O lugar no espaço: de Martin Heidegger para Eduardo Chillida

In preparing the book Art and Space - originally titled Die Kunst und der Raum (1969) - together with the work of Eduardo Chillida, and devote the text written to the sculptor, Heidegger seems to see in the works of Chillida some of his key themes rescued and reunited. This fusion of content and thought was revealed in his dialogue, at another moment, with the poetry of Friedrich Hölderlin. This dissertation aims to present some of the fundamental concepts in Heidegger's work, especially space, place and art; as well as explain the dialogue between these concepts and the works and thoughts of the sculptor Eduardo Chillida. Amongst the main points of this convergence of thought between the philosopher and the sculptor, we can find: the definition of art; the relationship of world and earth; the thinking about the place of art nowadays; and the meanings of interspace, to incorporate and make the space positive

Eduardo Chillida, arquitecto

Es sabido que tras abandonar la carrera de arquitectura Chillida marcha a Paris a comenzar su carrera como escultor. De vuelta al País Vasco el hierro es el material en el que encuentra un camino propio. Toda la obra de su primera década está muy alejada en el aspecto formal de la arquitectura. Sin embargo, las líneas de fuerza que los hierros configuran muestran un interés espacial que queda manifiesto en una obra de 1953 denominada Consejo al espacio I. A partir de aquí su obra gira en torno al vacío. Las formas cambiarán con los materiales pero no el propósito. En sus dibujos, las manos expresan, más allá de su condición figurativa, la búsqueda del espacio cóncavo que los dedos encierran. El espacio que encuentra en la palma de la mano es equivalente al que construye con dedos gigantes de madera u hormigón. Chillida observa sus obras con una mirada cuya idea de escala se distancia del concepto de dimensión. Adquieren así una posibilidad de crecer que facilita imaginar sus espacios como arquitectura. Tras el hierro, el trabajo en madera y alabastro aproxima -en el aspecto formal- la obra de Chillida a la arquitectura. Los títulos de numerosas obras hacen referencia a ella o a conceptos con ella relacionados. Elogio de la arquitectura, Homenaje a la arquitectura, Arquitectura heterodoxa, Modulación del espacio, construcción heterodoxa, Alrededor del vacío, Mesa del arquitecto o Casa de luz, son algunos de ellos. La introducción del vacío en el alabastro da comienzo a un proceso tendente a que el espacio interior tenga una importancia inversamente proporcional a su presencia en la forma exterior. Un proceso de progresivo hermetismo donde pequeños espacios interiores son expresados mediante grandes masas envolventes. El espacio interior es el principal motivo por el que vemos la obra de Eduardo Chillida como arquitectura. La condición de interior, apreciable igualmente en sus grandes obras en el espacio público, hace que estas no constituyan únicamente hitos visuales sino espacios de protección con los que cuerpo interactúa estableciendo una nueva relación con el paisaje, el horizonte o el cosmos. La búsqueda de un interior vacío tiene como consecuencia la evolución hacia la desaparición de la forma exterior. Tal evolución comienza con el diálogo entre el bolo natural de alabastro y el vacío tallado de Homenaje a Goethe, y, como muestra de la inter-escalabilidad de la obra de Chillida, concluye con la introducción de un vacío oculto en la montaña sagrada de Tindaya. El gran vacío de Tindaya nos hace mirar la obra de pequeño formato a través de su filtro de aumento. Nos permite entender que el límite entre arquitectura y escultura es difuso en la obra del escultor vasco. Que la arquitectura puede estar en el origen de su escultura. Que su escultura puede ser el germen de muchas arquitecturas. ABSTRACT It is well known that after leaving his architectural studies Chillida went to Paris in order to begin his career as a sculptor. Back again to the Basque Country, iron is the material in which he finds his own way. In terms of form, his work from the very first ten years is far away from architecture. However, the strength lines set by the iron show a spatial will that is clearly evident in a 1953 piece called Advice to space I. From there on, his work focuses on void. Different materials will set different forms but the purpose will remain the same. In his drawings, hands are expressing, beyond its figurative condition, the search of the concave space that fingers are enclosing. The space founded in the palm of the hand is equivalent to the one built with giant wood or concrete fingers. Chillida faces his work with a look where the idea of scale takes distance to the concept of dimension. His works gets then a possibility to grow that allow us to imagine his spaces as architecture. Following iron, wood and alabaster pieces, in the formal aspect, approaches Chillida´s work to architecture. The titles of many sculptures are referred to it or to the concept related to it. In praise of architecture, Homage to architecture, Heterodox architecture, Modulation of space, Heterodox construction, Around the void, Architect’s table, or House of light, are some of them. The introduction of void in alabaster begins a process leading to the interior space has a presence inversely proportional to its importance in the external form. A process of progressive secrecy where small interior spaces are expressed through large enveloping masses. The interior space is the main reason why we see the work of Eduardo Chillida as architecture. The condition of inner space, equally noticeable in his great works in public space, makes this not only constitute visual landmarks, but protection spaces that body interacts with establishing a new relationship with the landscape, the horizon or the cosmos. The search of an inner void leads to an evolution towards the disappearance of the external form. The evolution begins in the dialogue between the natural bolus of alabaster and the carved void of Homage to Goethe, and as a sign of inter-scalability of the work of Chillida, it concludes with the introduction of a hidden void in the sacred mountain of Tindaya. The great void of Tindaya makes us look at a small format work trough the filter of his increase filter. It allows us to understand that the boundary between architecture and sculpture is diffuse in the work of the Basque sculptor. That architecture can be at the origin of his sculpture. That his sculpture may be the seed of many architectures.

Laocoonte crepuscular. Conversaciones en torno a Eduardo Chillida

Laocoonte crepuscular. Conversaciones en torno a Eduardo Chillida

El lenguaje gráfico de Eduardo Chillida como aportación conceptual para la identidad tipográfica de la Universidad del País Vasco —UPV/EHU—

Este proyecto de investigación financiado por la Universidad del País Vasco/Euskal Herriko Unibertsitatea —UPV/EHU-PES 11/31—, a través de su programa de investigación estratégica, tiene como objetivo la creación de la tipografía de identidad visual corporativa de la Universidad del País Vasco —UPV/EHU—, cuyo inicio conceptual para dotar de unas características de identidad visual corporativa a la UPV/EHU, ha sido planteado desde las especulaciones estéticas sobre la forma, materializadas por Eduardo Chillida. En la producción gráfica de este artista encontramos una sutil coincidencia con principios vitales para la creación tipográfica, en cuanto al planteamiento de formas dinámicas y constructivas, en las que el rigor geométrico es vencido por una suerte de organicidad que parte del núcleo mismo de la estructura —«cursus»—, por: la fuerza vital que imprime la acción modulada del gesto —«ductus»—; por la dialéctica entre lo lleno y lo vacío —forma/contraforma—, por el impulso y la espontaneidad — carácter—, o por la afirmación de un lenguaje plástico en la cultura diferenciada del medio en el que se vive —identidad—.

El lenguaje gráfico de Eduardo Chillida como aportación conceptual para la identidad tipográfica de la Universidad del País Vasco UPV/EHU

El valor de la documentación especializada en las fases del diseño / The value of specialized documentation in the design process este proyecto de investigación financiado por la Universidad del País Vasco/Euskal Herriko Unibertsitatea UPV/EHU-PES 11/31, a través de su programa de investigación estratégica, tiene como objetivo la creación de la tipografía de identidad visual corporativa de la Universidad del País Vasco UPV/EHU, cuyo inicio conceptual para dotar de unas características de identidad visual corporativa a la UPV/EHU, ha sido planteado desde las especulaciones estéticas sobre la forma, materializadas por Eduardo Chillida. En la producción gráfica de este artista encontramos una sutil coincidencia con principios vitales para la creación tipográfica, en cuanto al planteamiento de formas dinámicas y constructivas, en las que el rigor geométrico es vencido por una suerte de organicidad que parte del núcleo mismo de la estructura "cursus", por: la fuerza vital que imprime la acción modulada del gesto "ductus"; por la dialéctica entre lo lleno y lo vacío forma/contraforma, por el impulso y la espontaneidad carácter, o por la afirmación de un lenguaje plástico en la cultura diferenciada del medio en el que se vive la identidad.

Descubriendo a Chillida : una experiencia en aulas de niños y niñas de 3 años.

Secuencia llevada a cabo en el curso 2002-2003, sobre la vida y obra de Eduardo Chillida, en el aula con niños de tres años, en el CEIP 'El Algarrobillo', Valencia de la Concepción (Sevilla), de línea cuatro.

Rafael Moneo: la complessità del vuoto. Dalle matrici formali dell'opera di Oteiza e Chillida

The experience of void, essential to the production of forms and to make use them, can be considered as the base of the activities that attend to the formative processes. If void and matter constitutes the basic substances of architecture. Their role in the definition of form, the symbolic value and the constructive methods of it defines the quality of the space. This job inquires the character of space in the architecture of Moneo interpreting the meaning of the void in the Basque culture through the reading of the form matrices in the work of Jorge Oteiza and Eduardo Chillida. In the tie with the Basque culture a reading key is characterized by concurring to put in relation some of the theoretical principles expressed by Moneo on the relationship between place and time, in an unique and specific vision of the space. In the analysis of the process that determines the genesis of the architecture of Moneo emerges a trajectory whose direction is constructed on two pivos: on the one hand architecture like instrument of appropriation of the place, gushed from an acquaintance process who leans itself to the reading of the relations that define the place and of the resonances through which measuring it, on the other hand the architecture whose character is able to represent and to extend the time in which he is conceived, through the autonomy that is conferred to them from values. Following the trace characterized from this hypothesis, that is supported on the theories elaborated from Moneo, surveying deepens the reading of the principles that construct the sculptural work of Oteiza and Chillida, features from a search around the topic of the void and to its expression through the form. It is instrumental to the definition of a specific area that concurs to interpret the character of the space subtended to a vision of the place and the time, affine to the sensibility of Moneo and in some way not stranger to its cultural formation. The years of the academic formation, during which Moneo enters in contact with the Basque artistic culture, seem to be an important period in the birth of that knowledge that will leads him to the formulation of theories tied to the relationship between time, place and architecture. The values expressed through the experimental work of Oteiza and Chillida during years '50 are valid bases to the understanding of such relationships. In tracing a profile of the figures of Oteiza and Chillida, without the pretension that it is exhaustive for the reading of the complex historical period in which they are placed, but with the needs to put the work in a context, I want to be evidenced the important role carried out from the two artists from the Basque cultural area within which Moneo moves its first steps. The tie that approaches Moneo to the Basque culture following the personal trajectory of the formative experience interlaces to that one of important figures of the art and the Spanish architecture. One of the more meaningful relationships is born just during the years of his academic formation, from 1958 to the 1961, when he works like student in the professional office of the architect Francisco Sáenz de Oiza, who was teaching architectural design at the ETSAM. In these years many figures of Basque artists alternated at the professional office of Oiza that enjoys the important support of the manufacturer and maecenas Juan Huarte Beaumont, introduced to he from Oteiza. The tie between Huarte and Oteiza is solid and continuous in the years and it realizes in a contribution to many of the initiatives that makes of Oteiza a forwarder of the Basque culture. In the four years of collaboration with Oiza, Moneo has the opportunity to keep in contact with an atmosphere permeated by a constant search in the field of the plastic art and with figures directly connected to such atmosphere. It’s of a period of great intensity as in the production like in the promotion of the Basque art. The collective “Blanco y Negro”, than is held in 1959 at the Galería Darro to Madrid, is only one of the many times of an exhibition of the work of Oteiza and Chillida. The end of the Fifties is a period of international acknowledgment for Chillida that for Oteiza. The decade of the Fifties consecrates the hypotheses of a mythical past of the Basque people through the spread of the studies carried out in the antecedent years. The archaeological discoveries that join to a context already rich of signs of the prehistoric era, consolidate the knowledge of a strong cultural identity. Oteiza, like Chillida and other contemporary artists, believe in a cosmogonist conception belonging to the Basques, connected to their matriarchal mythological past. The void in its meaning of absence, in the Basque culture, thus as in various archaic and oriental religions, is equivalent to the spiritual fullness as essential condition to the revealing of essence. Retracing the archaic origins of the Basque culture emerges the deep meaning that the void assumes as key element in the religious interpretation of the passage from the life to the death. The symbology becomes rich of meaningful characters who derive from the fact that it is a chthonic cult. A representation of earth like place in which divine manifest itself but also like connection between divine and human, and this manipulation of the matter of which the earth it is composed is the tangible projection of the continuous search of the man towards God. The search of equilibrium between empty and full, that characterizes also the development of the form in architecture, in the Basque culture assumes therefore a peculiar value that returns like constant in great part of the plastic expressions, than in this context seem to be privileged regarding the other expressive forms. Oteiza and Chillida develop two original points of view in the representation of the void through the form. Both use of rigorous systems of rules sensitive to the physics principles and the characters of the matter. The last aim of the Oteiza’s construction is the void like limit of the knowledge, like border between known and unknown. It doesn’t means to reduce the sculptural object to an only allusive dimension because the void as physical and spiritual power is an active void, that possesses that value able to reveal the being through the trace of un-being. The void in its transcendental manifestation acts at the same time from universal and from particular, like in the atomic structure of the matter, in which on one side it constitutes the inner structure of every atom and on the other one it is necessary condition to the interaction between all the atoms. The void can be seen therefore as the action field that concurs the relations between the forms but is also the necessary condition to the same existence of the form. In the construction of Chillida the void represents that counterpart structuring the matter, inborn in it, the element in absence of which wouldn’t be variations neither distinctive characters to define the phenomenal variety of the world. The physics laws become the subject of the sculptural representation, the void are the instrument that concurs to catch up the equilibrium. Chillida dedicate himself to experience the space through the senses, to perceive of the qualities, to tell the physics laws which forge the matter in the form and the form arranges the places. From the artistic experience of the two sculptors they can be transposed, to the architectonic work of Moneo, those matrices on which they have constructed their original lyric expressions, where the void is absolute protagonist. An ambit is defined thus within which the matrices form them drafts from the work of Oteiza and Chillida can be traced in the definition of the process of birth and construction of the architecture of Moneo, but also in the relation that the architecture establishes with the place and in the time. The void becomes instrument to read the space constructed in its relationships that determine the proportions, rhythms, and relations. In this way the void concurs to interpret the architectonic space and to read the value of it, the quality of the spaces constructing it. This because it’s like an instrument of the composition, whose role is to maintain to the separation between the elements putting in evidence the field of relations. The void is that instrument that serves to characterize the elements that are with in the composition, related between each other, but distinguished. The meaning of the void therefore pushes the interpretation of the architectonic composition on the game of the relations between the elements that, independent and distinguished, strengthen themselves in their identity. On the one hand if void, as measurable reality, concurs all the dimensional changes quantifying the relationships between the parts, on the other hand its dialectic connotation concurs to search the equilibrium that regulated such variations. Equilibrium that therefore does not represent an obtained state applying criteria setting up from arbitrary rules but that depends from the intimate nature of the matter and its embodiment in the form. The production of a form, or a formal system that can be finalized to the construction of a building, is indissolubly tied to the technique that is based on the acquaintance of the formal vocation of the matter, and what it also can representing, meaning, expresses itself in characterizing the site. For Moneo, in fact, the space defined from the architecture is above all a site, because the essence of the site is based on the construction. When Moneo speaks about “birth of the idea of plan” like essential moment in the construction process of the architecture, it refers to a process whose complexity cannot be born other than from a deepened acquaintance of the site that leads to the comprehension of its specificity. Specificity arise from the infinite sum of relations, than for Moneo is the story of the oneness of a site, of its history, of the cultural identity and of the dimensional characters that that they are tied to it beyond that to the physical characteristics of the site. This vision is leaned to a solid made physical structure of perceptions, of distances, guideline and references that then make that the process is first of all acquaintance, appropriation. Appropriation that however does not happen for directed consequence because does not exist a relationship of cause and effect between place and architecture, thus as an univocal and exclusive way does not exist to arrive to a representation of an idea. An approach that, through the construction of the place where the architecture acquires its being, searches an expression of its sense of the truth. The proposal of a distinction for areas like space, matter, spirit and time, answering to the issues that scan the topics of the planning search of Moneo, concurs a more immediate reading of the systems subtended to the composition principles, through which is related the recurrent architectonic elements in its planning dictionary. From the dialectic between the opposites that is expressed in the duality of the form, through the definition of a complex element that can mediate between inside and outside as a real system of exchange, Moneo experiences the form development of the building deepening the relations that the volume establishes in the site. From time to time the invention of a system used to answer to the needs of the program and to resolve the dual character of the construction in an only gesture, involves a deep acquaintance of the professional practice. The technical aspect is the essential support to which the construction of the system is indissolubly tied. What therefore arouses interest is the search of the criteria and the way to construct that can reveal essential aspects of the being of the things. The constructive process demands, in fact, the acquaintance of the formative properties of the matter. Property from which the reflections gush on the relations that can be born around the architecture through the resonance produced from the forms. The void, in fact, through the form is in a position to constructing the site establishing a reciprocity relation. A reciprocity that is determined in the game between empty and full and of the forms between each other, regarding around, but also with regard to the subjective experience. The construction of a background used to amplify what is arranged on it and to clearly show the relations between the parts and at the same time able to tie itself with around opening the space of the vision, is a system that in the architecture of Moneo has one of its more effective applications in the use of the platform used like architectonic element. The spiritual force of this architectonic gesture is in the ability to define a place whose projecting intention is perceived and shared with who experience and has lived like some instrument to contact the cosmic forces, in a delicate process that lead to the equilibrium with them, but in completely physical way. The principles subtended to the construction of the form taken from the study of the void and the relations that it concurs, lead to express human values in the construction of the site. The validity of these principles however is tested from the time. The time is what Moneo considers as filter that every architecture is subordinate to and the survival of architecture, or any of its formal characters, reveals them the validity of the principles that have determined it. It manifests thus, in the tie between the spatial and spiritual dimension, between the material and the worldly dimension, the state of necessity that leads, in the construction of the architecture, to establish a contact with the forces of the universe and the intimate world, through a process that translate that necessity in elaboration of a formal system.

¿Peligra la escultura del peine del viento por la fuerza del oleaje que lo azota?

Nivel educativo: Grado. Duración (en horas): Más de 50 horas

An interview with Eduardo Souto de Moura [艾德瓦尔多·苏托·德·莫拉访谈]

This text is the outcome of a conversation with Eduardo Souto de Moura and relates to its practice and questions the dimension of Architecture in theoretical and practice terms

[Discurso do Deputado Eduardo Suplicy : Sessão da Câmara dos Deputados de 20 de abril de 1983]

Destaca o transcurso do vigésimo terceiro aniversário de Brasília. Afirma a necessidade de representação política para o Distrito Federal e de eleições diretas para governador e para prefeitos do Plano Piloto e das cidades-satélites.

Ictiólogos de la Argentina: Eduardo Ladislao Holmberg.

This series will include all those people who, by means of their contributions, great and small, played a part in the consolidation of ichthyology in Argentina. The general plan of this work consists of individual factsheets containing a list of works by each author, along with reference bibliography and, whenever possible, personal pictures and additional material. The datasheets will be published primarily in chronological order, although this is subject to change by the availability of materials for successive editions. This work represents another approach for the recovery and revalorization of those who set the foundations of Argentine ichthyology while in diverse historical circumstances. I expect this to be the beginning of a major work that achieves the description of such a significant part of the history of natural sciences in Argentina. Hugo L. López (Texto en espanol. PDF tiene setenta y tres paginas)

Carta enviada por Eduardo Alberdi a Justo Garate en 1964

1 carta (mecanografiada) ; 210x295mm. Ubicación: Caja 1 - Carpeta 15

O documental e o ficcional no cinema de Eduardo Coutinho

Documentário e ficção estiveram separados por longo tempo. A produção documental contemporânea tem explorado a relação que sempre existiu entre documental e ficcional apesar de ambos serem vistos como opostos. A obra do documentarista Eduardo Coutinho é um exemplo de como a mudança de ponto de vista em relação à ficção tem mudado no documentário. Elementos como a narrativa subjetiva indireta livre, a noção de fabulação, a visão do documentário como um dispositivo relacional e os deslocamentos no campo que apontam para um documentário expandido são desenvolvidos neste texto. A descrição e análise de três filmes de Eduardo Coutinho representativos dos deslocamentos do documentário em relação a si mesmo, à ficção e ao experimental é realizada a fim de exemplificar o desenvolvimento de uma outra linguagem para o documentário. A combinação da base teórica apresentada com as análises dos filmes confirmam essa tendência à experimentação do documentário contemporâneo, constituindo novas estéticas e poéticas de realização do documentário.

Os processos de (des)construção das identidades e suas implicações em O vendedor de passados, de José Eduardo Agualusa

A obra O vendedor de passados, do escritor angolano José Eduardo Agualusa, tem como enredo um homem que tem o estranho ofício de comercializar passados. Os clientes normalmente costumam procurá-lo por questões de ordem financeira e social, tendo os novos passados a função de apresentá-los melhor à sociedade. A trama ganha novos contornos com a chegada de um estrangeiro que se coloca á disposição do vendedor para que este lhe atribuísse a identidade que considerasse a melhor. Questões referentes à identidade e suas implicações emergem. O processo, que a princípio parecia simples, torna-se cada vez mais obscuro. A memória atua como um dos fatores de maior interferência no procedimento, atribuindo a ele maior complexidade. As experiências do indivíduo também sofrem mutações com o procedimento de compra. E por fim, a identidade do sujeito sofre modificações com a obtenção de um novo passado. Tais questões que surgem em decorrência do peculiar comércio de passados serão foco de estudo da presente dissertação

Tecnologia e materialidades da comunicação no documentário: atores humanos e não humanos na obra de Eduardo Coutinho

O cinema é uma expressão artística mediada pela tecnologia desde o seu surgimento no século XIX. A partir dessa constatação, investigam-se neste trabalho as relações entre tecnologia e documentário e de que forma elas impactam as linguagens midiáticas, tomando como aplicação a obra de Eduardo Coutinho - mais especificamente o uso do vídeo pelo cineasta. Para desenvolver este estudo, foi usado como referenciais teóricos a Teoria Ator-Rede e a Teoria das Materialidades da Comunicação, que têm em comum a análise de atores humanos (homem) e não humanos (técnica), além de permitir a justaposição de descrições histórica, biográfica, analítica e empírica a cerca do objeto do estudo. Essas análises mostram que há uma influência mútua e simultânea entre tecnologia e documentário, onde tecnologia influencia a linguagem documental, ao mesmo tempo em que o documentário, ao buscar novas maneiras de se expressar, acossa e afeta os aparatos técnicos, demandando aprimoramentos e transformações nos mesmos. No cinema documental, a tecnologia permitiu diversas contribuições estéticas que vinham sendo requeridas pela prática, como a necessidade de um cinema mais ágil e sonoro que foi viabilizado pelo advento de câmeras menores e do som direto. Esse encontro entre técnica e estética foi visto de perto na obra de Eduardo Coutinho.