Editorial Landscape_City_Time_
Henceforth space by itself, and time by itself, are doomed to fade away into mere shadows, and only a kind of union of the two will preserve an independent realityHermann Minkowski, 1908In his book Space, Time and Architecture (1939), Sigfried Giedion explained that high-speed travel and new means o...
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Facultad de Arquitectura, Universidad Nacional Autónoma de México
2017
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López Uribe, Cristina |
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López Uribe, Cristina Editorial Landscape_City_Time_ |
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López Uribe, Cristina |
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López Uribe, Cristina |
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Editorial Landscape_City_Time_ |
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Editorial Landscape_City_Time_ |
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Editorial Landscape_City_Time_ |
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Henceforth space by itself, and time by itself, are doomed to fade away into mere shadows, and only a kind of union of the two will preserve an independent realityHermann Minkowski, 1908In his book Space, Time and Architecture (1939), Sigfried Giedion explained that high-speed travel and new means of communication contributed to create the fragmented experience that characterized the modern metropolis. According to Giedion, the modern movement fused, for the first time, the experience of interiority and exteriority, created the simultaneous spatial perception of the different levels of the buildings, and forced the viewer to move to address the different facets of a building. In this way, he introduced the temporal dimension referenced by Cubism. Cubist masterpieces exemplify a new integration of space and time based on the movement, fragmentation, and re-construction of images. From that moment, architects and artists abandoned the idea of an exterior world of static objects –as shown by perspective representation and linear narrative– and entered the dynamic, experiential reality of perception and human consciousness. Today, space and time are even more compressed than in the early twentieth century.For centuries architecture has aspired to longevity and permanence, however, we are increasingly designing buildings that will have a short life expectancy as defined by the expiration of the materials. Acceleration, as a condition experienced everywhere within capitalism, makes every human activity and its products ephemeral. Industrial design has taken this into account and obediently developed the concept of planned obsolescence while, at the same time, transcendence is still being taught to be one of the great aims of architecture.Urban developments are inconceivable outside of time. The inability or difficulty of planning and of making urban designs or regulations for neighborhoods and cities show, time and again, that the city is a living organism and in constant mutation; most of the time unpredictable in, what would be, a direct and scientifically measurable way. Efforts to do this can be seen in maps of peoples’ movements in urban space, which need to be compared with subjective information gathered by other means.In landscape architecture, time is a fundamental element. Designed landscapes can influence our individual sense or our understanding of temporality –our experience of how time pas-ses. They can compress or elongate our perception of time. These projects take into account the passing of the seasons, the life span of every species, and the geological memory of each site. In contrast to the closed notion of architecture, when a landscape is considered finished this does not mean that it is frozen in some glorious moment: with landscape architecture it becomes more evident that only through the passing of time designed environments acquire their meaning.A large part of present architecture –and its teaching– ignores or denies the transformations occurring in the world of technology. New technologies allow ubiquity, simultaneity, instantaneity, virtuality, remote interactivity, and real-time computing. Today, these concepts are part of our everyday life; the more the means of communication bring us closer to each other the more they separate us spatially. At the same time, we are experiencing a delay in time: every thousandth of a second expands until it is perceived as eternal. This is especially true in our interactions with new technologies that promise immediacy.Designs should follow an aesthetic philosophy and understanding of the world based on the fleetingness or impermanence (the transitory or the non-permanent) that best describe our experience in the world. The flexibility of designs could allow them to adapt to other moments and other uses that are different from those foreseen at the time of their planning.Contemporary architecture seems to have the goal of staying young, shiny, and perfect but time stains and soils its surfaces. The impressions made by time –the patina– underscore its shapes and the way rain and sunlight hit its surfaces. It is possible to foresee in the buildings the effects of time, chronological and meteorological, in the same way that a landscape architect does.There is a current tendency to constantly renovate our built environment –we even erase our recent past. Ruined buildings or neighborhoods tell a non-official history of the places; they are our link to what is gone and reveal the fragments of the distant past. These fragments are important for discovering our present, even (or especially) when they are about a history that is not the authorized one; they harbor the memory of a culture in constant and rapid change. Ruins should not be rebuilt to fit our idea of the past. Sometimes they are not beautiful, but neither is history. Rebuilt buildings look foreign and divorced from their history; renovated towns and cities are awkward, as they appear to sparkle and be perfect in their novelty.The disorder and decay of ruins and abandoned buildings indicate to us that time has continued and that change has occurred. They acquire a different meaning than originally intended for the design; their original function is lost over time and by lack of use. To see them bring us the possibility of reflecting and taking advantage of the time we have left. Despite modern technology and our continued longing to be relevant, things (and our small role in the universe) all have an expiration date.Cristina López Uribe |
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Facultad de Arquitectura, Universidad Nacional Autónoma de México |
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2017 |
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https://www.revistas.unam.mx/index.php/bitacora/article/view/59705 |
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oai:ojs.pkp.sfu.ca:article-597052021-01-27T17:24:42Z Editorial Landscape_City_Time_ Editorial Paisaje_Ciudad_Tiempo_ López Uribe, Cristina Henceforth space by itself, and time by itself, are doomed to fade away into mere shadows, and only a kind of union of the two will preserve an independent realityHermann Minkowski, 1908In his book Space, Time and Architecture (1939), Sigfried Giedion explained that high-speed travel and new means of communication contributed to create the fragmented experience that characterized the modern metropolis. According to Giedion, the modern movement fused, for the first time, the experience of interiority and exteriority, created the simultaneous spatial perception of the different levels of the buildings, and forced the viewer to move to address the different facets of a building. In this way, he introduced the temporal dimension referenced by Cubism. Cubist masterpieces exemplify a new integration of space and time based on the movement, fragmentation, and re-construction of images. From that moment, architects and artists abandoned the idea of an exterior world of static objects –as shown by perspective representation and linear narrative– and entered the dynamic, experiential reality of perception and human consciousness. Today, space and time are even more compressed than in the early twentieth century.For centuries architecture has aspired to longevity and permanence, however, we are increasingly designing buildings that will have a short life expectancy as defined by the expiration of the materials. Acceleration, as a condition experienced everywhere within capitalism, makes every human activity and its products ephemeral. Industrial design has taken this into account and obediently developed the concept of planned obsolescence while, at the same time, transcendence is still being taught to be one of the great aims of architecture.Urban developments are inconceivable outside of time. The inability or difficulty of planning and of making urban designs or regulations for neighborhoods and cities show, time and again, that the city is a living organism and in constant mutation; most of the time unpredictable in, what would be, a direct and scientifically measurable way. Efforts to do this can be seen in maps of peoples’ movements in urban space, which need to be compared with subjective information gathered by other means.In landscape architecture, time is a fundamental element. Designed landscapes can influence our individual sense or our understanding of temporality –our experience of how time pas-ses. They can compress or elongate our perception of time. These projects take into account the passing of the seasons, the life span of every species, and the geological memory of each site. In contrast to the closed notion of architecture, when a landscape is considered finished this does not mean that it is frozen in some glorious moment: with landscape architecture it becomes more evident that only through the passing of time designed environments acquire their meaning.A large part of present architecture –and its teaching– ignores or denies the transformations occurring in the world of technology. New technologies allow ubiquity, simultaneity, instantaneity, virtuality, remote interactivity, and real-time computing. Today, these concepts are part of our everyday life; the more the means of communication bring us closer to each other the more they separate us spatially. At the same time, we are experiencing a delay in time: every thousandth of a second expands until it is perceived as eternal. This is especially true in our interactions with new technologies that promise immediacy.Designs should follow an aesthetic philosophy and understanding of the world based on the fleetingness or impermanence (the transitory or the non-permanent) that best describe our experience in the world. The flexibility of designs could allow them to adapt to other moments and other uses that are different from those foreseen at the time of their planning.Contemporary architecture seems to have the goal of staying young, shiny, and perfect but time stains and soils its surfaces. The impressions made by time –the patina– underscore its shapes and the way rain and sunlight hit its surfaces. It is possible to foresee in the buildings the effects of time, chronological and meteorological, in the same way that a landscape architect does.There is a current tendency to constantly renovate our built environment –we even erase our recent past. Ruined buildings or neighborhoods tell a non-official history of the places; they are our link to what is gone and reveal the fragments of the distant past. These fragments are important for discovering our present, even (or especially) when they are about a history that is not the authorized one; they harbor the memory of a culture in constant and rapid change. Ruins should not be rebuilt to fit our idea of the past. Sometimes they are not beautiful, but neither is history. Rebuilt buildings look foreign and divorced from their history; renovated towns and cities are awkward, as they appear to sparkle and be perfect in their novelty.The disorder and decay of ruins and abandoned buildings indicate to us that time has continued and that change has occurred. They acquire a different meaning than originally intended for the design; their original function is lost over time and by lack of use. To see them bring us the possibility of reflecting and taking advantage of the time we have left. Despite modern technology and our continued longing to be relevant, things (and our small role in the universe) all have an expiration date.Cristina López Uribe En lo sucesivo, el espacio por sí mismo y el tiempo por sí mismo están condenados a desaparecer en las sombras, sólo una especie de unión de ambos preservará una realidad independiente Hermann Minkowski, 1908 En su libro Espacio, tiempo y arquitectura, de 1939, Sigfried Giedion explicó que los viajes a alta velocidad y los medios de comunicación contribuyeron a crear la experiencia fragmentada que definió la metrópoli moderna. Según Giedion, el movimiento moderno fundió por primera vez la experiencia del interior y del exterior, creó la percepción espacial simultánea de los distintos niveles de los edificios y obligó al espectador a desplazarse para abarcar las distintas facetas de un edificio; de esta manera introdujo la dimensión temporal anunciada por el cubismo. Las obras maestras del cubismo son ejemplo de una integración nueva del espacio y el tiempo a partir del movimiento, la fragmentación y la recomposición de las imágenes. Desde ese momento, los arquitectos y los artistas abandonaron la idea de un mundo externo de objetos estáticos –como lo muestran la representación en perspectiva y la narrativa lineal–, y entraron a la realidad dinámica experiencial de la percepción y la conciencia humanas. Hoy, el espacio y el tiempo están aún más contraídos que en los primeros años del siglo xx. La arquitectura, desde hace siglos, aspira a la eternidad y lo permanente, sin embargo, cada vez más diseñamos edificios que tendrán una duración muy corta, definida por la caducidad de sus materiales. La aceleración, como condición que experimentamos en cualquier ámbito del mundo capitalista, convierte toda actividad humana y todo producto de ésta en algo efímero. El diseño industrial toma en cuenta esto obedientemente, con el concepto de obsolescencia programada, pero por otro lado, se sigue enseñando que la trascendencia es una de las grandes aspiraciones de la arquitectura. Los fenómenos urbanos son inconcebibles fuera del tiempo. La incapacidad o dificultad de planear, hacer diseños urbanos o reglamentos para los barrios y ciudades constatan una y otra vez que la ciudad es un organismo vivo y en constante mutación, la mayoría de las veces impredecible, al menos de una forma absoluta y medible científicamente. Los esfuerzos en esta dirección presentan mapas de movimientos de las personas en el espacio urbano, los cuales necesariamente se tienen que contrastar con información subjetiva obtenida por otros medios. En la arquitectura de paisaje, el tiempo es un componente fundamental. Los paisajes diseñados pueden influir en nuestro sentido individual o nuestra conciencia de la temporalidad –nuestra experiencia de la forma en que el tiempo pasa. Pueden comprimir o estirar nuestra percepción del tiempo. Estos proyectos toman en cuenta el paso por las distintas estaciones, la duración de la vida de cada especie y la memoria geológica de cada lugar. A diferencia de la concepción cerrada de la arquitectura, su inauguración como obra terminada no es un momento glorioso congelado: se hace más evidente con la arquitectura de paisaje que es con el paso del tiempo que los entornos diseñados adquieren su sentido. Gran parte de la arquitectura actual –y su educación– ignora o niega las transformaciones que ocurren en el mundo de la tecnología. Las nuevas tecnologías permiten la ubiquidad, la simultaneidad, la instantaneidad, la virtualidad, la interactividad remota y los cómputos en tiempo real. Hoy, estos conceptos forman parte de nuestra vida cotidiana, los medios de comunicación, mientras más nos acercan, nos alejan más espacialmente. Al mismo tiempo experimentamos una dilación del tiempo: cada milésima de segundo se expande hasta percibirse como algo eterno, especialmente en nuestra interacción con las nuevas tecnologías, que prometen lo instantáneo. Los diseños deberían perseguir una filosofía estética y de comprensión del mundo basada en la fugacidad o impermanencia (la transitoriedad o la no permanencia), que describe de mejor manera nuestra experiencia en el mundo. La flexibilidad de los diseños podría permitir su adaptación a otros momentos y usos, distintos de los que se pueden prever en el momento de su planeación. La arquitectura contemporánea parece tener el objetivo de mantenerse joven, reluciente y perfecta, pero el tiempo mancha y ensucia las superficies. Las impresiones del tiempo –la pátina– subrayan las formas y la manera en que la lluvia y la luz del sol golpean sus superficies. Es posible prever la huella del tiempo, cronológico y meteorológico, en los edificios de la misma forma en que la prevé un paisajista. Hay una tendencia en cuanto a renovar constantemente nuestro entorno construido –incluso borramos nuestro pasado reciente. Los edificios o barrios en ruinas narran una historia no oficial de los lugares, son nuestro vínculo con lo que se ha ido, revelan los fragmentos del pasado distante. Son importantes para el descubrimiento de nuestro presente, incluso (o especialmente) cuando hablan de una historia que no es la oficial. Albergan la memoria de una cultura en constante y rápido cambio. Las ruinas no deben reconstruirse para acomodarse a nuestra idea del pasado. A veces no son bellas, pero tampoco lo es la historia. Los edificios reconstruidos se ven ajenos y divorciados de su historia; los pueblos y las ciudades restaurados resultan incómodos cuando los vemos relucientes y perfectos en su novedad. El desorden y la decadencia de las ruinas y los edificios abandonados nos muestran que el tiempo ha continuado, que el cambio ha ocurrido. Adquieren un significado distinto de la intención original del diseño; su función original se pierde con el tiempo y el desuso. Verlos nos da la posibilidad de reflexionar y aprovechar el tiempo que nos queda. A pesar de la tecnología moderna y de nuestras ansias continuas por ser relevantes, las cosas (y nuestro pequeño papel en el universo) tienen una fecha de caducidad. Cristina López Uribe Facultad de Arquitectura, Universidad Nacional Autónoma de México 2017-05-30 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf application/pdf application/xml https://www.revistas.unam.mx/index.php/bitacora/article/view/59705 10.22201/fa.14058901p.2017.35.59705 Bitacora Arquitectura; No. 35 (2017): Landscape_City_Time; 2-3 Bitácora Arquitectura; Núm. 35 (2017): Paisaje_Ciudad_Tiempo_; 2-3 2594-0856 1405-8901 10.22201/fa.14058901p.2017.35 spa eng https://www.revistas.unam.mx/index.php/bitacora/article/view/59705/52647 https://www.revistas.unam.mx/index.php/bitacora/article/view/59705/59247 https://www.revistas.unam.mx/index.php/bitacora/article/view/59705/59492 Derechos de autor 2017 Bitácora arquitectura |