Publication: Cincuenta latas.
Repetición Pop en la obra de Andy Warhol y Robert Venturi
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Publication Date
2018
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Departamento de Composición Arquitectónica Escuela Técnica Superior de Arquitectura de Madrid UPM
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Abstract
Este texto indaga sobre las características compartidas entre las praxis artística y arquitectónica de Andy Warhol y Robert Venturi durante el periodo 1962-1973. Más allá de aspectos biográficos que relacionen ambas figuras, se trata de establecer la posible influencia de la obra del artista de Pittsburgh en los trabajos iniciales del arquitecto. En este caso, frente a los aspectos visuales y temáticos más evidentes —del cliché como motivo a la estilización de los elementos arquitectónicos, mencionados brevemente en el escrito—, el foco de trabajo se centra de manera casi exclusiva en el análisis conceptual de la repetición de motivos en el plano. Si en el artista esta forma de operar resulta una contradictoria vía de expresión de lo manual en su ejercicio pictórico, en el arquitecto de Filadelfia la reiteración constituye una puesta al día de un recurso disciplinar orillado por la modernidad: el ornamento.
This article examines the characteristics shared by Andy Warhol and Robert Venturi’s artistic and architectural praxis during the 1962-1973 period. In addition to the biographical aspects linking the two figures, the article aims to establish the potential influence of the artist from Pittsburgh on the architect’s initial works. Here, rather than concentrating on the most evident visual and thematic aspects -from clichés as a motif to stylisation of architectural elements, briefly mentioned in the article-, the study focuses almost exclusively on a conceptual analysis of floor plans and repetition of motifs. While reiteration for the artist results in a contradictory means of expressing what is manual in his pictorial exercises, for the architect from Philadelphia it constitutes a means of bringing up to date a disciplinary recourse hemmed in by modernity, that is, ornamentation.
This article examines the characteristics shared by Andy Warhol and Robert Venturi’s artistic and architectural praxis during the 1962-1973 period. In addition to the biographical aspects linking the two figures, the article aims to establish the potential influence of the artist from Pittsburgh on the architect’s initial works. Here, rather than concentrating on the most evident visual and thematic aspects -from clichés as a motif to stylisation of architectural elements, briefly mentioned in the article-, the study focuses almost exclusively on a conceptual analysis of floor plans and repetition of motifs. While reiteration for the artist results in a contradictory means of expressing what is manual in his pictorial exercises, for the architect from Philadelphia it constitutes a means of bringing up to date a disciplinary recourse hemmed in by modernity, that is, ornamentation.