G C ARGAN: EL CONCEPTO DEL ESPACIO ARQUITECTÓNICO DESDE EL BARROCO A NUESTROS. Espacio plástico y significación El concepto del espacio arquitectónico: desde el barroco a nuestros días / Giulio Giulio Carlo Argan. PDF | This article talks about the historic evolution of the arquitectonic drowings during XV and XVI century, specifically through Leonardo’s.
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But if we depart from the beginning of that the experience is dell counts, it will happen that ours to exist in the reality will be able to constitute the constant determination of a space the space that I cross, the space that I see, the space in which I move and in which I experience my emotions.
My existence is a phenomenon ckncepto is realized in the world of phenomena. There is a constant transformation of the values of the space, transformation that is tied by the activity: Aruqitectonico was of the New publishing house Vision, of Buenos Aires, and I am useful to be grateful to the Argentine publishing houses for the guulio labor that they have done for the culture in Castilian, and the great thing that we owe to them from Spain.
But this not always was like that. The architect of the Baroque realizes that the space does not exist before, but that he can create it. Then the architect also was creating, but his creation was to state that the space was since had to be, that the work had realized correctly. It will be an open session, alive, creativly, mutable, enough desasosegador, complex.
The modern concept of architectural space | José Ramón Hernández Correa
Apart from this, it arhan necessary to bear in eel that when one speaks about so slippery terms it is necessary to exaggerate or, for saying this way, forcing the contrasts. But the man who resolves to accept the movements of his own interior life will try to clarify how this life develops, and also he will consider his own life in relation with her of the others. The space is not previous, but it is deciding across the architectural forms.
Before six hundred the architecture was thought as representation of the space, but in the Baroque it transformed up to be conceiving as determination of the space. The whole world knows that the architect determines the space in which the life of the community develops. Argan says that the space is not cralo objective, definite relidad, with a stable structure, but it is a concept ; it is to say, an idea that has a historical own development.
Nevertheless, the architect of the Baroque believes convexities and concavities that hit, unforeseen and untid explosions, contradictions. It is a way of understanding itself.
Esta web usa cookies Esta web usa cookies para mejorar la experiencia de los usuarios. You imagine the strict regulation of the Renaissance, the orders, the clarity of composition. But per today already I have given you enough the ember.
TEORIA E HISTORIA DE LA ARQUITECURA by Camila Polo on Prezi
Not even the white thing is so white not the black thing is so black. Today this is more than assumed. I suppose that you will be wishing to turn me to lowering a few positions; that put me in my site and the humitos stoop me a bit.
I have said that today I would become marvellous, but I will have piety of you and will simplify everything what could.
Since you have reason. The architect already does not represent the space, but it does it. In the first, God did not create space, but things, and then man created space to understand the relationship between things. From the Baroque to the present day this concept of space has transformed from being considered to be something previous up to understanding itself as final attainment.
For the man of the system, for the contemplative man, the space is a revealed information. In the second, the word refers to the unlimited extension of the world, with all the facts that take place in it, and which finds its phenomenalization through the work of art in general and architecture in particular.
I see Borromini and Frank Lloyd Wright ; you not?
The architect does that the space flutters, and the human being meets immersed in a mental conception, in an abstraction that, nevertheless, materializes very carnal and concretely.