and flourishing in the authors's opinion.||Products
Milán'02, Roofs, Domotics
Soccer and Architecture
Under the plural and politically orthodox motto of the cultures, this new fragment of Barcelona replaces the rational, monotonous and civilized lines of the grid with an emotional and polyhedric collage of objects in a conversation piece, thereby offering an excellent physical representation of the dislocated social body of the turn-of-the-century city. In this transit from pattern to totem, the tribal city becomes trivial event, and transformed into a touristic brand it is offered in the market of logos as a desirable destination: it would appear that only market city planning is able to fully comply with the demanding requirements of city marketing.
Those who yearn for the clean grids of the past criticize this discontinuous urbanism for its docile acceptance of spatial privatization, for its narcissitic replacement of flows with icons and for its vigorous capacity to produce segregation and inequality under the friendly mask of singularity and difference: in contrast with other empires of the past, the present one extends its universal control through the exaltation of the particular, shaping contemporary generic cities as patchworks of specific identities, weaved together by the red and narcotic thread of simulacra that make compatible postmodern irony and hypermodern fiction.
If the global city is the expression of a global power, it is also a representation of the market as a map of collective desires, and therefore of a model submitted to the choral referendum of a population which votes for security and spectacle through mortgages and rents. After all, the disjointed and individualistic city of the stars is preferable to the homogeneous and egalitarian city of despotism, and the space of junk of thematic urbanism is infinitely more tolerable than the landscape of ruins of systematic urbicide. They may call it Barcelona Inc, ©Barcelona or McBarcelona; but no one will doubt between generic Barcelona and ethnic Balkans.