El espacio a partir del plano: el neoplasticismo en la arquitectura contemporánea
The Dutch De Stijl group was born at a time of common interest among avant-garde artists and architects of the first half of the 20th century in the purification of the means of expression, based until then on a tradition of imitation: of natural forms in art and ancient styles in architecture. The...
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| Tipo de recurso: | tesis doctoral |
| Fecha de publicación: | 2022 |
| País: | España |
| Institución: | Universitat Politècnica de Catalunya (UPC) |
| Repositorio: | UPCommons. Portal del coneixement obert de la UPC |
| Idioma: | español |
| OAI Identifier: | oai:upcommons.upc.edu:2117/363411 |
| Acceso en línea: | https://hdl.handle.net/2117/363411 https://dx.doi.org/10.5821/dissertation-2117-363411 |
| Access Level: | acceso abierto |
| Palabra clave: | De Stijl Planar architecture Styles hybridization Chromatic architecture Holl, Steven Leiviskä, Juha Arquitectura bidimensiona Arquitectura cromática Hibridación de estilos Interpenetración de volúmenes Moneo, Rafael, 1937 Àrees temàtiques de la UPC::Arquitectura |
| Sumario: | The Dutch De Stijl group was born at a time of common interest among avant-garde artists and architects of the first half of the 20th century in the purification of the means of expression, based until then on a tradition of imitation: of natural forms in art and ancient styles in architecture. The Neo-Plasticists, however, went beyond a simple formal renovation to generate a new spatial concept, thanks to the influence exerted by the painter Piet Mondrian on the other members of the group. Mondrian conceived painting based on asymmetrical combinations of mutually neutralising planes, something he extended to his idea of architecture. Another significant influence on this paradigm shift was the work of the American architect Frank Lloyd Wright, also based on breaking down the massive, unitary envelope of the traditional dwelling. In this way, the plane was established as the minimum architecture unit, thus achieving continuity and fluidity between spaces, both interior and exterior. This concept, already present in traditional Japanese architecture, continued beyond the Neoplastic movement, leaving a considerable mark on great masters such as Le Corbusier and Mies van der Rohe. Similarly, in the early 1930s, what had been for centuries the traditional solidity and compactness of architecture gave way to a radical change through a 'dematerialised' conception of it. Volume was defined by the sum of independent planes, transparencies, and open corners. Thus, the formal vocabulary of De Stijl became integrated into the International Style, closing that way the circle in its desire to be a universal style. The main objective of this doctoral thesis is, therefore, to analyse the influence of the De Stijl group in architecture, from today's point of view, based on three key concepts for the Dutch movement: colour (i.e. the application and meaning of colour in neoplastic architecture), space (in terms of the generation of a new spatial conception) and style, which gave the group its name (De Stijl means "The Style" in Dutch), intending to assess the survival of some neoplastic trait or vestige in contemporary architecture. Thus, we find the work of the Finnish architect Juha Leiviskä, generated from compositions of orthogonal planes that delimit areas and which in turn are blurred through the use of natural light, as well as several designs by the architect Steven Holl, also based on a reading of space starting from planes and the application of colour as an architectural resource. All this makes it possible to establish analogies with Neoplasticism, thus reflecting a symbiosis of ideas, of which Rafael Moneo's Museum of Roman Art in Mérida is also an example. Therefore, the main conclusion to be drawn is that De Stijl's architectural proposals are still valid today, albeit as formal references, as they are applied outside the meaning and theoretical content they had for this avant-garde movement. To this end, a comparative case study has been carried out, based on the analysis of the architectures –starting from shared spatial concepts- and complemented with the writings and statements of their main actors. |
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