Transparency and exclusion: Seeing without being
This paper reflects upon the paradox created by transparency in architecture. The glass plane is a strategy used in modern architecture to delimit a space and at the same time to keep a continuous, instantaneous, and permanent visual relationship with the exterior environment to which it is oriented...
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oai:ojs.www.unisinos.br:article-45462021-08-30T19:09:20Z Transparency and exclusion: Seeing without being La transparencia y la exclusión: ver pero no estar Muñoz, Jaime Arturo Jofré Massera, Carmen Aroztegui This paper reflects upon the paradox created by transparency in architecture. The glass plane is a strategy used in modern architecture to delimit a space and at the same time to keep a continuous, instantaneous, and permanent visual relationship with the exterior environment to which it is oriented. However, despite its reflectivity and absolute transparency, the glass plane serves a second paradoxical purpose. The exterior appears actually exposed and configured through the transparent plane, but the integration of interior and exterior is only a simulation. Even though invisible, the boundary is always present. Creating a “continuous” space through an invisible boundary is hence an unattainable objective. The analysis of a scene from the film “The Wings of Desire” (Wenders, 1987) serves as a metaphor clearly showing the duality of the architectural transparency. The film characters are two angels inside a car-dealer showroom, looking at humans walking on the street outside. The showroom is designed to produce total and unobstructed visibility. Even tough everything is set up to allow the characters to encounter and feel visually integrated with the humans outside, they are helplessly apart from them. When observed through the scene, such a relationship – the interaction between people and their environment, promised by the transparency in architecture – results in ambiguity: the glass is never invisible enough to erase the separation for those who are behind it. Key words: transparency, modern architecture, film. Este artículo se propone reflexionar acerca de la paradoja que se produce con la transparencia en la arquitectura. El plano de vidrio es una estrategia em la arquitectura moderna para delimitar un espacio pero manteniendo, con el medio exterior al cual está orientado, una relación visual continua, instantánea y permanente. Tanto si se trata de su cualidad superficial de transparencia absoluta como la de su capacidad reflectiva, el plano de vidrio nos ofrece una segunda lectura que resulta ser una paradoja. A través del plano de transparencia, El medio exterior aparece efectivamente expuesto en el espacio configurado pero, a pesar de la extensión que pueda alcanzar la mirada, la integración interior-exterior es solo una simulación. Fomentar la invisibilidad del límite para crear la “continuidad” del espacio es un objetivo que nunca se consuma pues, aún cuando no se vea, el límite está siempre presente. A modo de metáfora, el análisis de una escena del filme “Las alas del deseo” (Wenders, 1987) plantea con claridad este doble juego de la transparencia arquitectónica. Los personajes se encuentran en un salón de exhibición de automóviles que, como podemos suponer fácilmente, es un espacio para que la visión sea un ejercicio realizado sin contratiempos, con la más absoluta transparencia. Aún cuando todo allí está dispuesto para que la integración visual, entre los distintos personajes y ellos con los objetos expuestos, sea lo más efectiva posible, la escena los presenta irremediablemente alejados unos de otros. A la luz de estos hechos, esa relación plena, esa interactividad entre las personas y su medio prometida por la transparencia en la arquitectura adquiere un significado equívoco: nunca es tan invisible el vidrio como para eliminar la interposición que separa a quienes se encuentran detrás de él. Palabras clave: transparencia, arquitectura moderna, cine. Unisinos 2021-05-24 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unisinos.br/index.php/arquitetura/article/view/4546 10.4013/arq.2010.61.03 Arquitetura Revista; v. 6 n. 1 (2010): Jan-Jun; 27-36 1808-5741 spa https://revistas.unisinos.br/index.php/arquitetura/article/view/4546/1777 Copyright (c) 2021 Arquitetura Revista |
| institution |
Universidad de Vale do Rio dos Sinos (UNISINOS) |
| collection |
OJS |
| language |
spa |
| format |
Online |
| author |
Muñoz, Jaime Arturo Jofré Massera, Carmen Aroztegui |
| spellingShingle |
Muñoz, Jaime Arturo Jofré Massera, Carmen Aroztegui Transparency and exclusion: Seeing without being |
| author_facet |
Muñoz, Jaime Arturo Jofré Massera, Carmen Aroztegui |
| author_sort |
Muñoz, Jaime Arturo Jofré |
| title |
Transparency and exclusion: Seeing without being |
| title_short |
Transparency and exclusion: Seeing without being |
| title_full |
Transparency and exclusion: Seeing without being |
| title_fullStr |
Transparency and exclusion: Seeing without being |
| title_full_unstemmed |
Transparency and exclusion: Seeing without being |
| title_sort |
transparency and exclusion: seeing without being |
| description |
This paper reflects upon the paradox created by transparency in architecture. The glass plane is a strategy used in modern architecture to delimit a space and at the same time to keep a continuous, instantaneous, and permanent visual relationship with the exterior environment to which it is oriented. However, despite its reflectivity and absolute transparency, the glass plane serves a second paradoxical purpose. The exterior appears actually exposed and configured through the transparent plane, but the integration of interior and exterior is only a simulation. Even though invisible, the boundary is always present. Creating a “continuous” space through an invisible boundary is hence an unattainable objective. The analysis of a scene from the film “The Wings of Desire” (Wenders, 1987) serves as a metaphor clearly showing the duality of the architectural transparency. The film characters are two angels inside a car-dealer showroom, looking at humans walking on the street outside. The showroom is designed to produce total and unobstructed visibility. Even tough everything is set up to allow the characters to encounter and feel visually integrated with the humans outside, they are helplessly apart from them. When observed through the scene, such a relationship – the interaction between people and their environment, promised by the transparency in architecture – results in ambiguity: the glass is never invisible enough to erase the separation for those who are behind it. Key words: transparency, modern architecture, film. |
| publisher |
Unisinos |
| publishDate |
2021 |
| url |
https://revistas.unisinos.br/index.php/arquitetura/article/view/4546 |
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