Symbolically, 1968-70 is an eventful period: the Tet counter-offensive changes the course of the Vietnam War and Western opinion of it, the assassinations of Martin Luther King and Robert Kennedy, the French May, the Prague Spring, the Black Panthers, the Weathermen, the Baaeder Meinhof. The world explodes and man steps on the moon. In this context, modern architecture with its hygienist principles appears as a colonial tool that acts in parallel to the action of war. The same rational principles that governed Le Corbusier's emergency architecture or the prefabricated buildings that Gropius began to develop in 1922 were those that the US army used in Vietnam to displace entire populations and thus sever the links with the Vietcong resistance. But the technological-modern does not only colonise the East and Africa; it also colonises the interior of the West, the coasts and historical centres. The past becomes a commodity. This is the birth of the ghetto-suburbs, the emergence of mass tourism, the urban overexploitation of the rural, the processes of gentrification and privatisation of public space.

On the one hand, the sixties sought a return to nature both in Land Art and in the counterculture of the hippie phenomenon, and on the other, the celebration of technology. Electricity, which by then had been developed for more than a century, appeared in all its splendour as a symbol of the new, encouraged by rock'n roll, television and the democratisation of household appliances. From the electrical world, we are witnessing the realisation of a long-heralded dream: transversality between disciplines. Some of the aesthetic and compositional concepts that emerged in the field of experimental music are the same as those used by the young generation of architects that emerged around Team 10.

Displacement and ruin' refers to two closely linked ideas. The end of the modern project begins long before the modern movement. We would have to go back to Brunelleschi and his battle for control of the work on the Duomo in Florence. By the end of the 1960s, technological development had turned the world into a tiny place. With the end of latabula rasa, it is not about creating from nothing but operating in a circuit that covers the entire planet. It is about displacement. Like Michael Heizer's enormous stones or Kurokawa's constructive protocol in the Nakagin tower. It is, in short, about operating among ruins.

Free entry until full capacity is reached. Previously, at 6:30 p.m., the conference 'The Igueldo quarries. Memory, longing and entropy' will have been held, with Óscar Cruz.