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Posts tagged "Josep Lluís Mateo"
19
Mar
'14

Ullstret(2.7)

Revisiting Ullastret

Ullastret revisited by Jordi Bernadó

One of my first works, paving a medieval village, completed many years ago.

Through Bernadó’s eyes, it reappears new, colourful and vibrant. more »

Architecture and Cinema

07
Mar
'14

Josep Lluís Mateo, August 2011

dAP – Issue 4. Cinema

Architecture and Cinema

07
Mar
'14

The relationship between cinema & architecture is mentioned in many occasions and it’s partially true. In fact, the architecture in the cinema appears as a background of the scene, as a background of the action. As, happens with photography, the cinema is giving us a specific point of view about things, about the reality and the architecture into it. Into the invention of the plot, the reality (and the architecture inside) appears in a special way, with special light, in a special frame, in a special context.

We all have great memories about films and architecture. My generation for instance has been connected to the Hitchcock representations of modernity or later Wim Wenders surrealistic sensibility about the 50′s, David Lynch dreams about landscape and life and many others that continue a certain relationship between the fiction of the film and the reality and the vision about this reality that is the architecture into it.

But I would like to point out the differences in between both. One strong difference is that in fact, the invention of the cinema is based on the movement, on having the images in motion, passing from photographs in a static way to the movement of the images. This kind of motion is clearly the key question of the origin and development of the cinema.

Frankly, and I hope without any kind of reactionary approach, I have to say that architecture is something totally static, something that is more confronted to permanence that really something in motion. In fact, many ideas connected to think, to propose and to built in some occasions architectural pieces following the idea of movement become dramatically like frozen corpses. The idea of movement and the idea of architecture, in my opinion are by definition totally different.

The other clear difference between both disciplines is connected with the spaces where the cinema is projected. The cinema halls are turning more and more in our contemporary times towards a degree zero of architecture, with no light, with no expression. They are only a place where the fiction takes place, with adequate acoustic and climatic conditions but without any architectural character. It’s totally different from the old times, from the theatres and operas, where the whole space was confronted to a certain representation of life. The cinema space as a degree zero of architecture is marking a limit where architecture doesn’t exist any more, becoming purely an immaterial fact, of course full of interest in a certain way and full of impossibilities in many other ways.

Our research work during the last semester was connected to this kind of confrontation between possibilities and impossibilities. We were using the cinema as a metaphor, as a kind of reference point to research and to develop projects.

Josep Lluís Mateo, August 2011

dAP – Issue 4. Cinema

Narrative and physical facts

07
Mar
'14

Josep Lluís Mateo, June 2011
dAP – Issue 3. On Giacometti

Narrative and physical facts

07
Mar
'14

Our Giacometti project deals with a very important question that is the meaning of the word context. What is a context? Which is the context?

Of course the context is connected with the physical facts, with the geography, the topography, with the climate, the snow, the temperature and also with the history. Besides the physical facts, we wanted also to talk about the cultural context that is connected with immaterial facts, immaterial things. In that sense, this kind of ghost presence of what we might call the spirits of the place, the Genius Loci in Latin terms, was impressive. We were interested in Giacometti’s history, the family history – the father and the uncle both very important painters, the son one of the best artists – coming from a very remote area with almost no light in winter during nearly eight months. The whole adventure of the Giacometti’s history was what we could name cultural context.

There were also some traces, some specific physical traces like houses and tombs – Adolf Loos has established this parallelism between the tomb and the architecture – and the atelier, the place where they were working. Our students were confronted with this kind of extraordinary landscape, remote landscape, with this kind of history and with some specific physical remains.

The idea was to deal with the context in a broader sense, not purely picturesque, not in a purely physical and direct sense. And also was to try to confront our students with a very strong experience that allowed them to develop new strategies, new forms and try to avoid the conventional and the vulgarity that is one of the most unpleasant experiences while teaching and probably while studying, to repeat something that you vaguely know. In a way this non-knowledge condition could be an interesting starting point to produce something new. This was the scenery we wanted to provoke to them.

In fact, coming back to the original idea of the semester, the projects are connected to what could be called as a chapel experience. The chapel is a place, was a place, probably is no longer in use, where some kind of spirits are present, a physical place with some kind of connection to immaterial forces. Create this kind of space has been also the goal of this exercise.

Regarding the students’ work, there were in my opinion many interesting projects. I would like to point out that, as teachers, we just ask the questions but we don’t design the answers. The best teacher to me has been always the one who was able to ask the question that generates the good answers. The quality of the question is in relationship with the quality of the answers.

Among the big quantity of special and quality answers, I can remember several. First, the project of Dario Wohler tries to react in a very archaic way to this kind of history, to this kind of cultural facts, reacting in terms of architecture in a pre-historical way, in a very archaic way. Second, the project of Rebecca Bornhauser is more in relationship with the natural forces, like the strong presence of the snow during nearly eight months a year, and as in architecture the snow is connected to the roof, working with the roof as a protagonist. And finally, the project of Xiong Sun deals with the landscape big forces, thinking the building as a kind of gate into this infinite landscape. These were some of the projects that I still remember.

Josep Lluís Mateo, June 2011

dAP – Issue 3. On Giacometti

Entrevista: Josep Lluís Mateo

07
Mar
'14

Published by Plataforma Arquitectura.

ICEX interviews Josep Lluís Mateo

07
Mar
'14

 

Residential building in Barcelona

26
Feb
'14

Cultural Center of Castelo Branco, Portugal

26
Feb
'14

Lecture: INHABITING (in the first person)

17
Feb
'14

Designing and inhabiting are different and not necessarily compatible activities. We often live in places that are not defined by us. Perhaps that is how it should be.

In this intervention, I’ll be presenting various domestic spaces that are designed and lived in directly. more »


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