Symbolic Cubes. Cabrero-Bill Analogies

• José de Coca-Leicher ^[1]
  1. [1] Universidad Politécnica de Madrid

     Universidad Politécnica de Madrid

     Madrid, España

     
• Localización: Graphic horizons / Luis Hermida González (ed. lit.), Joao Pedro Xavier (ed. lit.), Pedro Sousa (ed. lit.), Vicente López-Chao (ed. lit.), Vol. 3, 2024 (Graphics for Knowledge / Luis Hermida González (ed. lit.), Joao Pedro Xavier (ed. lit.), María Inés Pernas Alonso (ed. lit.), Carlos Losada-Pérez (ed. lit.)), ISBN 978-3-031-57579-2, págs. 77-84
• Idioma: inglés
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• Resumen

  • In 1951, at the age of 39, Francisco de Asís Cabrero visited Max Bill in his studio home at Zurich. The house and its contents impressed Cabrero, who interpreted the ensemble as a reference for the integration of visual and applied arts: painting, sculpture, furniture, graphic and industrial design. Cabrero frequently mentions his admiration for Bill, his painting and sculpture, and by extension his Bauhaus experiences. In Bill’s work, Cabrero finds an explanation of the plastic work as a result of the constitutive interactions of its elements, the configuration of rhythms, the logic of proportions, and the physical and structural behavior of the materials achieving a coherent whole set. The concrete art forms have an internal logic, distancing themselves from the artistic avant-garde and abstraction processes based on nature.We investigated two projects by Bill: The monument to the Labor from 1939 and the monument to the Unknown Political Prisoner from 1952 and two projects by Cabrero: The mausoleum of Ali Jinnah from 1958 and the Aesthetic Research Institute designed in 1976. The four projects, in their analogies and differences will allow us to explore the relationships between art and architecture based on the symbolic form of the cube.