Publication: Cuando la arquitectura deviene en escultura y viceversa: Turbine Hall y Serpentine Gallery
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2016-04-15
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Universidad Complutense de Madrid
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Abstract
La Tesis “Cuando la arquitectura deviene en escultura y viceversa”, trata de la relación que existe hoy en día entre la arquitectura y la escultura, analizando las similitudes y diferencias que observamos entre ellas. Se parte de un primer cuestionamiento en el que nos preguntamos: ¿Está la arquitectura absorbiendo planteamientos artísticos? ¿Se ha apropiado la escultura del concepto constructivo del espacio? A partir de aquí se propone investigar sobre las actuaciones que se han realizado en este último siglo, en dos espacios en concreto: uno es el Hall de la Tate Modern, en Londres, donde desde el año 2000 se han venido llevando a cabo instalaciones de artistas– 13 en total-, comisionadas por la empresa Unilever y en los que podemos acercarnos a creaciones plásticas, fundamentalmente provenientes del mundo de la escultura, que nos muestran las propuestas creativas más actuales; el otro espacio es la Galería Serpentine –también en Londres- donde se ha ido seleccionando un arquitecto cada año -que no hubiera construido antes en el Reino Unido-, para realizar un pabellón expositivo en sus jardines, con una propuesta cultural en el programa. Hasta la fecha se han realizado quince pabellones, que nos acercan a las producciones de las figuras arquitectónicas más relevantes del momento, correspondiendo la selección de este año 2015 a un grupo español. La metodología utilizada es la dualidad comparativa; trabajar y ver en que se oponen construcciones escultóricas e intervenciones arquitectónicas, que han ocurrido en los últimos 15 años; trabajando con binomios como: utilidad-creatividad, objetualidad-espacialidad en las que se enfoca desde el punto de vista del observador, apreciando las organizaciones que se articulan, las sensaciones que nos producen la interrelaciones de formas, las atmosferas que se recrean a través del color, las cualidades matericas, sonoras, etc...
The thesis “When architecture becomes sculpture and vice versa” addresses the relations which today exist between architecture and sculpture by analysing the similarities and differences we can observe between them. Its starting point is an initial inquiry focused on the following questions: Is architecture adopting artistic approaches? Has sculpture taken ownership of spatial construction principles? From this starting point, the intention is to conduct research about events which have taken place this century in two specific spaces. The first is the Turbine Hall of the Tate Modern in London, in which a total of thirteen different artistic installations, commissioned by the multinational company Unilever, have been exhibited. These afford us an opportunity to examine artworks whose origins essentially lie in the world of sculpture and which serve as examples of the most up-to-date contemporary practice. The second space is the Serpentine Gallery, also in London. In this case, an architect who has never realised a project in the UK is invited each year to design and build a pavilion in the gallery’s garden and a cultural programme is subsequently presented within it. To date fifteen pavilions have been constructed. These projects provide us with an opportunity to explore the work of the most important architects of the moment, including the Spanish architectural practice selected for this year, 2015. The methodology employed is comparative analysis, which requires an examination of the ways in which sculptural constructions and architectural interventions over the last fifteen years differ. This is achieved through an exploration of conceptual pairings such as utility-creativity and objecthood-spatiality from the viewpoint of the observer. This involves an analysis of interacting elements, of the sensations which the interrelationship of forms produce in us and of the atmospheres reproduced through colour, material qualities and characteristics, sound etc...
The thesis “When architecture becomes sculpture and vice versa” addresses the relations which today exist between architecture and sculpture by analysing the similarities and differences we can observe between them. Its starting point is an initial inquiry focused on the following questions: Is architecture adopting artistic approaches? Has sculpture taken ownership of spatial construction principles? From this starting point, the intention is to conduct research about events which have taken place this century in two specific spaces. The first is the Turbine Hall of the Tate Modern in London, in which a total of thirteen different artistic installations, commissioned by the multinational company Unilever, have been exhibited. These afford us an opportunity to examine artworks whose origins essentially lie in the world of sculpture and which serve as examples of the most up-to-date contemporary practice. The second space is the Serpentine Gallery, also in London. In this case, an architect who has never realised a project in the UK is invited each year to design and build a pavilion in the gallery’s garden and a cultural programme is subsequently presented within it. To date fifteen pavilions have been constructed. These projects provide us with an opportunity to explore the work of the most important architects of the moment, including the Spanish architectural practice selected for this year, 2015. The methodology employed is comparative analysis, which requires an examination of the ways in which sculptural constructions and architectural interventions over the last fifteen years differ. This is achieved through an exploration of conceptual pairings such as utility-creativity and objecthood-spatiality from the viewpoint of the observer. This involves an analysis of interacting elements, of the sensations which the interrelationship of forms produce in us and of the atmospheres reproduced through colour, material qualities and characteristics, sound etc...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, Departamento de Escultura, leída el 11 de enero de 2016