El estatuto de la forma en la arquitectura de Borromini. Barroco, tragedia y desmesura
[EN] Borromini’s work is undoubtedly unique in the context of mid-17th century Roman baroque architecture, and his approaches are very different from those of his principal contemporaries. Nevertheless, his work is particularly relevant when it comes to the meaning of certain formal categories in hi...
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2019 |
| País: | España |
| Institución: | Universitat Politècnica de València (UPV) |
| Repositorio: | RiuNet. Repositorio Institucional de la Universitat Politécnica de Valéncia |
| Idioma: | español inglés |
| OAI Identifier: | oai:riunet.upv.es:10251/130519 |
| Acceso en línea: | https://riunet.upv.es/handle/10251/130519 |
| Access Level: | acceso abierto |
| Palabra clave: | Forma Geometría Pliegue Inflexión Espacio Metamorfosis Desmesura Form Geometry Fold Inflection Space Metamorphosis Excess |
| Sumario: | [EN] Borromini’s work is undoubtedly unique in the context of mid-17th century Roman baroque architecture, and his approaches are very different from those of his principal contemporaries. Nevertheless, his work is particularly relevant when it comes to the meaning of certain formal categories in his architecture, which, maybe surprisingly, can be thought about in the same way in many contemporary works of architecture. Through the use of the fold, inflection, topological elements or un-forme, in Borromini’s architecture we discover a certain refusal to individuate into a concrete formal appearance. His procedures and planning process that can be seen in many of his sketches are also especially significant. The method that Borromini uses to seek a form is closely linked to the final constructed results of his architecture: he turns the formal metamorphosis into a cornerstone of his project. The formal result seems to be holding unrealised potential: form in metamorphosis. All this expresses nature’s lament as it is ripped apart into individuals, as Nietzsche describes in his The Birth of Tragedy. |
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