Abstracción, Transformación, e Inspiración. El arte como fuente de conocimiento y creatividad arquitectónica en el taller de diseño
Abstract
Although much has been said about the direct relationship between art and architecture, little has been done regarding how historically significant works of art may be utilized as sources of inspiration for the architectural production of today. We may cite several historical and aesthetic analyses on such works of art and their particular zeitgeist, but how might such a work of art illuminate and extend today’s architectural process, theories and ideas?
In other words, (1) how does the past (in)(de)(re)form the present? and (2) how do another discipline’s insights(in)(de)(re)form our discipline’s process of ideation? Having these thoughts in mind, a pedagogy was developed tomake students realize that (1) architecture deals with issues and ideas that transcend the purely programmatic (i.e.,’functional’) and the stereotypically formal; (2) new architectural ideas may come from old and non-architectural sources; (3) ideas are discovered and evolve through a staged critical process, as opposed to a singular act of explanation ; and (4) the role of the architect/designer is one of interpreter, as opposed to imitator, of one’s surroundings, culture, tradition, etc.
References
Publication Reference: McDonough, Peggy and Bermudez, Julio (1996). “Abstraction . . . Morphosis . . . Inspiration, Art As A Source Of Architectural Insight In The Design Studio”; in Proceedings of the 13th. National Conference on the Beginning Design Student. Baton Rouge, LA: Lousiana State University, pp. 275-279.
Colin Rowe y Robert Slutzky, “Transparency: Literal & Phenomenal,” en The Mathematics of the Ideal Villa and Other Essays, ed. Colin Rowe (Cambridge, MA: The MIT Press, 1976), pp. 159-183.
Ibid., Rowe y Slutzky prestan especial atención a la idea de la transparencia fenomenológica, en el sentido de que las figuras, los volúmenes arquitectónicos, por ejemplo, son “capaces de interpenetrarse sin destrucción óptica entre sí” durante la experiencia arquitectónica. Esta idea tiene su origen en el artista Gyorgy Kepes.
Por ejemplo, Sigfried Giedion, Space, Time & Architecture (Cambridge, MA: The Harvard University Press, 1941). Christian Norberg-Schulz, Meaning in Western Architecture (New York: Praeger Publishers, 1975).
Daniel Libeskind, The Edge of Order (New York, Crown Publishing Group, 2018). Juhani Pallasmaa, Encounters (Rakennustieto Publishing, 2008).
Twyla Tharp con Mark Reiter, The Creative Habit (New York, NY: Simon & Schuster, 2003) pp. 4-7.
Garth Rockcastle y Mary A. Dixon-Hinson, “The Value of Type: A Debate,” Midgärd Monograph: Type & the (Im)Possibilities of Convention (Princeton, NJ: Princeton University Press, 1991) pp.8-9. Traducción al castellano por Julio Bermudez.
Giedion, Space, Time & Architecture, p. 432. Traducción al castellano por Julio Bermudez.
Eadweard Muybridge, Animal Locomotion, Plate 169, circa 1920, procedente de la Biblioteca Pública de Boston, Estados Unidos (imagen en el dominio público).
Michel Foucault, The Order of Things: An Archaeology of the Human Sciences (New York, NY: Pantheon Books, 1970), pp. 3-16.
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