HomeWhat's HotWim Wenders and the architecture of Maralta

Wim Wenders and the architecture of Maralta

A new community life center in a compact building in Trinitat Vella suddenly burst into the news in the so-called “bad building” category. Issues affecting this building arose shortly after its completion, and we are working hard to resolve it.This issue has drawn the attention of those who are passionate about the integrity of buildings and their various health issues. I evoked it. But no matter how much analysis you do, it’s not clear what the problem is. Initially, the cause may be due to the construction, materials, and products used. But it seems that we are now starting to think about other causes, such as the possibility of different activities carried out, maintenance, Netcare products or some products that users are using. A group of possible motives considering the activity by terme rather than inert activity. If this could affect employment, it could be diverted by a memo from the media outlet issued by Deshareria or the City Council explaining the completion of the building that produced the wrong thing in the first place. All I have to do is think about Wim Wenders’ recent films. perfect days, it shows a sensitivity to architecture outside the public. Obviously, architecture is the leitmotif of this film, which makes a documentary about the “Tokyo Toilet” project, a series of public toilet designs commissioned by individual teams of architects and architects. This seems to be Wenders’ response to this suggestion. Persu Park and public gardens in Tokio. Wenders decides to make a film rather than a documentary, focusing on the people responsible for managing these levees.

perfect days It is a monument to an ordinary person, dedicated to everyday life at home, the good life and the life of Feina, these two darreres who experienced many times the evils they speak of. The action that follows the film constitutes an encyclopedia of six forms of Neteja. “L’escombriaire” is the beginning of the day and the beginning of the film. The sound “flash, flash, flash” is heard, which serves as a wake-up call for the protagonist. From here, we follow a series of actions without a continuous solution, from cleaning the room, folding and retrieving the mat, to sharpening the teeth, to putting down the grain (amb Tokyo project described in the overview). and clean the room. Extraordinary care in public restrooms. It shows Seva’s house and bathroom, starting with Faina, from which litho is released. Homes and buildings are touched, caressed, scrubbed, cleaned and cared for. It is undeniable that Hirayama is trying to “build” a routine of gestures and actions; the way he gestures when watering his plants at home with a spray bottle, or the garbage on the tatami mats at his home It can be understood. Pack your dissatisfied bedroom, daily moisture and ground wrinkles into a paper tube. Because it will help you catch the beast… Edificis Molto, will it end?

Usually, we think that one of the special characteristics of buildings is that they are practical and functional, and as a result, the relationship between people and buildings is functional, practical, and rational. However, Wenders’ film remains very nuanced, showing us a different way, a different relationship between people and buildings, not just as users, but as caregivers. It’s not about using them, but rather about making them work, cleaning them, caring for them, establishing relationships between buildings similar to those between factories. Buildings are manifold, achievers, recipients of our gestures and routines, translating them, cinematically, into something resembling these vius.

Source: Elpais



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