great thing By: Nicanor Wong Ortiz Arq
jnwong@caplima.pe
Abstract: There is no doubt that architecture is part of a social event. Within this complex global system after the crisis of modernism, social-Communist demonstrations, the digital revolution and the decline of representative institutions of the democratic system, the art take the reins of architecture in the paths of the abstract, irrational, unconscious and ends in the fantastic as a key to success. The concern arises when the architect only to consider the imagination to transform reality.
Keywords: form, psychology, perception, art, being, reality, fantasy, feelings, utopia, movement, sign, meaning, abstraction, media.
1. Introduction The ideology of the architects of the "third and fourth generation" by Prof. Montaner they would in a time span from 1883 to 1925 were exceptional protagonists of the social and ideological transformations marked with the seal of the two world wars. In the twentieth century and, after several experiments based on authority, whether social democratic, communist or national-communist after World War II presents a neo capitalist, liberal and open in consumption and the relationship between people and acquire a range of diversity role.
The "Gestaltpsycologie" translatable German phrase "psychology of the structure" and "psychology of form" has its origins in the early twentieth century investigations initiated by Paul Guillaume and Von Ehrenfels. According to various theories systematization of the gestalt, claim that the recipient of the ways identified and more easily mentally reconstructs the most simple, regular and symmetrical, following the principles of proximity, equality and closure, identity, density and structure common to cogency, balance and conciseness. This is because human beings do not perceive the ways in which elements, but as wholes. For example, Minimalism is based on the knowledge of the mechanisms of the psychological perception of forms. The distinction between figure and ground is the first psychological mechanism that is used in everyday life, allowing human beings to orientate in the world to be able to establish the perceptual hierarchy to distinguish people and objects within the neutral medium or background on variegated which stand out. Under these assumptions
empirical perception and psychology, "The New Vision" (1929) by László Moholy - Nagy (1895-1946) sets out three times new abstract art core: surface, volume and space. The area would match the old paint and it would dominate the material, texture, color and shapes. The volume would correspond to what was the sculpture and would be based on forms in space, found materials, perforated or interpenetrating parts, which both could be works of art into furniture. Finally, and as the culmination and synthesis, the ubiquitous and intangible space would be the basic stuff of architecture, according to formal principles eminently Neo.
This "new vision" of art or conceptual art as art of the process produces the same effect that explore new "happenings" or minimalist art where the viewer becomes the protagonist who must interpret each work, perceiving the conceptual pieces that form and giving prominence to the figure of the artist. The designer or artist does not have total control and aware of his work, moreover, does not want to have to consider that subtracts "artistic."
2. Philosophical influences, artistic and media This period is marked by an aesthetic transposition, where the sensitive knowledge is not marked by the quest for beauty but for the belief in progress and future that will shape a new and free infinite space, new plastic forms and abstract musical driven by speed, by a mutant time, instantaneous and dynamic, radically opposed to tradition.
At the same time, modern philosophy has its beginning in Descartes, gives a complete turnaround after thinking it. Since its attempt to base all knowledge on "subjective evidence" starts the "rationalism" and "empiricism" of the eighteenth and nineteenth centuries, periods of artistic transition key to Expressionism, Dadaism and Surrealism without which can be understood as any artistic endeavor of the twentieth century. Feature Neo will be fundamental in this dynamic equilibrium, the possibility of coexistence in the same time-place of opposites.
Basically, the following philosophical nourish the minds of artists, politicians, scientists and architects of these generations:
a. Kantian idealism, positivism and Marxism. B.
Analytic philosophy, which focuses on the analysis of language. C.
The philosophy of science, which is related to former and is conditioned by the scientism and positivism. D.
Husserl's phenomenology. E.
The existentialism of Heidegger, Sartre and Jaspers. F.
Metaphysics of being, inspiration Aristotelian - Thomist. There
therefore a formal renewal exceeding rational schemata drivers of the modern movement, the International Style. A fresh air to explore the possibility of architecture from the form, to re-look at the past - denied by the enlightened and progressive trend of the XVIII - XIX and stop to watch what is happening in the city after the apparent failure regulator developer of the Charter of Athens.
The growing consumer culture of the visual, disregard the critical interpretations of objects and phenomena to which they refer. The thinking is moved by the feeling. Rationalism and subjectivism incubated.
The inability to make critical take on structuralism find the meaning of objects, their relationships, the relevance of space, the logic of building structures, mechanisms of coordination methods, the reasons for architectural styles, the political and social meanings of language systems.
The concept of form is quite different from that image - that represents the object - and sign. The sign means, however the way it is meant. While the meanings are depleted and vanish, the formal structures remain and are renewing their meanings, can be interpreted different ways.
Thus, the new generation of architects accept the basic premise of discontinuity, pluralism and contrasts. There shall be an aspiration, the union of all the arts in architecture, art and architecture that will leave, unfortunately in denial of reality and focus on the ability of abstraction to validate the existing.
3. Abstraction as an adjective. The experience of the previous. The abstract, etymologically from the Latin verb "abstrahere" which means removing, separating, extracting. Apparently refers in its most primitive sense, the physical action or separate transitive, take one thing from another (such as water is drawn or removed from the well) and, by extension, the purpose or passion for, ie the fact that something is separated or abstracted. That word does more than summarize an action that - since the advent of homo sapiens - has been doing in cognitive ability.
4. The verb to the adjective unfinished However, what is an action (verb), English is transformed into an adjective (which is predicated of a noun, eg abstract figure), stating: "That means some quality with exclusion of the subject. "
Finnish Professor Marika Muhonen indicates that can defend the hypothesis that adjectives basic perfective verbal participles are derived from corresponding through a lexical morphology evolution. However - added - is necessary to associate this "perfect" mode of action, if concluded or not.
predicates state change is related to the end of argument "event is" or "eventito was not" where the result is part of the meaning of terms. Some theorists have insisted that the adjectives do not necessarily presuppose perfective status change, it is possible to acquire a certain state without going through a process leading to it. However, that's not right about all the adjectives perfect because you can not say for example "once empty room" that has occurred without the "hollowing out".
The derivation of adjectives through participles is fulfilling two conditions:
a) there perfective value (argument "event")
b) internal argument that has been governed by the verb.
The two conditions have to be met for there to be an adjective derived: abstract (to abstract). adjectival verbs need an inconclusive result, the abstract is not possible without that occurred prior abstraction a subject agent.
5. The abstract psychological
nineteenth century psychology tries to offer an epistemological view of the abstract. In this plane moves back to the adjective verb, an action properly human.
Abstraction psychic means some action is to know one without stand united in the cause of sensation, or, in knowing that a thing is perceived and, of course also extends to the end. The designation of the immanent action arises.
Ernst Gombrich, British historian and lover of science, from a psychological perspective seeks the roots of logical abstraction. In chapter first looks into the complex thought process that leads to homo primitive state in which his humanity emerge properly. Indicates no difference between construction and useful imaging, investigating the power of image and meaning. Proposed as a modern example if we would equally puncture the body of a doll representing a character or alive, however, poke a piece of paper. In a way, there arises a morbid joy repair or puncturing a doll that someone represents us. Similarly, from 15.000 to 10.000 BC in Altamira, Spain and Lascaux, France, modern archaeologists have to enter with difficulty into a cave to find paintings of bison, mammoths and reindeer distributed without apparent order, remains the power of the image (magic - abstract) over reality (animals / food). Apparently, the mental process of abstraction has not changed in millennia.
6. The external to us: the reality. What is the root of abstraction? The same principle is found in human physiology. Namely, human beings have senses that allow you to perceive something which we call external reality.
An example: the painter Pablo Picasso makes a delightful engraving of the hen and her chicks (etching, 36x48cm. Natural History Illustration for Jester. 1941-42): straw, chicken, chicks ... very close to what we perceive through our senses, but the painter himself delights us with the cock (Charcoal on paper, 76x55cm, private collection), which aims to reveal - rather than a real bird - his aggressiveness and drawing himself up proudly: a cartoon. Two images of birds collected and abstracted from two opposite ways then synthesized into strokes by the same artist. How can we tell that this is a species of bird without confusing it with another? Why can we understand that the first bird maternal care of their young and in the other drawing himself up proudly flutter?
The reason is not only Comte's positivist epistemology Stuart Mill and positing a sentient knowledge, so that everything is knowable only our senses can perceive. Understood in a comprehensive manner, the cock of Picasso would be unknowable to us since the representation is misleading: what is actually not a rooster.
What would you say Thédorore Géricault's painting with his "Horse Racing at Epsom? (Oil on canvas, 92x122.5cm, Louvre Museum. Paris). In it, Géricault collect four horsemen riding on horses jumping, after the invention of the sequential shooting, shows that Edward Muybridge galloping horses when they never stop touching the ground (A Gallop, 1872. Photo sequence; Museum Kingston-upon-Thames).
7. "The abstract has to do with reality? So riders painting is abstract and the real picture? For now, we can say with certainty that in both representations is an action: gallop. This action is certainly real, regardless of whether or not touch the horses galloping field. The problem of contemporary arts will be: what is real not abstract or surreal? Apparently, from the contemporary, the point in common with the abstract is the action that will have its ultimate expression in the pictorial expressionism and architectural deconstruction.
Right. Expressionism born in Germany in the early twentieth century, artists created were included from the inside out, by hatching dormant forces, wild bursts of energy and gleaming, glass pyramids and cathedrals of gemstones. Within this movement is the Action Painting ("Action Painting" and "action painting", also translated as "gestural painting). The focus of the "action painting" is a gesture or movement of painting, by the primacy that gave the painting process itself: the discretion to release a large format painting Canvas or "body painting" like that of Kazuo Shiraga whose works are the result of aggressive actions such as full body sculpt or paint with their feet. While surrealism tend to dream.
art is made of a spontaneous gesture. It is a type of automation that captures the physical and mental state of the artist or architect to order. No longer relevant to most media coverage architects are both painters and sculptors. From the analysis the distinctive features of their works will be the anguish and conflict, what is currently considered to reflect the society in which these works emerged.
8. The dream and imitation of organic organic architecture, in turn, would be one that tries to essentially learn from the ability to adapt, grow and develop in the ways of nature. The twentieth century organicism had its roots in the echoes of the baroque sensuality, given the hedonistic enjoyment of nature illustrated in admiration for the natural and primitive man (Daniel Dafoe, Jean-Jaqcques Rosseau, Claude-Nicolas Ledoux Bernardin de Saint-Pierre). But organicism be no more than a concept and a mechanistic interpretation and creative and romantic can be confusing if it falls into the biological mistake of equating all creation the natural world.
Some features are: a.
Distortion of the ways to provoke emotion. B.
Subordination of the symbolic realism and stylistic expressions, compared to the inner experience. C.
Implicit search of novelty, originality and utopia. D.
Profusion of schemes and works on paper or models with a representation of the concept exploration and deeper than the construction itself. E.
Hybrid solutions, not necessarily simplified to a single concept. F.
Romantic themes of natural phenomena, organicism: concept and a mechanistic interpretation and creative and romantic can be confusing if it falls into the biological mistake of equating all creation to the natural world. G.
Irregular shapes and dynamics.
h. Independent forms of elementary geometry. I.
Anti-composition.
The difference from the surrealism is that it will focus on the subconscious.
In the beginning was planned as a mental attitude as a form of knowledge. In the first manifesto of surrealism, 1924, was defined by its maximum theorist André Breton (1896-1966) as "psychic automatism in its pure state, by which one proposes to express - either verbally, through written words or otherwise - the actual functioning of thought, in the absence of any control exercised by reason, exempt from any aesthetic or moral requirement "(Manifesto of Surrealism, 1985). The basis of surrealism, like psychoanalysis, is the language , reinterpreted as a link between reason and the unconscious. Another essential practice was writing and drawing machines, as practiced by the architects Frank O. Gehry or the Viennese group Coop Himmelb (l) au to let flow design sketching their buildings with closed eyes on a sheet of paper.
9. The reality is that possible?: the artist, the user and the imagined. Aristotle divided
modes of knowledge in varying degrees of abstraction. Abstraction is an intellectual operation is to separate - some aspect of what it is - to be considered in isolation apart from the rest. A kind of taxonomy of being.
This power of abstraction really identify with the intellectual or rational faculty of man, break through the concrete things, unique, that also know the animals, to keep what they have in common with the essence or concept, regardless of what are the singles. Specifically human function. Precisely, what we call intellect comes from the Latin compound "intus legere" read inside capture the idea or universal separating everything.
Initially, the philosophy governing all human knowledge, namely: the abstractions. Christian Wolf, a disciple of Leibniz, separates into three general groups of subjects: a.
The real philosophy. B.
The philosophy of knowledge. C.
The philosophy of conduct.
The first studies to be and things in general, the second is the great phenomenon that occurs in our minds and that puts us in relation to external things - the knowledge - and the third study the action and the rules govern: complement of know is the acting, reacting on things that we express in knowledge.
In the field of avant-garde art, conceptual art, as art of the process, produces the same effect that explore new "happenings" (ocurriendos) or minimalist art: the viewer becomes the protagonist who must interpret each work, perceiving the conceptual pieces that form and giving prominence to the figure of the artist.
The Dadaists did not intend to do any work completed or emblematic. Its premise was to take the chaos of life as a starting point, without knowing in advance the outcome. His works were based on the spontaneous and irrational gesture, his way of looking unit but was not simultaneous. As the surrealists were Skeptics, denied the established values \u200b\u200band put first the vital impulse, based on the philosophy of Henri Bergson based on interpreting the vital experience and memory as a constant flow.
Heraclitean Without belittling the character or neo constant motion, this does not mean a permanent change in reality. While it remains substantial, the accidental changes. Only cause a substantial change in the extent there is a qualitative change such that the substance be transformed into something else as is in power to become that other essence (Ref. WONG, Nicanor. "Being of architecture perception and unity with its object of knowledge. " In arche. Retrieved on November 30, 2009. http://arkhe-noticias.blogspot.com/2009/11/el-ser-de-la-arquitectura-en-la.html).
The thought does not occur spontaneously in a chaotic, in the mind of the subject, but, whatever you want whatever you think, should be subject to forms and laws, which are the very structure of thought. A person not baste your thinking in accordance with an order and therefore we call it illogical, and who have no sense at all under these laws preach that is insane.
This is concatenated with the same abstract action, discussed in the adjectival use of the verb. The abstract is not possible no abstraction occurred "in mentis" in the mind of the artist-architect. A popular saying can help the reader understand the figure: "No one can give what is not." Now, we focus on the process to determine the degree of the objective and subjective.
10. "Nihil est in intellectu quod non prius fuerit in sensu" The basic theory of knowledge Aristotle argues that the subject is perceived to know not only our external senses, but also by the internal senses are the common sensory (whose function is to group all received by the external senses), fantasy (potential to regroup perceived or otherwise), memory (retention capacity of the perceived) and cogitation or practical intelligence (intuition). These inner senses are not manifested as bodily members or extensions of the body, but as the human brain's own capabilities. What in the fourth century BC was suspected as a primary cognitive property, the twentieth century is able to identify different areas of the cerebral cortex associated with the shares of these senses.
external senses pick up all the stimuli of a reality to be known (intellect). The Aristotle says: "nihil est in intellectu quod non prius fuerit in sensu" (nothing in the intellect that was not first in the senses). What could know a person who from birth has no touch, taste, smell, sight and hearing? Could you elaborate thoughts based on nothing? It would soon be as close to what is medically known as vegetative state.
internal senses is for the retention of the qualities and properties of the known. This process is called first abstraction. Abstraction itself is the stripping of matter and the conditions of matter, capturing the essence.
11. The senses can they be confused? René Descartes (1596 -1650) is known as the "father of modern philosophy" or "father of rationalism." One of the tenets of his new philosophical method was methodical mistrust or doubt on the senses, how the senses can distinguish the difference between dreams and reality? Respond by saying that knowledge is who sets the reality.
Indeed, mistakes are possible but this does not mean that all our perceptions are illusions, because perfectly distinguish the difference between sleep and wakefulness, hallucinations and realistic sense of perception, etc.
adequate perception is usual in a normal person, with the odd error sensory. In itself, the senses are always true but sometimes can make mistakes, but they only do "per accidens" in the common sensibles, that is, when judged on what is not the object itself (such as seen in the case of representation of the riders and horses from Epsom). Only wrong in themselves sensitive, as a result of failures in the receptor organs or in the middle. It is noteworthy that recent neurological studies confirm that the process of synapses between neurons while in vigil when a person dreams is different.
errors, hallucinations, perceptual illusions, etc., are an indirect confirmation realism, and that show the distinction between truth and error, the possibility of the subject - either through illness or other reasons - will not fit reality. Because man distinguishes between truth and error, it can account for these shortcomings. And, therefore, to rectify the error and see the diversity between the real and apparent. Descartes
Symphony begins the questioning of reality, the Enlightenment, the altars raised to the conceptual to the point of redefining the world as time and before the Revolution (AR) and thereafter (dR).
Although it seems evident the existence of a reality capable of being captured by the senses, the show external reality that is impossible. Indeed, it is impossible to prove the obvious since all proof required "something" that support is what defines which fit within a particular genus and species. Now, there is only what can be proven? Common sense would say no, but the superstructure of philosophy, art and architecture will be carried away by the rush of his own thoughts: only I can think or, as summed Descartes "I think therefore I am." The reality will be only one set of appearances, what we see and the truth will be reserved for dogmatic.
12. The abstract in the intellect of the artist-architect abstracted
All have two basic characteristics: a.
Is repeatable or multiply numbers (the number is an abstraction). B.
Is not affected by the change (except to look).
High Tech architecture emphasis will be placed beyond the formal values. Be based on the materiality and constructiveness of the project, the emphasis in the joints and knots in the use of modular interpretation and mechanistic ambiguity that good construction is equivalent to good architecture.
capture this distinction the sense once the concept is materialized. So that we can understand the classical thesis that the object of the senses is the singular, whereas the intellect is universal that, in itself, is abstract.
escalator, steel poles, smokestacks tensioners and the Centre Pompidou (France) drawn by architects Piano and Rogers, as to the paraphernalia of the whole structure and facilities seen coating the walls are not subject to time and space. Be as representative as the colorful rooster Picasso because it does not mutate in form. And be always in the mind of the viewer's intellect: they have been abstracted. Being executed
on a specific, individualized, acquires a number of qualities of the elements used to - over time - will wear, but the concept will remain unchanged. But not all artistic and architectural creations have so clear readability.
13. The abstract on the spectator's intellect Let us now review what we perceive the external agent, the author does not: the viewer or user. There are two distinct types of relationships on the link established between the created by the agent intellect (author) and perceived by the intellect patient (viewer):
a. The contents abstracted by the author, reflected in the work, are objective and real. There is no separation or distinction (characteristic of the abstract action) but simple apprehension. A scholastic aphorism we can illustrate this process: "Mend abstrahentium non est" (it is not false abstracted). B.
The audience, knowing the work (apprehend) is a knowledge of it. Sensitive knowledge that will lead to a physiological stimulus like or dislike, which generates other intellectual judgments and reasoning about it through contemplation (speculation on the subject) and a volitional action. While the first look for the beauty and perfection of his knowledge, the second and third true goodness of it. It is necessary to avoid the ambiguity of beauty and surprise. While the former is based on timeless contemplation second end with an overnight sensation as the repetition of the act.
14. Imaginative speculation on the abstract. In this regard, it should clarify that the intellect of the artist-architect also speculated imaginatively about their work. For example, while the Florentine painter Raphael, in 1505 leaves us a few sketches, four studies for the Virgin del Prado, which are preserved in the Albertina Gallery in Vienna since the composition of the Virgin Mary, Jesus and John the Baptist was a problem child for it, does not happen the same way with pictorial representations of art. If to determine the authenticity of a Renaissance work is possible to use X-rays and check if the canvas is hidden strokes sketches, in Cubist art, dada and expressionist be impossible since they are paid from the irrational and domestic violence. Say you could check the brand of brush on the oil, cardboard, glass, wood, plaster, metal or paper that make up the collage. While
abstraction - from and the theory of knowledge - has its basis in reality, the separation that makes the human capacity to "inmaterializar" the corporeal in the first instance, can be done over and over again, as in the creation of an algorithm that starts in something that can be experienced and results in a complex abstract system of equations and relationships. This is possible because the process of abstraction is a power, ie, "capacity." Later
precisely the ability to abstract the abstract as the work of Counter-Composition V by Theo van Doesburg (1924), a critical restructuring the horizontal geometry of Piet Mondrian. Van Doesburg in the style but diagonal.
15. The transition from the abstract to the fantastic. In the first instance, both art and architecture - as social products - communicate something, not only because of cause and effect relationship but to the contrary, the author (cause) prints a message in his or footprint (effect) of itself in a rational and irrational among the many variables that can lead to the creation of something ex novo (new).
The Freudian psycho undertook to explore the inner character, irrational dream of artistic expression, including architecture after modernism: Sverre Fehn with its proposed museum Bispegard Hamar, Nathan Rogers with the war memorial in German concentration camps, Robert Venturi in the courtyard Franklin or Peter Eisenman and Richard Meier with their housing projects. Worth saying that many of them were only in projects and those built, have been essentially transformed.
precisely about the psychic value analytical, Ernst Kris (1900-1957) was published in the journal "Jahrbuch" a work about the sculptor Messerschmidt, famous for his experiments physiognomy. Kris discovered that he was a psychopath and thus their work bonded for the first time the art and psychoanalysis.
Umberto Eco in his Treatise on General Semiotics "tries to unify its semiotic research developed to date to develop a theory Total of all systems of signification and communication and, as usual, artistic expression and aesthetic problem is paradigmatic in his works.
16. The transition from the abstract to the great Clearly abstraction occurs only on the understanding of the creative subject or the subject viewer. The abstract / real, is inherently contradictory, so much as a hundred lies can not produce a single truth.
The basis of abstraction, some separation or distinction, can not be other than the composition (or perhaps also the precedence) of the object on which the abstract relates. That is, while que la abstracción descompone, el intelecto agente lo re compone (como sostiene la escuela de la Gestalt) añadiendo un nuevo aspecto a la realidad percibida aunque esta re composición – para algunos literatos de extremos – resulte ridículo y propongan algo más “libre”; como la propuesta de uno de los fundadores del movimiento Dadá, Tzara, que – para hacer un poema – indica la receta:
“Coja un periódico
Coja unas tijeras
Escoja en el periódico un artículo de la longitud que cuenta darle a su poema
Recorte el artículo
Recorte en seguida con cuidado cada una de las palabras que forman el artículo y métalas en una bolsa Shake gently
Now remove each cut out one after another
Copy conscientiously in the order in which they left the bag
The poem will resemble you
And you're a writer, infinitely original and haunting sensitivity, though misunderstood of the vulgar " .
Beyond irony and challenge enthroned by the Dadaist manifestos, along with a strong taste erotic utopias, the cocktail is nothing but emptiness and confusion. Probably his greatest contribution. As much as he could be the deconstruction in architecture, didactically explained by Jan-Christophe Cejka in his book "Trends in Contemporary Architecture."
17. A "new" way of seeing things. However, peculiar events of the sixteenth to the nineteenth century: the great discoveries of the physical sciences, which have changed our views of the Universe and place in it, the industrialization of production, which transforms scientific knowledge into technology, transformed human environments, which accelerates the pace of life, which generates power and injustice, the demographic changes that displaces millions of people from one place to another chaotic urban growth, the mass communication systems, with large and powerful state bureaucracies and the capitalist market fluctuates.
All this frenzy of cases could be assumed as "modernization", which - in society - are reflected in values \u200b\u200band visions of a world that has been and will not know how. The eighteenth and nineteenth century, social revolutions and the crowning of the goddess of Reason was born a collective consciousness of shift to what might be called modern.
In the twentieth century, the spectacular successes of technology, art and thought, make known to man and society contingent limits and within the Universe:
a. The First and Second World Wars and the ensuing Cold War: the human species and its ability to auto deleted. B.
Secularism as eschatological vision and attitude of life beyond my earthly existence, there is nothing. C.
The mass media: press, radio and television, which provide real time information of events worldwide. D.
The emergence of the Internet and access to information and unrestricted communication and ability to hold a second life: real and virtual. E.
The fear of climate change caused by contamination and the disappearance of the human species. However
claims life lost roots. The intelligence, will and feeling are looking for something to fill them. Something that Jackson Pollock One imagined his painting in his paintings as rain dripping where viewers could be lost in their quest to find him. Do not pass unnoticed by the reader who, after the illustration, the utopian and fantastic as the British group Archigram (1961-1970), folds and fractals as Eisenman (1932), Zaha Hadid (1950) or groups OMA and MVRDV.
Utopia features are: a.
Prophetic announces future events. B.
Eschatological references to things past history or future. C.
Scientist: made up of genuinely useful and objective observations. D.
Moralists: recommends ways of conduct for improving society and the individual.
18. Chaos as a design premise and art. Never, as at present, humanity is in such grave danger of destruction. If the Cold War we feared aggression from nuclear power, now each of us represents a live bomb in the most wonderful product and destructive of the planet: the chaotic city.
Philosophy has given up looking for the truth to limited to a set of interpretations. It is experienced in cultural and social life a relativistic increase in pessimism, skepticism is concealed frivolous with the language of the defense of tolerance without limits. Reina a terrible indifference to the triumph nihilistic thinking of doing.
Chaos Theory will be held in the apparent unpredictability of the systems. Argue that stable physical methods - explained by Newton's laws - are destabilized and disobey their own order, arguing that it would be an extreme form of disorder that occurs in nature, beyond what is knowable and conceptualized, and in the brain, beyond tired of continually set orders and interpretations. While these assumptions are arbitrary and random drawing applicable to mathematical and economic models, their extrapolation to artistic design and architectural beyond utopia to go to the illusion or fantasy.
artistic avant-gardes of the twentieth century are appeals of the fantastic disguise of realism. Characteristics of these avant-garde art indicated by Renato Poggioli in his "Theory of the Avant-Garde" published in 1964 in Revista de Occidente:
a. Activist: desire to intervene. Architects and artists who were left behind by industrialization become idealistic revolutionaries. German expressionism is an example of the art movement activism in politics. B.
Antagonist: the avant-garde opposition seeking to express themselves. It presents to the public, against tradition and tastes accepted. C.
Nihilistic, destructive zeal on the constructive. A break schemes. D.
Agonist: tragic sense of life and existence of the artist. The work and the artist himself enshrined in the immolation. E.
Futuristic and ideological content that is more concerned about the future than the present. F.
Experimentalist: new attitude to walk "almost blind". There is nothing back: "I do not seek, I find" (Pablo Picasso).
All avant-garde art: a.
Cubism (Paris), b.
Futurism (Italy), c.
Expressionism (Germany), d.
Neo plasticity (Netherlands),
e. Purism (Switzerland - France), f.
Dada,
g. Surrealism
proclaimed a new world order that will crush the head of the infernal tradition to create a happy world as interpreted by Huxley.
Dead God (Nietzsche) and the human need to believe in something or someone, the new god must have one essential characteristic: the constant mutability, so that nothing can affect it, that is free from pain, fatigue and illness, that not human. "We seek the creation of a non-human kind has been abolished for whom moral suffering, goodness of heart, affection and love, these corrosive poisons of life energy, our switches powerful bodily electricity, "proposed the Futurists.
Probably nobody like Francis Bacon was able to explore in greater depth in his paintings the keys to this god, hollow, dark, misshapen, divided and corrupt, that is, the negation of being and not sublimation, the fantastical and unreal.
This sublimation of fantasy permeates the architectural forms of the twentieth century and the present. The "machine aesthetic" is replaced by "digital aesthetics", with a whole new delegation of award winners as ostentatious as the Pritzker Peter Eissnman, Frank Gehry, Rem Koolhaas, Bernard Tschumi, Kazuo Shinohara, Daniel Libeskind, Herzog de Meuron, Zaha Hadid, Coop Himmelblau, Arata Isozaki, Julia Boles, Wilson, Enric Miralles, Eric Owen Moss, Philippe Starck, Ralph Erskine ...
19. Fantasy: banality media. Appear in the media, subject to constant exposure and visibility, the fictionalized life affects all areas within a range of artists and architects with a theorizing of his own work to give them reason themselves. Today it seems that the least popular of the superheroes of the comics would be "the invisible man."
Consecration to media fame precedes the explanation of the work. The necessity and certainty to be kept constant, as a character in front, though not to transmit any message, and public appearances banal, performative, hold attitudes and actions of young and not so young artists and architects who seek to grasp amazing image over reality.
The use of computer tools seem to be due to the new office in a new way of living and relating with their environment from the impersonality of "second life" and "digital architecture." This program is no longer any binary, time and space. Electrical impulses that are engulfed by the cyber space, moving to a fictional world where "the journey" or "promenade architecturale" proposed by Le Corbusier is restricted to an animation "realistic" interactive with the user for a building that just does not exist without a monitor 15 inches or more or On the contrary, as the proposed Elisabeth Diller and Ricardo Scofidio (unfinished, 1992), a house (Slow House) who tried to be full of electronic facilities where the body of the people can choose and interact with a domestic vision to create.
The information society is one of the most complex and incomprehensible to the societies in which mankind has been involved. Take the potential that this complexity can lead, placing subjects only as mediated / mediated, would lead us to ease and banality and, therefore, that all stars and we tend to be critical of the disappearance of ideas and criticism. Our society would become a place where anything goes and where you can create anything: fertile ground for the emergence of figures of little knowledge and value. A standing ovation to the fantastic and imaginary that has taken shape even within schools of architecture. While shaping the future lies in the performance architect on projects "abstract" understanding of meaning of "not real" objectives outlined some institutions methodological practice of fantasy. While the former have some resemblance to the reality of a multidisciplinary exercise and social building complex task (factus), the latter of which is to the spectacle of the image and appearance. The real thing will be secondary in the modern course, utopian. Then gather some maxims of Paris protest May 68. Many of these topics were and are currently budgets elementary art and architecture:
a. "Be realistic: demand the impossible"
b. "Forget everything they learned and begin to dream"
c. "Forbidden to forbid, freedom begins with a ban, "
d. "Imagination to power"
e. Is necessary to explore systematically the chance, "
f. "Comrades outlaw applause, the spectacle is everywhere"
g. "It is necessary to bring itself to put chaos in the world to a dancing star"
h. "The act establishing the conscience,"
i. "Declared a state of permanent happiness,"
j. "The passion of destruction! It is a creative joy, "
k. "A cop sleeping in each one of us, it is necessary to kill"
l. "My desires are reality, "a fantasy ideology summed up in the beautiful John Lennon classic" Imagine. " The problem is to "institutionalize" the fantasy that actually happened in the U.S. and Dutch experiences hippie enclaves, which had a very short shelf life due to domestic violence and anarchy caused by mass consumption of drugs: the same hippies fled in fear of their "social utopia." Reduce
understanding the twenty-first century society but this is false. The multiplicity of media opens up new avenues of expression and lead to creative interaction of thought. The premise should be working from the bowels of this society hiperinformada and chaotic digital construction to extract it not only the material that enables us to rediscover the substance with which to build an architecture in line with the reality of today's society.
20. The reality is in the being of things "I think in the stark reality of the finished work one can see clearly the essence of a project, the consistency of ideas. I firmly believe that the architecture needs the support of matter, that the former is inseparable from the latter. The architecture comes when our thoughts about it acquire the real condition that can provide only materials. In the act of building the architecture becomes what it truly is "hold the English architect Rafael Moneo.
utopias of the twentieth century avant-garde and banality media have left a legacy of thousands of spectacular architectural projects budget out of reach of governments or organizations in countries that are not in the first world. Museums have assumed the role of exhibition gallery, where the premium for its unusual ephemeral temporality, while the side is permanent. Interestingly, are the art galleries, railway stations, airports and entertainment centers favorite topic of late modern architecture: everything that is transient, low in the living entity.
Moreover, in the visual arts, ranging from experimental path followed by the heels for the digitization of the same or digital art that mixes not only the visual perception but also the hearing. "The essential feature of the modern artist who seeks to make the leap to the abstract beauty irreversible and final would be his rebellion against subordination to the mimesis of reality" Josep Maria Montaner say, a matter that the English philosopher Jose Ortega y Gasset as a process clarifies dehumanization of art and that the level reaches the fantastic is such that the difficulty of understanding of the work is undeniable.
In summary, nine points of the dehumanization that - as you can show the reader - match media banality:
a. Desire for originality and innovation. B.
Secrecy, which makes it difficult to understand, is fleeing the exact reference. C.
Self-sufficiency of art: it calls itself pure and authentic. D.
Antirealism and antiromanticism: the poem should not mean, but merely appear, on the other hand, is shunned romantic subjectivism. E.
Surrealism: logical inconsistency, the importance of the subconscious and dreams. F.
Inconsequential: unconcerned, waiver responsibility for extra-artistic reality, and moralism. G.
Prevalence of metaphor.
h. Dream writing: connected with Surrealism. I.
Atomization, breakup, break logical connections.
Moneo says that previously, the architects sought reality first and then the drawings with which they could describe these thoughts. Today, it is the opposite. However, what the architecture of menhirs was drawn before it was built? Nobody knows, but the fact is that this construction of the 4.000 BC Neolithic remains amazing, beautiful, mysterious in its use and - certainly - actually evokes some previously known and learned.
Immediacy, and attitude of the creative intellect, ruling his work in a purely personal expression. You lose contact with society and enters infinite regurgitation private. However, the common architectural work, could never escape the area and public engagement. That is why media production of this century is as unintelligible and timely as each of their designers: mere scuffles, ephemeral and contingent.
Of all the figurative and plastic arts, architecture is probably is one in which the distance between the artist and his work is great. A painter, sculptor, can leave their mark directly on the canvas or stone; his personality is attached to your work. This does not happen in the architecture, rather than be forced to do so. Building is a property of self-reliance, independence of the agent intellect thought of something that no longer belongs to him is more, the same building is usually clear to its creator and remain without it.
The return to reality, what our senses pick up and can be seen clearly by any intellect, through a material can only be achieved when the artist-architect are original, ie, return to the origin of his action: being of things on the fantastic.
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