Artscapes: Art as an Approach to Contemporary Landscape / El Arte como Aproximacion al Paisaje Contemporaneo
Language: Spanish
Published by Editorial Gustavo Gili, 2003
- Softcover
- Used
Seller: ANARTIST, New York, NY, U.S.A.ANARTIST
AbeBooks seller since July 8, 1999
Condition: Used
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Add to basketItem description from seller
Softcover, 192 pages; in English and Spanish; good condition; light rubbing to covers; underlinings on a few pages. Foreign shipping may be extra.
Seller Inventory # ArGaEd40
- Title
- Artscapes: Art as an Approach to Contemporary Landscape / El Arte como Aproximacion al Paisaje Contemporaneo
- Author
- Galofaro, Luca
- Publisher
- Editorial Gustavo Gili
- Publication year
- 2003
- Binding
- Soft cover
- Language
- Spanish
- ISBN 10
- 8425218438
- ISBN 13
- 9788425218439
- Edition
- 2nd Edition
- Seller catalogs
- Architecture
"Synopsis" may belong to another edition of this title.
Excerpt. © Reprinted by permission. All rights reserved.
| User's guide
Artscape is a term that tries to sum up the idea of intervention in the landscape based on an artistic approach. In art, sculpture and music the idea is not to reproduce or invent forms, but to harness forces. Architecture has to go further, to not only channel the forces but also to organize them. The first aim of this book is to try to interpret the territory through artscapes that have been specifically created to help us rediscover its essence and potential for use. The "territory" as such does not exist in nature. It is the result of a lengthy evolution of the settled population and the environment. Artists have always had the capacity to make it visible, to shed light on certain of its characteristics through analysis. Architects, on the other hand, have always stood out for their desire to redefine the territory, differentiating it from the landscape. In recent years architects have turned to the operative modes of art in search of stimuli capable of restoring force to their increasingly self-referential discipline. Thus the landscape, as happened in the works of the land artists of the 1970s, becomes a material with which to reconstruct the territory in which to live. Some of the works of architecture seen in this book evoke veritable works of Land Art which are enhanced, in their formation, by the force of utilization and the flows related to activity. Through an apparently arbitrary analysis the artworks and architecture are presented without a predetermined order, in such a way as to discourage application of formal definitions and categories. Thus the architecture follows "a logic of sensations" capable of generating spaces conceived in a new way. The book is divided into six chapters (not necessarily to be read in sequence), each with a different approach to the art/architecture/landscape relation. The disciplines meet, swapping suggestions and methods of interpretation, analysis and action. A space to be discovered examines the intuitions of Gordon Matta-Clark, one of the first to break down the confines between art and architecture. In Redefining the space of the territory architects interact with the landscape in unexpected ways, shedding light on certain characteristics. Casagrande & Rintala make floating gardens on salvaged boats, Makoto Sei Watanabe records the movement of wind in his installations, transforming the natural into the artificial. In When art becomes landscape artists like Christo & Jeanne-Claude supply a method in which the value lies not exclusively in the artwork, but also in the process of its construction and organization. Art + architecture + context come to terms with the mental spaces capable of generating a field of emotional reactions among place, subject and artist. Richard Serra marks urban space by triggering interferences between the artwork and those who experience it. Peter Eisenman produces the same type of interference when constructing a Holocaust memorial. In this project real space confronts the mental space generated by the physical sensations the architecture produces in the person crossing it. Mary Miss builds functionless places that could easily be works of architecture, while The Next Enterprise offers artworks that turn out to be architecture in constant transformation. And on to the interventions of Diller & Scofidio and West 8, which slowly set in motion a process of metamorphosis, Transforming landscape, creating places in which there is almost no difference between the space of architecture and the art installation. Blur is simultaneously an installation, a natural place and a building. Finally, in Programming the land surface architects redesign an artificial landscape through the transformation of the spaces between the surfaces, an attempt to erase any difference between territory and architecture. Foreign Office Architects and Shuhei Endo try, in a different way, to recover and make better use of places, focusing on their individuality and identity. The conclusion is that today many architects seem finally to have assimilated the words of Paul Klee: "Art does not reproduce the visible, but makes visible [&] because the artist observes the things nature places before his eyes, with a penetrating gaze. And the deeper he penetrates, the easier it is for him to shift the viewpoint from today to yesterday, the more he be able to fix in his mind, in place of a defined image of nature, the unique, essential image, that of creation as genesis." - Luca Galofaro |
| Guía del usuario
Artscape es una palabra que pretende sintetizar la idea de intervención en el paisaje por medio de una aproximación artística. El propósito del arte, la escultura y la música no es reproducir o inventar unas formas, sino captar unas fuerzas. La arquitectura, además de captarlas, tiene también que organizarlas. El primer objetivo de este libro es intentar leer el territorio a través de los artscapes creados a propósito, con el fin de redescubrir su esencia y sus posibilidades de uso. De hecho, no existe el territorio en estado natural, sino que es el producto de una evolución paralela, y de largo alcance, de la comunidad que lo habita y del ambiente. Los artistas han sido los primeros en poseer la capacidad de hacerlo visible y de analizarlo, poniendo de manifiesto algunas de sus características. Por el contrario, los arquitectos se han distinguido siempre por su voluntad de refundarlo, diferenciándolo del paisaje. En los últimos años, los arquitectos han encontrado en los modos de operar del arte un estímulo capaz de fortalecer su propia disciplina, siempre autorreferencial. De ese modo, el paisaje, tal como había sucedido en las obras de los años setenta del land art, se ha convertido en un material con el cual poder reconstruir el territorio en el que vivimos. Algunas de las arquitecturas presentadas en este libro evocan auténticas intervenciones del land art, las cuales se enriquecen a lo largo de su formación con la fuerza del uso y de los flujos propios de las actividades. Por medio de un análisis aparentemente arbitrario, las obras de arte y las arquitecturas se presentan sin un orden establecido de antemano, con el fin de poder superar las definiciones formales y las clasificaciones temáticas. De ese modo, la arquitectura sigue una "lógica de las sensaciones" capaz de generar espacios de nueva creación. El ensayo se organiza en seis capítulos (que no deben leerse necesariamente por orden), cada uno de los cuales afronta de un modo distinto la relación entre el arte, la arquitectura y el paisaje. Estas tres disciplinas se contrastan, se intercambian sugerencias y métodos de lectura, de análisis y de acción. En El espacio a descubrir se examinan las intuiciones de Gordon Matta-Clark, uno de los primeros en romper el límite entre arte y arquitectura. En Redefinir el espacio del territorio los arquitectos interactúan con el paisaje de un modo inesperado, intentando evidenciar algunas de sus características. Casagrande & Rintala realizan jardines colgantes sobre barcas abandonadas. Makoto Sei Wantanabe registra en sus instalaciones el movimiento del viento, convirtiendo lo natural en artificial. En Cuando el arte se convierte en paisaje, artistas como Christo & Jeanne-Claude crean un método donde el valor no reside tan sólo en la obra de arte, sino también en su proceso de construcción y organización. Arte + arquitectura + contexto contrasta con aquellos espacios mentales capaces de generar un campo emotivo de reacciones entre el lugar, el sujeto y el artista. Richard Serra señala el espacio urbano generando interferencias entre la obra de arte y quienes la contemplan. Peter Eisenman crea ese mismo tipo de interferencias construyendo un monumento a las víctimas del Holocausto, donde el espacio real se confronta con el espacio mental generado por las sensaciones corporales que la arquitectura produce en quienes lo atraviesan. Mary Miss construye unos lugares sin función que muy bien podrían ser arquitecturas, del mismo modo que The Next Enterprise nos ofrece unas obras de arte que se revelan como arquitecturas en constante transformación. Las intervenciones de Diller & Scofidio y de West 8 generan lentamente un proceso de transformación del paisaje, Paisajes en transformación, creando lugares donde ya casi no hay diferencias entre el espacio de la arquitectura y la instalación artística. Blur es al mismo tiempo una instalación, un lugar natural y un edificio. Finalmente, en Programar la superficie de la tierra, los arquitectos rediseñan un paisaje artificial mediante la transformación de los espacios existentes entre las distintas superficies. Con esta tentativa desaparece toda diferencia entre territorio y arquitectura. Foreign Office Architects y Shuei Endo, cada uno a su modo, se proponen recuperar y valorar los lugares en su individualidad y en su identidad. La conclusión es que, actualmente, muchos arquitectos parecen haber asimilado finalmente la afirmación de Paul Klee: "El arte no reproduce las cosas visibles, sino que hace cosas visibles... (puesto que) el artista contempla las cosas que la naturaleza dispone, ya formadas, ante sus ojos, y lo hace con una mirada penetrante. Y cuanto más a fondo las penetra, tanto más fácilmente logra desplazar el punto de vista de la mirada anterior; tanto más se le imprime en la mente, en vez de una imagen natural definida, la imagen esencial y única, la de la creación como génesis" - Luca Galofaro |
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