ANA GONZĂ LEZ GRANJA (between architecture and scenography)
ESCENARIOS PROHIBIDOS 01
San Estaban Santiago de Pravia del Monte
El Pito
Muros de Nalon
Salinas Barrio de la Cruz
Soto de Barco
Avilés T Trasona
El Valle Valle Iglesia Santa Eulalia
Gijón
Alto Monte Areo
Tamon Tamon
Cabuenes
Curbiella
Peon Alto de la Cruz Nevares V Variante ariante de caminos
Oviedo Olloniego
Mieres
Vega V ega Muro
Pola
V Villamanin
Vega de Vega Gordón La Pola de Gordón
La Robla
Virgen del Virgen Camino San Miguel del Camino Valverde de Valverde la Virgen V
León Archahueja
How to interact with a context full of character and memory? ? ?
when Time-Limit coexist
the ruin of the cathedral
MEMORY - FOOTPRINT PALACIO ARZOBISPAL
1 plan
2 structure
3 foundation + RUIN
archbishop's palace cloister
? archbishop's palace courtyard
Where the Prohibit Voids are
2.
How to sew them.
3.
Cutting the Limit
4.
Architectural Choreography
VE R TIC ALITY
1.
HORIZONTALITY
FENCE REINTERPRETATION
This is about what moves people, not about how they move. AMBIGUOUS EQUILIBRIUM SPACE PROTOTYPE 1.150 1 exterior skin aluminiumBELT diameter 10 cm
2 exterior skin TUBULAR ROUNDSTRUCTURE diameter 5 cm distance 50 cm
3 interior skin EFTE thickness 20 cm
4 interior skin GLASS thickness 3 cm
5 structure RADIALUPN 20 cm x 8 cm
D1
D1 roof (800mm): 1.galvanized steel metallic sheet 2mm 2.sandwich panel: steel sheet filled by polyurethane foam on top of undulating sheet 60mm 3.steel battens(strutural elements) 4.zinc sheet 5.gutter 6. UPN 300mm 7.steel plate 8. UPN 220mm (support) false ceiling (220mm): 9.continuous anti-vibration hidden metallic framing variable height 10.glass fibre fabric 25mm 11.black veil 12.perforated stainless steel sheet 2mm
1 4 2 53 76 8 9 10 11 12
D2 facade (300mm): 1.polycarbonate panel 3cells 20mm 2.raised steel lattice 3.steel structure for assembly 4.round metallic structural tube 50mm 5.metal framework+ 2 fixed glass floor (300mm): 6. polished screed concrete 100mm 7.lighting tube 8. reinforced concrete slab 220mm 9.post tensioned cables 3mm 10.UPN 220mm 11.steel plate
1 2 4 6 37 8 9 1110 5
D3 floor (800mm): 1.lighting tube 2.polished screed concrete 100mm 3.reinfroced concrete base 200mm 4.compression concrete layer 50mm 5.cavity polypropylene 150mm 6.cleaning concrete 100mm 7.terrain-excavated rock
D2
1 3 4 5
2
6 7
D3
SE
Dance and Gastronomy - who inhabit this performance space? main ACTORS 1. Dancers concentration knots service entrance
service toilets 27.5m2
office 32m2
reception information 60m2 dressing room 3
2. Visitor concentration knots
exhibition room 98.5 m2
main entrance
3. Chef - Waiter. concentration knots lobby
exit +0.5.00m
to +5 floor information
sitting-room 36.50 m2 Lift.service-goods 1.00 m2
coverred terrace 66.50 m2
1,1 1,1
DS1
LS
performanec-area 30.00m2
performance-area 17.50m2 sitting room 37.50m2
covered terrace 250m2 pina coreography
observatory 18m2
1 LULLABY
2 LILIES OF THE VALLEY
3 ZOOM IN - LOOK OUT
UTECUISI HA
NE
REOGRA HO
ER PH
ABSTRACT EXPRESSIONISM Pierre Gagnaire
1.natural colouring 2.special CUT 3.emotional judgement
DECONSTRUCTIVISM Ferran Adrià
change: SHAPE-TEXTURE-Tº keep:FLAVOUR 1. to feel 2. to intellectualize
TECHNO-COOKING Heston Blumenthal
1. SOUND manipulation 2. molecules for: taste + smell 3. polymer hydrogen
FREE-MODERNDANCE. EXPRESSIONISM Isadora Dunkan
dynamic: free - flexible=SEA tranparency - naked -Keats: romantic imaginery -Nietzsch: severity-crudity -Whitman: poethic realism
THEATREDANCE Pina Bausch
chapter - scenography “what moves people” terrenal elements in between : theatre - pure
TECHNOLOGYDANCE
change: time -velocity different points of view dance, architecture by which we perceive the performance
Margarita Bali
C
The stratification of Elektra 02
HYSTERIA INFIDELITY
LIFE CYCLE DEATH
DOBLE STANDARDS
EROTICISM
ARTHUR SCHNITZLER FURA DELS BAUS
ANXIETY PROVOCATION
SEXUALITY PSYCHOANALYSIS DREAMS
GUSTAVE KLIMT
SIGMUND FREUD GOTTFRIED HELNWEIN
INTELLECTUAL SOCIETY
SECESSION
INTIMIDATION PUBLIC - SCENE
ABANDONMENT ATONALITY
CORPO GEOME
DECLINE CAFÉ CENTRAL
PINA BA
AUSCH
1º. SCENE = ELECTRA
1. changeableness of the space
experimental space = MOVEMENT SUGGESTED VOLUME
as a condition of being = ELECTRA
2º. SCENE = PALACE muller house.adolf loos constructed space = REAL SCULPTURAL VOLUME
3º
3º. SCENE = MENTAL
2. ambigüedad espacios
IMAGINARY SEQUENCEPROJECTED VOLUME
= negative CHARACTERS
2º
3. negative volumetric reference = LIMIT - “Wall”
1º
ARCHITECTURE
ORAL EXPERIENCE ETRY
MATTA CLARCK operation :
4. textures = life layers
= accumulation above the surface
DES-ORNAMENTATION FUNCTIONALITY ORDER ADOLF LOOS
NON-CONFORMISM ORNAMENT
STRATIFICATION DECONSTRUCTION
(VIENA 1900)
JOSEPH OLBRICH MATTA CLARK
(STAGING)
1. CONSTRUCTION
10,5 m 13 m 12 m
10,5 m 13 m
10,5 m
(PHOTOGRAPHIC POINT OF VIEW)
20ยบ
-1m
45ยบ
1
BOX CONSTRUCTION
2
3
PLANE ROTATION
HEIGHT REDUCTION
2. (DE) - CONSTRUCTION
(MATTA CLARK OPERATION)
1
LOOKING FOR THE LIMIT
2
AREA OF VISION EXTENSION
3
CUTS AND SEDIMENTS
4
INSTABILITY OF THE STABLE
LIVING INSIDE THE VOID
DON JUAN TENORIO (verdades de la naturaleza humana) 03
1. A ROOM OF ONE’S OWN
(THRUTHS OF HUMAN NATURE)
2. IMPOSSIBLE EQUILIBRIUM (FREE FALL OF SOCIETY)
3. WOMEN CONDITION AND THEIR FREEDOM (<<¿WHO AM I and WHAT I WANT IN LIVE?>>)
3. EXCESS
(between a METAPHYSIC and SENSORY REALITY )
1. HOSTEL
(SPACE DUALISM)
2. CONVENT
(SPACE DUALISM)
3. CONVENT
(SPACE DUALISM)