Las edades del espacio. Desarrollo de la concepción del espacio-tiempo físico y social en arquitectura.
- Autores: Mauricio Cortés Sierra
- Directores de la Tesis: Francisco Javier Biurrin Salanueva (dir. tes.), Josep Muntañola i Thornberg (dir. tes.)
- Lectura: En la Universitat Politècnica de Catalunya (UPC) ( España ) en 2013
- Idioma: español
- Tribunal Calificador de la Tesis: Magda Saura i Carulla (presid.), Luis Angel Domínguez Moreno (secret.), Miguel Morey Farré (voc.), Sergi Valera Pertegàs (voc.), Víctor Gómez Pin (voc.)
- Materias:
- Enlaces
- Tesis en acceso abierto en: TDX
- Resumen
Sigfried Giedion accompanied for decades the development of the modern movement, he was the main promoter of the idea that a new spatial-temporal conception had been born in architecture just as in the physical sciences and the avant-garde art. The title f our thesis comes from his later book 'Architecture and the phenomena of transition, the three space conceptions in architecture'; his main argument is that through history there have been a few different spatial conceptions -or ages-, with modernity inaugurating a third unprecedented conception. From the Industrial Revolution three centuries were needed to arrive at a new spatiality, that with the aid of new materials : concrete, iron, steel and glass, would change our idea of constructed space in a radical way, incorporating transparencies , spatial interpenetrations, disappearance of the boundaries between exterior and interior, a dynamic space never experienced before. In the same degree, the new speeds of communication and travel would change in a deep and irreversible way our concepts and uses of time. The new spatiality and new temporality would also have a profound impact in our modes of perception. Giedion describes the spatial-temporal operations of the artistic avant-garde: the simultaneity in Cubism or the movement in Futurism; in architecture he explains Le Corbusier's ville Savoye: Interior and exterior intertwining and the impossibility to grasp architecture from a static point of view, the dynamic space. Giedion argues that the slow changes in spatial-temporal conceptions are the product of all sorts of factors : social, religious, scientific, technical, ethnological, etc. From here our subtitle: "Development of the physical and social space-time conception in architecture". We sustain that there are physical , mental and social components of the spaces and times that conform our built environment; after commenting and contrasting Giedion's hypotheses we'll construct a theoretical framework and schemes that explain the multiplicity of our intuitions and uses of space and time which coexist and are reflected in the architecture; we need support from multidisciplinary sources and from concepts like the 'cronothope' that Mikhail Bakhtin uses to analyze the spatial-temporal relations in the novel. In the second part we'll concentrate on the work of Gerrit Rietveld as an example of the first moment of modernity, as we will see, there are many characteristics of Giedion's third spatial conception in his work and, at the same time, a physical-mental-social vision of architecture . His work can be read form many points of view: beyond his furniture designs and his first house, the Schröder, understood as the paradigm ofthe De Stijl movement, to us his value lies in the combination of the new 'elemental' aesthetic with a renewal of the historic typologies of Dutch houses, at the same time proposing new relations between inside-outside, public-private, etc. Combining the search of a new plastic language based in neutral lines and planes with the project of new forms of dwelling for the XX century that were critical with the prevailing bourgeois ideas of comfort and consistent with the new social reality. His main goal was to compose space with maximum clarity to potentiate the multi-sensorial perception of architecture and its environment, lo heighten our own spatial-temporal awareness. Almost hundred years have passed since that period of the modern movement so it is necessary to dedicate a third part to analyze our actual spatial-temporal practices through two design lines that seem most relevant, to determine what has happened to the motors that according to Giedion produced the new spatial conception?, to what extent Giedion's hypotheses are still valid? It's not that architecture is better or worse if it follows the modern ideals or not, but what we aim to demonstrate is that there are "chronotopically" richer architectures than others .
