Garcés de Seta Bonet Arqs · Norma Sferisterio · Cápsula SCALAE Trazas Trazos Trozos de Arquitectura

[SCALAE] "Traces, Traces, Pieces... of Architecture" Capsule: Stage Design for Norma at Sferisferio Macerata · Garces de Seta Bonet Arquitectes + Carles Berga https://scalae.net https://scalae.net/trazastrozos/gdsb-... In his 1986 article "A House Like Me," John Hejduk reflects on how the house can embody the deep identity of those who inhabit or imagine it. The title serves as a statement: the house is not simply a refuge, but an intimate projection of the self, a kind of constructed autobiography. In the text, Hejduk suggests that spaces house not only bodies, but also stories, emotions, thoughts, and conflicts. Those who studied at ETSA Barcelona in the 1980s remember, and even treasure, the photomechanical collection of "notes" that, in a pre-self-publishing process—made up of student translations, faculty revisions, typing, and copywriting—promoted by the prodigious Josep Quetglas, compiled reference texts with the addition of "something more," usually the covers. In that collection, a precursor to later wonders—already digitally self-published—such as Rojo's "Circo" postcard; Mansilla and Tuñón, Hedjuk's text appeared on its cover with the frontal image of the Malaparte house's roof-staircase, which is not mentioned in the article, yet both resonate—the article and the Malaparte house—forever linked in the memory of passersby at the ETSAB. In a twist of time and artistic-theatrical disciplines that would resurrect Walter Benjamin's smile, Daria de Seta unites Jean-Luc Godard and his dramatically Bardotian "Le Mèpris" (Contempt) of 1963 with the threads mentioned in the story of her own colossal "an opera like me" when, in the manner of the three doors of the Sferisterio in Macerata, she describes three ropes that intertwine the design and work of the stage design for Vicenzo Bellini's Norma, from 1831: the very enclosure of the Sferiferio (by Ireneo Aleandri, 1829) With its endless, sporty wall, the technical display of simple elements in a total "absence of scale"—capable of depicting the large and the small, the immense and the minuscule, the material and the abstract—and the precise plot of the libretto of the tragic opera. A brilliant and irremediably necessary triple capsule. Extensive and essential. The series "Traces, Traces, Pieces... of Architecture," which periodically shows "capsules"—video documents on extraordinary architecture, undeniably present—that demonstrate the procedures and processes of design and construction through the professional work of architects, in the voices of the authors. This is an initiative supported by the SCALAE 2025 Editorial-Industrial Council: CRICURSA, GEZE, COSENTINO, FIGUERAS, JANSEN, BANDALUX, LEDSC4, and ROCA. First broadcast of the capsule: July 24, 2025. Narration: Daria de Seta. Script and image selection: Garces de Seta Bonet Arquitectes. Photography: Luna Simoncini & Alia Simoncini, Garces de Seta Bonet Arquitectes archive, Sferisterio Macerata archive. Editing and direction: Félix Arranz. Music: Original music from the series, by Jaime. Stinus Opera Norma by Vicenzo Bellini, 1831; version directed by Tullio Serawfin, 1961; Orchestra of the Teatro alla Scala di Milano, with Maria Callas, Christa Ludwig, Franco Corelli, Nicola Zaccaria Language: Spanish (Castilian). SCALAE Editorial-Industrial Council 2025: Ferràn Figuerola · CRICURSA Birgit Zondler · GEZE Vicente Martínez-Cosentino · COSENTINO José Manuel Santiago · FIGUERAS Jorge García Morales · JANSEN José Luis Ruiz de Valdivia · BANDALUX Jordi Rocasalbas · LEDSC4 Marc Escolà · ROCA tags: #trazastrozostrozos #TTT_scale #GDSB #GarcesdeSetaBonetArquitectes #carlesberga #DariadeMushroom #sferisterio #macerata #Rule #Bellini @gdsb_arquitectes @etsab_barcelona @ud_tunon @coacatalunya @cscae #scalae