Arquitectura inmaterial: la disolución de la forma y la imagen
- Autores: Jaime Arturo Jofre Muñoz
- Directores de la Tesis: Josep Muntañola i Thornberg (dir. tes.)
- Lectura: En la Universitat Politècnica de Catalunya (UPC) ( España ) en 2008
- Idioma: español
- Tribunal Calificador de la Tesis: Antonio Armesto Aira (presid.), Luis Angel Domínguez Moreno (secret.), Luis Bravo Farré (voc.), Elisa Valero Ramos (voc.), Lino Manuel Cabezas Gelabert (voc.)
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- Resumen
The investigated architectural trend consists of a group of works that reflects an alternative position with respect to the perception of form the expression of the compositional system materiality and structural order or purpose of the project tend to be hidden by a specific type of transparency produced by superimposing translucent planes opaque or reflective surfaces or reticulated raster, in which light is materialized as reflections and glare. An interposition between observer and form, where the composition of form as the relationship between solid bodies are displaced to the visual effects produced at their surface by notions such as blurring and mutation. The study period was between year 1995, with the exposition Light Construction of MOMA and the year 2000, with the opening of the Mediatheque of Sendai from an historical perspective, this thesis suggests references to modern architecture and artistic movements from the early twentieth century as well as the representation of intangible flows in the90's. These are the source of arguments that allows seeing this architectonic phenomenon as a product of evolution over time in which three periods can be distinguished. These three periods give the following structure to the thesis.
Part one: the representation of the Real.
It begins with Cubism and the change inherent with the decoupling of the visible reality from its representation Plastic strategies, the multiplication of the light source in order to reveal the entire object and the faceted technique the impression of the displacement of the eye, are the causes of the "openness" of the form and its fusion with space. As a result, transparency acquires a novel quality the volatility of the form is due to the double sense of blurring (background) and forward (containment) of its surface (Rowe and Slutzky, 1956). We study also the futuristic approach of U. Boccioni that about the impossibility of dissociating the object from the space it occupies. This is consistent with the cubist notion that the object has no existence in it self, but a continuity of matter revealed as form. Then its dissolution will occur by combined action of light effects and its movement, an instant before disappearing from the visual field. Finally, "the limitation of an extension" (Mondrian, 1918) is essential in the conception of the neoplastic form, confirming the idea of a spatial continuum, formed by relation ships between plastic bodies giving rise to the architectural form as scattering of the plane, raised by van Doesburg and van Eesteren in the gallery L'Effort Moderne.
Part Two: The form behind the light and the image This part corresponds to the second period which is a vision of the "theorectical work" of L. Mies van der Rohe (1921-29). The German Pavilion in Barcelona combines the fundamental ideas about the developed form in the plastic art interactive continuity in space and the dissolution of the shaping surface produced by translucency and the reflection of light By changing the modern sense of translucency, a binding surface that tends to reveal the form, this is considered the turning point and the first reference for the contemporaneous immaterial architecture.
Part Three: Representation of intangibles.
This period represents the effort to make, this "other invisible reality" of electromagnetic pulses and images of information, architecturally. The work of J. Nouvel and T. Ito, whose references lies in modern architecture and L. Mies van der Rohe, have made of translucency and light their "architectonic materials" to produce the mutation of solid bodies into evanescent, by using the movement of light on the forms in Cartier Foundation for Contemporary Art (1994) and the Mediatheque of Sendai (2000).
