+ - 70 mins
18 x 25 cm
ENG/SPA Bilingual Edition
From originalities to singularities (or how to lose our identities)
WAI THINK TANK
Narrative architecture: A manifesto
Todo por la praxis
The universal texture
Carmelo Rodriguez Cedillo
Six cases of architectural dysmegalopsia
Transïre. Traverse. Go across. Go over. Pass over. A state of trance evokes a critical and decisive moment, a state of sensory suspension, a psychological mechanism in which the person abandons themselves to certain conditions, external or internal, and experiences a different state of consciousness.
Limit. Contemporary space is faced with a complete change in its categories. The artificial has surpassed the limits of interior space, and exterior space, which could be confused with natural, has become an artifice of human activity.
The real is increasingly a scenography of the virtual, which has imposed its instant speeds on our way of communicating and operating. Production has been, to a great extent, substituted by reproduction, with self-referenced mechanisms which have led us to reproductive isolation –barrier to hybridisation– in an immense catalogue of the same repeated image. We live immerse in a constant rendering of our surroundings and of our self, and these must be more and more vague and elastic. The limits between concepts we once believed were opposed are blurring at great speed, and we are going through a shared moment of de-solidification where we are required to have a flexible and ductile identity in the face of the different mutations we are subjected to on a daily basis.
Many questions arise when establishing the consequences of this new technological-artificial context which is definitively removing us from the idea of architecture as a physical object, stable and permanent. How are its new categories redefined? How to build with the virtual and which spatial conditions should it be assigned? How to endow a tangible dimension to the fact that our participation in the world has global and instant consequences? Are these devices or artifices turning architecture into a shell through which information simply flows? The difficulty in answering these questions is evident, as it follows the normalising of a certain schizophrenia, previous to the reconstruction of reality. While we take on this transit we must ask ourselves in which state of consciousness our activity is. Disorder.
A case-analogy with psychopathology is an interesting territory to explore as it may reveal, in a hyperbolic way, many aspects of our normal behaviour. In the study of psychological disorders or mental illnesses there is a differentiation between normal alterations of perception, such as a hypnagogic hallucination (auditory, visual or tactile hallucination occurring at the transition from wakefulness to sleep), or a damaged, ‘not healthy’ perception in mental processes. Can we classify spaces in the same way? Can we catalogue architectural illnesses or disorders? And what about our production methods? Are there healthy architectures, altered architectures, architectures of disorder?
Today there are, with growing shamelessness and audacity, spaces which overtly manifest their features of psychological alteration. They communicate through the way they are used, spilling over purely architectural norms and imposing on spatial conditions their stimulus devices, conditioning space with these devices, often invisible, and furthering their fundamental function of activating or stimulating us. They are software spaces, ones which are able to communicate with us and which, by means of increasingly more legible and evident interfaces, succeed in getting us to activate them, to communicate with them in such a way that had already been decided by their designers. Immerse in this folie à plusieurs, we intuit how they are used and what they mean even before we meet them.
Viaticum. Provisions for the voyage. In order to condense some of these ideas we propose a brief journey through some of the transient reflections towards the redefinition of architectural reality, research framed in the blur of its limits. Melting and deforming surfaces in the selective recreation of the world, with no night or weather, where accidents disappear, swallowed whole by an algorithm which trains in spotting which image is appropriate or not; psycho-geographic drifts down jpeg avenues and blurry scrolls on tumblr; imagined prisons from a political discourse rendered socially normalised architectures, in a negotiation between light and freedom, fiction and oppression, between scenography and reality; or paper architectures based on failed ambitions. These are some of the examples which speculate here around the complexity of new languages of spatial definition in which we are immerse. ◊