REBOOT TWO ARCHITECTURE LESSONS

37- Definition of “Restart (fiction)” See more: https://es.wikipedia.org/wiki/Reinicio_ (ficci% C3%B3n)#:~:text=Un%20reinicio%20

38- The two events of Those of us who spoke used the invention and construction of real and symbolic space as a fundamental tool as a way of making life viable where it was not possible. These “forced implants” generated unusual restart or reboot conditions for architecture and the city(...)” Marcelo Danza in “Reboot, 2 lessons in architecture, Strangeness” page 125, (Uruguay, 2016).

39- Roberto Fernandez in “Topography and catastrophe” in “Reboot, 2 architecture lessons” page 96, (Uruguay, 2016).

40- “(...) but everything was prepared by a group of friends in a little over a month” Marcelo Danza and Miguel Fascioli in Reboot, page 32, (Uruguay, 2016).

41- “The term Anti-architecture, as I intend to use it here, is inspired by David Cooper’s the social (although they created community) and the architectural, where the construction of interiority in the frost occurs with the construction of a wall, but not as we know it. However, a wall made with suitcases, with what they had within their reach, they make efficient use of energy, which they saved from the frost. It is what Danza defines as a lesson in architecture.44 Another example, the sleeping bag to resist nights outdoors during the expedition, was another light, portable and efficient architectural device.

Lesson 2 is presented as “the city is infinite and unknown, the Tupamaros and the construction of exteriority in the urban.” The rural guerrilla could not be carried out due to the inability to hide in its nature from the national landscape, so it is carried out as an urban guerrilla. The city is now the nature in which they had to build their place of protection. 45 Montevideo was a place of combat, confrontation, and concealment; they built a new cartography — which was not surveyed for the sample— with new notion of anti-psychiatry, Nicanor Parra’s anti-poems, the representative anti-folk musical style, for example by Moldy Peach (... ) Paradoxically, it must demarcate any relationship regarding the use that Nikos Salingaros and his collaborators make of the term -anti-architecture- and his crusade against deconstructivism (...)” Gabriel Galli, “Anti-Architecture Essay” in Reboot, pages 40 and 41 , (Uruguay, 2016).

42- Roberto Fernandez in “Topography and catastrophe” in “Reboot, 2 architecture lessons” page 100, (Uruguay, 2016).

43- Roberto Fernandez in “Topography and catastrophe” in “Reboot, 2 architecture lessons” page 96, (Uruguay, 2016).

44- “The success of architecture is guaranteed not by the capacity of spaces to adapt to human activities but by the infinite capacity of the human being to adapt to environmental conditions” Marcelo Danza in “Reboot, 2 lessons in architecture”, page programs and new paradigms. In these spaces, there was no discussion about the public or the private. The style and its value did not matter, but rather its ability to hide and go unnoticed. They camouflaged themselves not in trees but in the urban masses and divided into autonomous cells so that the fall of one shackle would not generate the fall of the rest.46

This proposal is perhaps with “5 narratives, 5 buildings,” which seeks to generate an exhibition in two dimensions. First, we could say a “near” with an attractive and seductive object, and then we could say a “deep” with a critical thematic depth. Also, the theme presented is undoubtedly proper due to the particularity of looking from a particular outside, as was the plot of the hidden city in the guerrilla or the landscape in the Andes. Although the proposal has a seductive spatiality, it could be confused with the contemporary work of the artist Maurizio Catelán, which puts its authorship on trial.

135, (Uruguay, 2016).

45- “The protection for the guerrillas was the “outside” that the Cubans had in Sierra Maestra and the Colombians in the jungle”, page 142, (Uruguay, 2016).

46- “The success of architecture is guaranteed not by the capacity of spaces to adapt to human activities but by the infinite capacity of the human being to adapt to environmental conditions” Marcelo Danza in “Reboot, 2 lessons in architecture”, page 149, (Uruguay, 2016). https://issuu.com/miguelfascioli/docs/catalogo_issuu_reboot

In 2017, within the framework of the School of Architecture, Design, and Urbanism Magazine in its 15th edition, the School made an open invitation to a discussion panel under the theme “Venice Pavilion, conversations around the Venice Pavilion.” The event took place in the Council Room on August 22 of the same year by the editorial committee of the Magazine and was moderated by Mg. Lic. Magalí Pastorino Rodríguez47 who wrote the article “A look at the Uruguayan pavilion in Venice” for the Magazine.

The dissemination of the event expressed the objective as: “(...) to discuss what has been done in the pavilion and general material for the next call terms.” The guests were: Martín Craciun, Marcelo Danza, Alejandro Denes, Pedro Livini, Emilio Nisivoccia, and Gustavo Vera Ocampo. The architect Carlos Pascual, curator of the shipment of the year 2000, who was also present at the activity, does not appear in this publication. Also, the architect and professor Cristina Bausero, who had acted as a curator in 2006 and was part of the advisory commission in 2009 and 2010 with Luis Oreggioni and Miguel Fascioli, were not invited to the table either.48

Magalí Pastorino’s article approaches the discussion from a psychoanalytic perspective; she identifies the different types of actors that participate without mentioning names and classifies the discussions into “agreements” and “divergences.” The activity itself was carried out in these logics, as defined by Pastorino as “friction together” different fields of force. Although it generates some contributions