Resumen de Entre la geometría y la iconografía: notas en los márgenes a documentos de Enric Miralles
An approach to the Enric Miralies work through his working papers, discovering between the author's life and inteliectual path, the possible linking references with his projects. The investigation is focused on the study of the creative process about his exciting work of a certain stage: the first years of the decade of the nineties. That moment coincides with a personal and professional turning point, in which his impact leads to international and in which his individual working initiates an intense experimental stage. At 'Melanges', article published in 1997 by Architecture d'Aujourd'Hui nº 312, Miralles brings to light a vital key that opens a door to his work comprehension. He stares that 'the most important is the art of initiating the thought, the path to invent and represent things' he follows saying 'it is determined by what is explained to the project out of the same project.' With the intention of making explicit the mechanisms that express the ideas of his projects, graphic documents of working and representation materials are linked, as well as, transcriptions of his lectures and writings and also his travel scrap-book. Trough his India travel notes, it is discovered his interest in Le Corbusier iconography, from which he would deduce some silhouettes that would probably make the Palamós Hospital plan or the Colors Park walls of the shadows that he was drawing at that moment. The investigation individually analyses each project following a sequential order, identifying and linking his work concepts and strategies. lt has been proceeded by a similar way as Miralles used, from a few basic institutions and establishing multiple and unexpected connections. Along of the study, Miralles seems as the inventor of collection of 'tools' that enable to 'blur the limits' between the way of initial thoughts, objectify them and re-presentate the architectural project. In the Japan projects he worked the "drawings in space" from wire models, which its representation through intentioned photographs, first introduce the moviment topic. In the Bremerhaven competition, the invention of the abstract strategy of the blue 'blot' enabled him to simplify the place complexity. 'Graphic resources' as the use of collage, cut out and photomontage, a way making abstact and conceptual documents that show an idea, are also initiated in this stage, as a consequence of him interest. among others, in David Hockney, Max Ernst and the surrealists, and that Miralles transformed and developed in order to reach an own language creation. lconographical figures as the Moore maternity, vegetal elements, the maze figure as a symbol, etc ... they have all been elements from this analysed period, which he would keep using and evolving in his later projects. As a result of the analysis of the particular creative process used in each of these projects of the 1991-93 period; the dense line groups, memories, wishes, metaphors, etc. .. shaped a personal abstract materiality on paper, in which it could be read several signs, allegories, symbols and figures -described through a rigorous geometry-. Some of them have been interpreted, while others remain pending to discover other ideas included among them. All this concepts have been progressively transformed and multiplied since then -and immediately with EMBT Miralles/Tagliabue-, in a visual metalanguage, offering multiple lectures at different levels: calligraphic, allegoric, symbolic, etc. All these aspects are analysed from a collection of Enric Miralles graphic documents extracted from his archive 1, furthermore, the majority of them have never been published. lt has been considered that the Miralles work is fathomless in his totality, as we would never reach his total comprehension; therefore this research study do not pretend to clarify the totality of his work. 1 Appreciation to Benedetta Tagliabue for the consult and cession of material belonging to EMBT and the Enric Miralles Foundation.
