| Issue 104 XI-XII 2003 22
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CASA, CUERPO, CRISIS House, Body, Crisis |
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| Luis Fernández-Galiano Galería de sombras Gallery of Shadows Prólogo Prologue Centón de colecciones Cluster of Collections La mirada del arquitecto y los escombros de la historia The Eye of the Architect and the Rubble of History El desorden alrededor The Surrounding Disorder Maneras de mirar Ways of Seeing Elegía del ojo Elegy of the Eye Visiones escépticas Skeptical Visions Casa House La vida elemental. Energía, habitación y territorio La Cabaña mutante The Mutant Cabin Virus suburbano Suburban Viruses Belleza americana American Beauty Un planeta plano A Flat Planet
Contenedores y contenidos. El sueño doméstico Escenas del ajuar Domestic Scenes El clásico simulacro Classical Simulacra Contenedores a la deriva Containers Adrift Sueños de diseño Designer Dreams
Paisajes urbanos. Geometrías del movimiento Agitaciones orgánicas Organic Agitations Tiempos modernos Modern Times Paisajes sobre ruedas Landscape on Wheels Paradojas de la densidad Paradoxes of Density
Utopía y facsímil. Entre Babel y Disney Utopías cooptadas Co-Opted Utopias Ciudades temáticas Theme Cities Cuentos de hadas Fairytales El mundo según G. The World According to G.
Cuerpo Body Materia virtual. El desvanecimiento de lo físico Nueva Eva y nuevo Adán New Eve and New Adam Desnudos intangibles Intangible Nudes La figura en fuga The Fleeing Figure Marcos y marcas Frames and Signs
El rebaño desnudo. Dolor y domesticación humana Deconstrucción del dolor Deconstruction of Pain Historias de la mano Stories of the Hand Anatomías expuestas Exposed Anatomies Holocausto animal Animal Holocaust
Lo accidentado y lo informe. Burbujas en el museo Ficciones de fractura Frictions of Fracture Catástrofe y exorcismo Catastrophe and Exorcism Burbuja de bultos Bubble of Blobs La moda del museo The Museum Fashion
Arquitectos en la pasarela. El espectáculo y la escala Obras que se exhiben Works on Display Arquitectos de papel Paper Architects El autor y la audiencia Author and Audience Estilo frente a escala Style against Scale
El rascacielos y el avión. Metáforas del 11-S Fotogramas del horror Frames of Horror Premoniciones y ecos Premonitions and Echoes Duelo en las alturas Duel in the City Heights Las formas del vuelo The Forms of Flight
Logos en pugna. Globalización y choque de culturas La lógica del logo The logic of Logos Arquitectos de papel Paper Architects Geografías del ocaso Geographies of Sunset Luces y lápidas Lights and Gravestones Colores de guerra War Colors
La imagen del otro. Comunicación y conciencia La esfera de los mediosThe Media Sphere Mujeres desveladas Unveiled Women Occidente y el otro The West and the Other Vestidos para morir Dressed to Die
Líderes, banderas, víctimas. Los límites del planeta El gran juego de Asia The Great Game of Asia Babel contra Babilonia Babel against Babylon Levantando banderas Raising Flags Identitades errantes Wandering Identities
Epílogo Epilogue La multitud y el vacío The Crowd and the Void Humanidad unánime Unanimous Humanity Dinámica de grupos Group Dynamics Espíritus y espectros Spirits and Specters |
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Luis Fernández-Galiano Gallery of Shadows |
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Made up with slides of lectures and classes, this virtual patchwork of architectures, seductions and horrors is organized around three main themes: house and city; body and catastrophe; and crisis and conflict. The sections are built with the elementary unit of the double page, and with introductory texts for each four of them to lessen the monotony of the openings formed almost exclusively by images. In its structure, the printed issue evokes its academic origin and its material archive, because the frequent pairing of illustrations in the layout comes from the usual double projection in the classroom, and their grouping in the thematic cores of the double pages handles a number close to the twenty slides that fit in a standard plate. I have tried to let the images speak for themselves, and have written the texts only after designing the page layout. The predominance of the graphic discourse is an architect´s vice, but perhaps the art historians - from the Warburg of the atlases to the Wöllfflin of the parallel project - can also be held responsible for the parallel projection- can also be held responsible for the presentation method. The resulting density recalls the clutter of old painting cabinet, and that is why this text is illustrated with the Panorama of the Central Gallery of the Prado Museum, the 10 meter long photograph by Laurent carried out between 1882 and 1883 with 72 assembled shots, which could be seen using a rotary machine. Here, the strip of the Grafoscopio has been replaced by a sequence of frames, though weaved in a panorama of somehow similar continuity. With a title which evokes another monograph published over fifteen years ago - replacing the sweet dreams of the eighties with the bitter crisis of the millennium beginnings-, the thousand images of this gallery of shadows compose a discourse of the eye or against the eye, a record of the disorder of the times and perhaps also a melancholy cry for order. | |||||||||||