The Portable Architectures project is rooted in the interest to create new versions of the iconic architectures that are part of every architect’s imaginary. Understanding the version and its post-production as a new creative process is essential in scientific and artistic spaces.
Immersed in the discourse of cultural transfer and, in particular, of architectural knowledge, concentrating, by way of microarchitectures, the icons of the History of Architecture, it allows us to resume conversations and past values to appease and relocate them in contemporary discourses, discourses linked to the polytechnology that allows us to manufacture FabLab, the new channels of knowledge or the new processes of transformation of bodies.
Manifestos and disguises have been reported in the history of architecture, which have already rethought these versions of architectures and have rebuilt their icons, redrawing or performing them using new scales of approximation –Madelon Vriesendorp and Rem Koolhaas humanize them in Flagrant Delit (1975) when the Chrysler Building and the Empire State Building were caught in bed by the Rockefeller Centre; David Green post-humanises them with walking legs and Piranesi de-anthropises them by returning them to Nature.
On the other hand, the dissemination of architecture and cultural knowledge has been a form of architectural multiactivism – of great magnitude at times – where we can continue building the city and define the value of the avant-garde, recognising styles that have prevailed in some way in each era, styles that have embraced socioeconomic, cultural and geopolitical values. That is why building new affective scenarios, through these Portable Architectures, has an intention to continue building that Architecture, questioning it and rethinking its contemporary relevance from the Anthropocene debate, the informational change or other future discourses.
This is interesting as a way to re-edit new contemporary scenarios of change, as a starting point to a micro architectural activism.