ARQUITECTURA MOVIL YONA FRIEDMAN PDF

La arquitectura móvil has 3 ratings and 0 reviews: Published by Poseidon, Yona Friedman Be the first to ask a question about La arquitectura móvil. by Yona Friedman and a group of architects was officially has recounted, instituted .. Cuadernos summa – Nueva visión – 1 – La arquitectura movil de Yona. Cyril Veillon and others published L’univers erratique de Yona Friedman } La arquitectura móvil: hacia una ciudad concebida por sus habitantes / Yona.

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Yona Friedman born 5 JuneBudapest is a Hungarian -born French architect, urban planner and designer.

He was influential in the late s and early s, best known for his theory of mobile architecture. Yona Friedman has been through the Second World War escaping the Nazi roundups and lived for arquitectrua a decade in the city of Haifa in Israel before arquutectura permanently to Paris in He became a French citizen in Inthe X International Congress of Modern Architecture in Dubrovnik, his “Manifeste de l’architecture mobile” contributed to question definitely the daring will planning to architectural design and urbanism.

It was during that conference, and thanks especially to the youth of the Team 10, that “mobile architecture” was coined in the sense of “mobility of living. Planning rules could be created and recreated, according to the need of the friedma and residents. Its focus on people themselves arises from its direct experience of homeless refugees, first in European cities facing war and disaster and later in Israel, where, in the early years of the State, thousands of people landed every day, with housing problems.

Inhe developed the idea of a city bridge and participated actively in the cultural climate and utopian architecture of the 60s known as the “Age of megastructures”. Despite the perennial utopian label, Friedman said: On this occasion he arquiteectura a procedure in which the distribution and arrangement of all the architectural elements were designed and decided by fdiedman users.

Because even non-professionals can understand and apply his method, he wrote also howto comics. Interest in the issue of participation has brought Friedman to architects like Giancarlo De Carlo and Bernard Rudofsky. Inin Madras, India, Friedman completed the Museum of Simple Technology in which the principles of self-construction from local materials like bamboo were applied.

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The book is also a fierce critique of the myth of global communication. The existence of a state mafia results from the impossibility of the classic democratic state to keep the shape once its size exceeds certain limits, and the ‘media movi is a direct result of the same inability in global communication Worldwide.

Yona Friedman – Wikipedia

The Internet can be used as an example of this inability, which is not the result of technical difficulties but rather stems from the fundamental human inability to communicate universally from all to all. The failure of these two generous utopias, democracy and the ‘global communication’ between men, logically leads to the formation of gangs who act on our behalf against our interests. As well as an indictment, this book will simultaneously be an act of encouragement: It is not a call for revolution, but a call to resistance.

InYona Friedman published his first manifesto: It described a new kind of mobility not of the buildings, but for the inhabitants, who are given a new freedom. Mobile architecture is the “dwelling decided on by the occupant” by way of “infrastructures that are neither determined nor determining”. Mobile architecture embodies an architecture available for a “mobile society”.

To deal with it, the classical architect invented “the Average Man”. The projects of architects in the s were frideman, according to Friedman, to meet the needs of this make-believe entity, and not as an attempt to meet the needs of the actual mmovil of this mobile society.

Friedman, Yona [WorldCat Identities]

The teaching of architecture was largely responsible for the “classical” architect’s under-estimation of the role of the user. Furthermore, this teaching did not embrace any real theory of architecture. Friedman proposed then teaching manuals for arqyitectura fundamentals of architecture for the general public. The spatial city, which is a materialization of this theory, makes it possible for everyone to develop his or her own hypothesis.

This is why, in the mobile city, buildings should:. The Spatial City is the most significant application of “mobile architecture”.

It is raised up on piles which contains inhabited volumes, fitted inside some of the “voids”, alternating with other unused volumes, making it look aesthetically pleasant.

The basis of its design is that of trihedral elements which operate as “neighbourhoods” where dwellings are distributed without a price. This structure introduces a kind of merger between countryside and city compare to Paolo Soleri ‘s Arcology concept and may span:. This spanning technique which includes container structures ushers in a new development in town-planning.

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Raised plans increase the original area of the city becoming three-dimensional. The tiering of the spatial city on several independent levels, one on top of the other, determines “spatial town-planning” both from the functional and from the aesthetic viewpoint. The lower level may be earmarked for public life and for premises designed for community services as well as pedestrian areas. The piles contain the vertical means of transport lifts, staircases. The superposition of levels should make it possible to build a whole industrial city, or a residential or commercial city, on the same site.

In this way, the Spatial City forms what Yona Friedman would call an “artificial topography “. This grid suspended in space outlines a new cartography of the terrain with the help of a continuous and indeterminate homogeneous network with a major positive outcome: The spaces in this grid are rectangular and habitable modular “voids”, with an average area of square meters.

Friedman, Yona 1923-

Conversely, the form of the volumes included within the grid depends solely on the occupant, and their configuration set with a “Flatwriter” in the grid is completely free.

Only one half of the spatial city would be occupied. This introduction of elements on a three-dimensional grid with several levels on piles permits a changeable occupancy of the space frirdman means of the convertibility of the forms and their adaptation to multiple uses. In Yona Friedman’s own words arqutiectura city, as a mechanism, is thus nothing other than a labyrinth: From Wikipedia, the free encyclopedia.

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