El vidrio y sus máscaras : el sueño de la arquitectura de cristal

Según Heidegger, la esencia de la arquitectura, de la construcción, descansa en un no espacio: en la materia con que se construyen las fronteras que otorgan espacios, irradiando sobre ellos aquello que los caracteriza. Si hay alguna materia, de las utilizadas por la arquitectura a lo largo de su historia para construir fronteras, que haya mantenido una especial relación con la luz y la visión, dando un carácter inconfundible a los espacios aviados por ellas, esta es el vidrio; algunas de las etimologías de su nombre: zakû (ser claro), hyalos (diáfano) o vitrum (ver), así lo evidencian. Posiblemente, sea la pregnancia de este modo fascinante de relacionarse con la luz, la que ha hecho del vidrio, a lo largo del tiempo que lleva siendo usado en arquitectura, y aún antes, el material que ha provocado en el imaginario humano la ilusión de ser aquel en que, en último término, podrían llegar a sublimarse todos los demás, dando lugar con ello a lo que en la tesis hemos denominado el sueño de la arquitectura de cristal. Siendo la luz, siempre, energía, consideraremos en la tesis luz-energía, a aquella que ilumina y calienta; es una luz científica y mesurable. Cuando la luz se “hace visible”, desvelando un mensaje “contenido” en el vidrio, hablaremos de luz-información. Esta luz, no puede medirse científicamente. La luz-energía y la luz-información, se manifiestan al conjuro de la arquitectura de vidrio. Es la segunda la que ha conformado las fronteras de vidrio enmascarado, y la que se estudia con más detenimiento en la tesis. Los distintos modos de usar en arquitectura la infinita combinatoria de las propiedades de absortancia, reflectancia, transmitancia y translucencia del vidrio, ha condicionado al hombre en su manera de “ver” el mundo. Unas veces, “inmerso” en él, puesto que solo lo separa del mismo, una frontera transparente, y “deseadamente” invisible: ese modo de usar el vidrio, ha sido el sueño imposible de una parte importante de la arquitectura del siglo XX. Otras veces, para “aislarse” de él, el hombre ha manipulado la luz y el vidrio para construir mundos diferentes. Las fronteras de vidrio enmascarado de color, mosaicos, vidrieras, pantallas y lo que hemos llamado vidrios complejos (con un cometido similar al que Schiller atribuía al coro en la tragedia griega, aislar a esta del “mundo real”, para mantener su libertad poética), son las fronteras que han construido el sueño posible de la arquitectura de cristal. Ambas actitudes, en distintos momentos de la historia de la arquitectura, han sido dos formas de querer materializar un mismo sueño. La capacidad del vidrio para adaptarse a tantos modos de presentarse ante nosotros, y a poder ser interpretado de tantas formas diferentes, es la que ha servido para dar título a la tesis, pues hasta en su faceta más transparente, el vidrio, de una forma o de otra, se ha mostrado siempre como un material enmascarado en el más amplio sentido de la palabra: se enmascara, incluso cuando apela a la transparencia o se convierte en espejo, para hacernos caer en la ilusión de que no está presente. Cuando el hombre construyó fronteras de vidrio e incluso antes, cuando soñó que con él podría llegar a construirlas, condensó en ellas toda la mítica, la mística y la epistemología en torno a la luz y la visión, dando lugar a una serie de arquetipos arquitectónicos. En la iglesia bizantina, la luz sobre, o la luz desde, los mosaicos, construyó una frontera titilante; y en la catedral gótica, la luz a través de las vidrieras construyó una frontera radiante; en ambos casos con el fin de alcanzar anagógicamente lo Inteligible. En el siglo XIX, con el descubrimiento de la electricidad y su incorporación a la arquitectura, las fronteras se vuelven fulgurantes, aviando, en este caso, el espacio urbano. Poco antes, en este mismo siglo, el espíritu del gótico tiene un efímero resurgir del que se nutrirá, a comienzos del siglo XX, el expresionismo cristalino, en el que la luz anagógica se hace laica. El espacio urbano fulgurante prefigurado por este movimiento y presente en las ciudades desde principios del siglo XX, fue potenciado a mediados de ese siglo con la aparición de las pantallas, extendiéndose desde entonces, imparable, por todo el planeta. La reciente emergencia de los vidrios complejos, ha abierto la posibilidad de construir fronteras a la carta (de vidrios de propiedades múltiples, seleccionadas de forma voluntaria y variable en cada momento). En principio, se pensó que, el uso de estos vidrios como cerramiento, podría llegar a constituirse como la panacea de los problemas del material relacionados con la luz-energía, sin necesidad de recurrir a “prótesis”, y manteniendo por tanto la seductora tersura de la fachada; aunque parece que, por ahora, esa posibilidad es, cuando menos, lejana. Sin embargo, en el campo de las megapantallas urbanas (y ,en general, en el de las pantallas de información), ubicuas actualmente en nuestras vidas, los vidrios complejos ayudan a construir los espesos velos de ilusión, que según Lefebvre sirven para mantener el capitalismo, siendo el último estadio de un desarrollo tecnológico, impuesto por el principio de economía del hombre, que como un metrónomo inexorable, y a modo de contrapunto, ha acompañado siempre (de nuevo en palabras de Lefebvre), a la necesidad del gasto, del juego, de la lucha, del arte, de la fiesta. La tecnología y el arte forman parte de la cultura producida por la sociedad y como señala Lévi-Strauss, esa cultura imprime orden; por el contrario, la sociedad, entendida como el conjunto de relaciones que los hombres mantienen entre sí, produce desorden. Del equilibrio entre esos extremos, surge el progreso, incluido el de la arquitectura. Las fronteras de vidrio que analizamos en la tesis –que avían espacios para la espiritualidad, el fasto y el espectáculo o, desde otro punto de vista, para las distintas manifestaciones del poder: la iglesia, la monarquía, el estado o el mercado– también han surgido de esa concomitancia entre el desorden y el orden; y forma parte de ese desorden, la aventura que ha impulsado al genio individual de místicos, alquimistas, geómetras, abades, reyes, inventores, poetas y arquitectos, a explorar, como escribe Apollinaire, vastos y extraños territorios donde el misterio en flor, se ofrece a quien quiera cogerlo, hogueras nuevas de colores nunca vistos, mil fantasmas imponderables a los que dar cuerpo. ABSTRACT According to Heidegger, the essence of architecture, building, lies in a non-space: the material that creates the boundaries from which something begins its presencing, radiating onto them that which characterizes them. If there is any single material amongst all those used throughout the history of architecture to build boundaries which has maintained a special relationship with light and vision, which has bestowed a distinctive character on spaces avid for them, it is glass. This is evidenced in some of its etymologies: zakû (to be clear), hyalos (transparent), vitrum (see). The rich potential of this fascinating way of relating to light in the history of the architectural use of glass, and even before, is possibly what has triggered the illusion in human imagination of being something that can ultimately sublimate all others, giving rise to what in this thesis we call The Dream of Crystal Architecture. Given that light is always energy, in this thesis we consider energy-light to be that which illuminates and warms. This is scientific, measurable light. When light "becomes visible" and reveals a message “contained” in glass, we speak of information-light. This light cannot be measured scientifically. Energy-light and information-light are manifested under the spell of glass architecture. The latter is what has shaped the boundaries of coloured glass, which is studied in this thesis. Architecture's different ways of using the infinite combinations of the absorptance, reflectance, transmittance and translucency of glass has affected the way we humans "see" the world. Sometimes we are "immersed" in it, since only an invisible, transparent boundary separates us from it: this use of glass has characterized a considerable part of 20th century architecture. In other cases, in order to "isolate" us from it, we have manipulated light and glass to build different worlds: the boundaries of glass "masked" by colour, mosaics, stained glass, screens and what we have called complex glazing, which plays a similar role to what Schiller attributed to the chorus in Greek tragedy, isolating it from the "real world" in order to maintain its poetic license. These are the boundaries that have built the viable dream of crystal architecture. These two approaches have been different ways of making same dream come true at different times in the history of architecture. The ability of glass to adapt to so many forms of manifestation, and interpretation, is what has given rise to the title of the thesis. Even in its most transparent facet, glass has one way or another always been a masking material in the broadest sense of the word: it is masked even when it invites transparency or becomes a mirror, triggering the illusion that it is not present. When man began to build glass boundaries, and even before, when he dreamed that he could build them, he condensed in them all the mythology, mysticism and epistemology concerning light and vision, which gave rise to a series of architectural archetypes. In the Byzantine church, light on or from mosaics created tenuous boundaries. In Gothic cathedrals, the light through the stained glass windows constructed radiant boundaries. In both cases the aim was to achieve, in an anagogical way, the Intelligible. In the 19th, the discovery of electricity and its use in architecture led to the production of dazzling boundaries, in this case employed in urban spaces. Earlier in the same century, the Gothic spirit had a short-lived revival, which in the early 20th century drew from crystalline expressionism in which anagogic light became secular. The dazzling urban space prefigured by this movement, present in cities since the early 20th century, was intensified in the mid-century with the emergence of screens, and since then it has spread unstoppably across the world. The recent emergence of complex glasses has made it possible to build boundaries on demand in glass with multiple properties, chosen at will and at whim at any time. Initially it was thought that the use of this glass as a wall could eventually become the panacea for the material problems related to energy-light, without needing to resort to "prosthesis" and thereby maintain the seductive smoothness of the facade. For now, that possibility seems remote, to say the least. In the realm of urban megascreens and information screens in general, now ubiquitous in our lives, complex glasses help to build the thick veils of illusion which, according to Lefebvre, serve to maintain capitalism. Like an inexorable metronome, in counterpoint, this ultimate state of technological development imposed by man's principle of economy has in fact always accompanied (again in the words of Lefebvre), the need to spend, play, fight, art, and party. Technology and art are part of the culture produced by society. As Levi-Strauss says, this culture imposes order. On the contrary, society, understood as a set of relationships amongst people, produces disorder. Progress, including that of architecture, arises from the balance between these two extremes. The glass boundaries analyzed in this thesis, which propitiate spaces for spirituality, pomp and spectacle or, from a different perspective, for the various manifestations of power: the church, the monarchy, the state and the market, have also emerged from the concomitance of order and disorder. One aspect of this disorder is the adventure that has inspired the individual genius of mystics, alchemists, surveyors, abbots, kings, inventors, poets and architects to explore, as Apollinaire says, vast, strange domains where flowering mystery offers itself to whoever wishes to pluck it, new fires, colours you have never seen before, a thousand intangible phantasms still awaiting reality.

1.1 Lloyd Gaines

Lloyd Gaines had won his case. Speaking to reporters, Gaines said he was pleased with the result and looked forward to attending the Missouri School of Law in the fall of 1939. The Gaines v Canada decision was a major triumph and significant steppingstone for the Civil Rights movement. No longer did African-Americans in Missouri have to choose to be educated elsewhere when seeking degrees not offered to them in their home state. This was decided in the Murray v Pearson case three years prior, but the Gaines case had national implications since it was decided by the US Supreme Court.

1.3 John D. Taylor, Democrat, MO House of Representatives, 39th District

However, the State of Missouri was not going to go down without a fight. In mid- January, 1939, John D. Taylor, a representative from Keytesville, MO, introduced a bill in the Missouri legislature designed to postpone integration of the University. Taylor, chairman of the House Appropriations committee, proudly called himself “an unreconstructed rebel.” Taylor’s proposal, House Bill No. 195, authorized Lincoln University to “establish whatever graduate and professional schools are necessary to the equivalent of the University of Missouri.”

1.4 Lloyd C. Stark, 39th Governor of State of Missouri, 1937-1941

After weeks of debate Taylor’s proposal, House Bill No. 195 was passed and signed by Governor Lloyd Stark.

1.5 Sherman D. Scruggs, 11th President of Lincoln University, 1938-1956

The LU Board of Curators ordered its president, Sherman Scruggs, to have a law school up and running and ready for Lloyd Gaines by September 1, 1939. This task seemed insurmountable; establishing a law school on an equal par with that of MU in eight months would, in the least, be miraculous.

1.6 School of Law, Lincoln University

Another dilemma also had to be dealt with; Lloyd Gaines was determined to attend law school, not just anywhere but at the University of Missouri. Shortly after the Supreme Court decision, Lloyd Gaines left his civil service job in Michigan and returned home to St. Louis, arriving on New Year’s Eve, 1938. In the meantime, to pay his bills, he took a job as a filling station attendant. On January 9, 1939, Gaines spoke to the St. Louis chapter of the NAACP. He told them he stood “ready, willing, and able to enroll at MU.” Gaines later quit his gas station job. He explained to his family that the station owner substituted inferior gas and that he could not, in good conscience, continue to work there. In the meantime, the state Supreme Court sent the Gaines case back to Boone County to determine whether the new law school at Lincoln would comply with the US Supreme Court’s requirement of “substantial equality.”

1.2 News Article About US Supreme Court Justices Rule in Favor of Lloyd Gaines by 6 to 2 Vote in The Call Newspaper

Following the decision, northern newspapers hailed it as “the Supreme Court speaking out in defense of the quality of human rights.” The Kansas City Call, one of the leading black newspapers in Missouri, declared, “If keeping the races separate is so important to Missourians that coeducation is unthinkable then let them count the cost!” The NAACP’s long-term plan for casting financial burden upon the Jim Crow states was now a reality.

2.1 Lloyd Gaines close up image

Charles Hamilton Houston and other NAACP attorneys assembled in early October 1939 to take depositions in preparation for the hearing scheduled a week later in Columbia to determine whether the university had complied with the Gaines decision. Attorneys took depositions from all of the instructors of the new LU law school as their preparation for the court proceedings wound down. The deposition of Lloyd Gaines was next. Attorneys planned to ask Gaines whether he considered Lincoln to be as good of a law school as Missouri and whether he planned to enroll. Called for questioning, Gaines did not respond. He could not be located anywhere. Lloyd’s mother, Callie Gaines, recalled that in January her son “left here to go to Kansas City to make a speech. That’s the last I saw of him.” While in Kansas City, Gaines spoke at the Centennial Methodist Church. He also looked for work, but not finding any caught a train for Chicago, telling people in Kansas City that he would stay a few days and return home.

2.2 Chicago YMCA

In Chicago, Lloyd rented a room at the YMCA; searching for employment for the next few weeks.

2.3 Eddie Mae Page, Friend of Lloyd Gaines in Chicago

During this time Lloyd Gaines took meals at the home of Eddie Mae Page; a friend from St. Louis. Running low on funds, he stayed at the Alpha Phi Alpha house where members took up a collection for him. On a rainy night, March 19, 1939, Lloyd Gaines told friends that he was going to buy stamps and would be right back. To this day, Lloyd L. Gaines has never been located.

2.4 "The Strange Disappearance of Lloyd Gaines"

The May 1951 Ebony Magazine Article "The Strange Disappearance of Lloyd Gaines"

2.5 J. Edgar Hoover FBI Director 1935-72

Many theories, much speculation and a considerable amount of guessing can be attributed to the sudden and complete disappearance of Lloyd Gaines. Known as a loner and having a habit of taking off for days at a time, the whereabouts of Lloyd was not a concern to his family. In fact, Gaines wrote to his mother three weeks before he vanished that if she did not hear from him he would be okay. Local and federal authorities, including the FBI were not notified immediately of his disappearance. Houston and the NAACP lawyers had not been in contact with Gaines for several months.

2. 6 Memorial for Lloyd Gaines, St. Peter's Cemetery, Normandy, St. Louis County, Missouri

What happened to Gaines? There are many ideas ranging from being murdered or lynched, being bribed to run away, or disappearing on his own to get away from the pressure of celebrity. That final possibility was brought about by Dr. Greene, who claimed that a man who sounded like Gaines had phoned him while in Mexico and wished to meet. The man never showed up. A recent theory is one of where Lloyd was kidnapped by opponents of the Gaines court decision who took him to Jefferson City and lynched him in McClung Park. All of these theories are speculation and the fact remains that Lloyd Gaines’ whereabouts are a mystery to this day.

3.3 University of Missouri awarded a law degree to Lloyd Gaines in 2006

In 2006, a law degree was posthumously awarded to Lloyd and accepted by his nephew, George Gaines.

3.1 Lincoln University Law School

Despite his sudden disappearance, Lloyd Gaines’ impact had a resounding effect in many ways. The successful bridging of the gap from segregation to integration in the United States educational system was initiated because Gaines sought to be treated equally and fairly by the established powers. Much of the credit goes to the NAACP legal team, especially Charles Hamilton Houston’s dedication and expertise. However, without the initial action of Lloyd Gaines applying to the University of Missouri, there would have been no case. Additionally, the Lincoln University School of Law was founded due to the results of the Gaines case. Although it was only in operation for 16 years, it provided opportunities for those who had been denied previously.