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Posts tagged "Josep Lluís Mateo"

On Roofs

20
Oct
'14
House Secchi, Ftan, Engadin, 1987

House Secchi, Ftan, Engadin, 1987

Looking at architecture in connection with water, the first premise is that a house should not leak. This constructive aspect targets the roof as a protective, cantilevering element. It is interesting to realize that, in the vernacular tradition, the shape of the roof is closely connected to changing local amounts of precipitation: flat roofs in more or less arid zones and steeper, pitched forms with greater altitude and latitude. more »

Water

20
Oct
'14

Formless: water adapts to the container.

Colourless.

Tasteless.

Odourless.

Moving: instability, dynamic behaviour.

Change of status: liquid to solid, and, when frozen, its volume increases. However, it is not only the consistency that changes, more »

The Origin of the Work of Art

14
Oct
'14

“Standing there, the building rests on the rocky ground. This resting of the work draws up out of the rock the mystery of that rock’s clumsy yet spontaneous support.
Standing there, the building holds its ground against the storm raging above it and so first makes the storm itself manifest in its violence. The luster and gleam of the stone, though itself apparently glowing only by the grace of the sun, yet first brings to light the light of the day, the breadth of the sky, the darkness of the night.
The temple’s firm towering makes visible the invisible space of air.”

hh_BN

Martin Heiddeger’s Hut in Todtnauberg, Black Forest, Germany. Photo: Adam Sharr

more »

Work in progress: Tête de Pont in Bayonne (France). Phase 1

01
Sep
'14

On the urban front of the river Adour in Bayonne (France), around Henri Grenet Bridge, the Tête de Pont project is visibly taking shape.

It is a project of great importance for Bayonne, not just due to its sheer size (some 70.000 m2 of built surface area) but also because it is the new gateway to the city. The brief is divided between two city blocks that contain social and free market housing, a shopping centre, a hotel, a small area of offices and car parks, and the central part that joins the two blocks, channelling the flow of car and pedestrian transit. more »

Barcelona Seafront

01
Aug
'14

The seafront in Barcelona is incomplete—that is, there are fixed, finished parts, and others yet to be built.

The limits are clear: to the left, with the sea at our backs, the mountain of Montjuïc, crowned by the fort.
At its foot, the industrial port.
To the right, the river Besòs, with a recent complex of high-rise buildings forming the built limit.
The background is beautiful: the coastal ridge, green mountains, undeveloped, happily.
The foreground, the base of the composition, is also interesting: the sea, which is usually calm, protected from the north winds by the Cape of Begur.

Limits, background, foreground, defined and beautiful.

In the middle, the city, a compact, formless mass, with emergences.

Unfinished, happily, yet to be built.

Josep Lluís Mateo

Go to the Barcelona Seafront view. more »

Dwellings in Toulouse, France

07
May
'14

site+maquetas

In Toulouse, near the airport and the river Garonne.

A housing development that seeks to optimize the living conditions of each of its cells. The whole is broken down to prioritize the meeting with the domestic rather than insisting on the abstraction of the idea.

A complex of four independent but conceptually connected volumes (A, B, C and D) arranged around a semi-private garden. more »

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


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