Resumen:
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[EN] This paper analyses the mural projects of Basque sculptor Jorge Oteiza on façades and internal walls between the years 1951-58. At first, he dealt with walls as ground planes on which to execute his sculptures, finally ...[+]
[EN] This paper analyses the mural projects of Basque sculptor Jorge Oteiza on façades and internal walls between the years 1951-58. At first, he dealt with walls as ground planes on which to execute his sculptures, finally viewing them as an empty plane with spatial possibilities, defined by the minimum forms and the action of natural light. Based on original, previously unpublished material, we explore the evolution of this work with the aim of establishing to what extent this process was marked by the architecture on which his work was executed, by the architects with whom he collaborated, or the stage of his sculptural experimentation with which they are associated. We show that apart from the presence of an architect, there is a correlation between the way in which the reliefs were applied to the wall and the work carried out on the space where the project was created: the larger the spatial work on the wall, the greater the relationship with the space within which it was inserted, at every scale, from the interior of the architecture to the urban space.
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[ES] Se analizan los trabajos murales de Jorge Oteiza realizados en diversas arquitecturas, bien en fachadas, bien en paramentos interiores, dentro del periodo 1951-58. Inicialmente trata el muro arquitectónico como un ...[+]
[ES] Se analizan los trabajos murales de Jorge Oteiza realizados en diversas arquitecturas, bien en fachadas, bien en paramentos interiores, dentro del periodo 1951-58. Inicialmente trata el muro arquitectónico como un plano-masa sobre el que sitúa sus intervenciones, hasta finalmente entenderlo como un plano vacío con posibilidades espaciales, definido por las mínimas formas y por la acción de la luz natural. Partiendo de material original e inédito, se determina la evolución de estos trabajos con el fin de establecer en qué medida este proceso viene marcado por la arquitectura en la que se ubica el trabajo, por los arquitectos con los que colabora, o por la fase de experimentación escultórica en la que se encuentra. Se demuestra que, al margen de la presencia de un arquitecto, existe una correlación entre el tratamiento del muro con relieves y el trabajo con el espacio en el que se ubica la intervención: a mayor trabajo espacial en el muro, mayor relación con el espacio en el que se inserta, a todas las escalas, desde el interior de la arquitectura al espacio urbano.
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