La forma plástica de la estructura: expresividad del hecho resistente

Abstract

[Resumen]La expresión de la forma estructura descansa en una serie de signos distintivos capaces de contener información que nuestro sistema perceptivo capta y que nuestra razón interpreta desde el fondo cognitivo que la experiencia ha dejado. Esos signos se articulan en un lenguaje particular que dota a la estructura de una relevancia singular en el campo de la creación de la arquitectura.

Se atiende así a un proceso de acercamiento a la estructura como hecho subjetivo en el que participan lo cognitivo, lo afectivo y lo volitivo, un proceso en el que toda la lógica matemática no es más que el sustento operativo de una razón que conoce y comprende la realidad que representa. Alterar la anónima valoración de aquello que en el cálculo se vuelve objetivo por una subjetiva apreciación del sentido estructural. Una estructura que se olvida del número para convertirse en fenómeno de emociones, en eso que esta tesis se ha llamado el juego sabio, correcto y magnífico de las formas en equilibrio con la gravedad.

Indagar en estos signos, en los factores perceptivos capaces de contener información, permite articular un adecuado proceso de conformación de una obra de arquitectura que conoce su estructura y que encuentra en ella una nueva vía de comunicación. El proceso de ideación, formalización y materialización que va desde la idea inicial a la construcción final se debe al tratamiento efectivo de esa serie de recursos que permiten trasladar de manera adecuada el mensaje de la adecuación entre forma y estructura. Surgen esas estrategias de conformación que permiten acompañar a un simple sistema estructural de esos factores de percepción que de una u otra manera pueden afectar nuestros sentidos

Se traslada el análisis a un archivo visual de más de 400 obras desarrolladas en este recién iniciado siglo, llevando así la identificación de estos factores determinantes a un tiempo en el que cualquier forma parece posible en la arquitectura y en el que la novedad y el poder lo visual pretenden imponerse a cualquier otro valor. Se descubre así la atemporalidad de esos factores en los que siempre descansará la apreciación del hecho resistente. La extensión de referencias permite generar un catálogo de arquitectura contemporánea en el que la estructura resulta un valor especialmente notorio por su singular tratamiento.

Lo físico de la forma, la física particular de unos materiales, la técnica que los sustenta y la tecnología que posibilita su desarrollo son analizados como factores ligados a un concepto temporal de estilo que determina una particular vida de las formas estructuradas. Un estilo que está llegando a un epílogo que señala la necesidad de acudir a nuevos recursos de composición que indagan en ramas tan distantes como el biomorfismo o la arquitectura genética , abandonando la idea de modelos formales por la de nuevos modelos de organización.

[Abstract] Architecture, which we understand as creation, pays attention from the first creator discern, to a reality, a shape that aspires to be viable, that wants to be materialized. Each step, from the imaginory one towards the final structure, is still an obstinate search of reasons that are able to confirm the feasibilily of that trace. An art which moves around shape requires that condition in matter. One way that allows a perceptive contact with its physical reality is the necessary step for the spectator, so that he can go through that creative process the other way around. A message printed on a tangible material shape, on the way, which contains the answer to the rea son of its shape essence. The language this message is written with, the one of the constructed shape has a lexicon which is common to the rest af forms that don't require verbal use. An ensemble of distinctive signs that are able to generate sense, sorne indicators that are able ta relate form, creator and spectator and that are able to provide meaning and understanding. These signs are present in every natural or artificial form that "cannot ignore the reality of the physical phenomenon, that is, of static laws". Signs that are so intense for the senses that even in a confusing code, they are examined by an alert mind, which is used to its recognition, even without knowing it. A subjective and unconscious valuation of the form that goes with every perceived experience. A qualification of the equilibrium, resistance and stability that lays on the logic of intuitive notions that constitute the expression of an structural form. To talk about plastic form of structure, theme of analysis in this thesis is referring to this. To the presence of some information which is contained great beyond the mathematical and scientific basis that can become a quantifiable guarantee of a reality that will be qualified by other aspects. To separate, not exclude, the finality of an immaterial condition which is resistant in form, from what it has to accomplish as a material accessory. To appeal to what is going to be the first approach to structure, what is inseparable from its own shape, what is essential and does not require all that quantitative numerical equipment. The unnatural complexity which controls contemporary architecture from a conceptual point of view, is determining the understanding of the final aim that structure contains in the formal definition of a work. The polyhedral conception that this new way of understanding architecture pays altention to, often leads to merely satisfy a series of functions that may be addressed autonomously. A loss has been produced, maybe unconsciously, of a series of values that are inseparable fram the creation process of any form imagined by man. What before could only be conceived and understood from its totality can now be dissected in study parts in which the quantitative predominates upon the qualitative. Structure stops being an entelechy; that immaterial "thing" wich represents in itself action principle and takes care of its own purpose. Structure now needs to be individually formed, materially identified and quantified. The structure arises, teh one of the skeleton, the one of the more or less organizaed group of elements, wich are different in its formality but cleorly systematized because of the altention to that main function of resisting. What turned out suitably structured in its formal constitution suddenly discovers that it requires a physical identification. The structured form disappears and a form wlth a new structure arises. This accompaniment of new knowledge and especially of tools which are able to factorize the final behavior of malter in ranks of security provokes in many occasions the confusion between means and end. The "profound cause" of the structure of a form, the one in which the aim of its material viability is deposited, does not recognize the numerlcal value. It does not malter the way it is presented; massive or discreet, hidden or visible, expressed or silenced, evident or ambiguous, forgolten or exaggerated ... in every case there is something In Its form that cannot be, even by trying, justified. This thesis Investigates which are the sensitlve factors where the message of resistance in objectified things rests on. Expressivity, the grammar that articulates those informant signs' organization, admits the compositive freedom. What is more, it requires as any form of human creation, that reference to fhe particular, unique, and new; it is what differentiates on art. However, to omit and even deny the superior presence of an essence which is resistant to that which is materialized, becomes on act that denies the human condition in itself. The one of a man who feels that which is resistont from the physical experience of a body which has to pay attention to gravity requirements. The one of a man whose shape has been developed in intimate collaboration with the mechanic lows that it imposes, who is equipped with an innate capacity for the valuation of this immoterial reality. The one of a man who has in his senses the reception instruments for that information. The one of an imaginary subconscious infested with images that refer to those forms which are in their reality apure expression of thls formal viability...