If modern architecture has strived to offer means so that we can articulate the partial visions that we obtain during our architectural experiences, a large number of the architectural spaces of Álvaro Siza Vieira propose us the mental construction of a whole developed along an induced ways experience: his architectural maturity has been able to articulate together with visual and tactile perception. This mode achieves his needed objective: induce our physical forward displacement in order to arrive at a ‘positional scope’ established in advance by the dynamic strokes of his own hand -sometimes consciously and at times intuitively-. Man’s walk through the architectural envelope that the induced way proposes is similar to the way that water flows in motion, to how it runs along a path, to how it erodes a mountain rock in its course, to how it is accelerated on a downward slope or when the river is condemned in a closed channel to increase its speed and, however, it slows down when it is approaching its encounter with the sea... the main entrance.
Architectural spaces of Álvaro Siza Vieira base their composition on the addition and the articulation of surfaces -a compositional fragmentation- that materialize scenes for action which organize and suggest the displacement of the figure of man. Each scene proposes an induction of physical movement while the overlapping of the different stages defines an ordered sequence of induced ways. The chain of induction begins with the approximation towards the external building envelope, is continued with the intimate action of the transit at the main entrance and continues in the inner space up to the roof, a strong identity inner space -as the library at FAUP- or returns, again, to the main entrance.
Creative episodes of aSV are developed along three successive phases: in the first phase, his work is sequentially drawn by articulating the architectural spaces so that the projection of human body and its movement through them define the architectural envelope; in a later phase, the materialization of the traces left by aSV feeds back our visual and tactile perception of motion perceptual contained in them; in a last phase, our mind interprets them and consequently gives them continuity with the traces of our footsteps along our experience through induced ways.
In order to establish this way of experiencing architecture, this work has proceeded to:
1) have a personal interview with Álvaro Siza Vieira in Oporto where he assures that perceptual movement as induction are in his work since the first Project he thought,
2) use the ‘demonstration by subtraction’ method in order to thresh, in three Siza’s work (FAUP, Carlos Ramos Pavilion and Borges e Irmao Bank) that the perceptual tracks or movement induction end up being diluted when we eliminate the movement percepts contained by the architectural envelope.
By way of conclusion, it is possible to ensure that
- exist a certain number of Mechanisms for induction (MI) in order to encourage our forward displacement in the architectural space,
- the inductive way is presented as an alternative way by experiencing the architectural space and it one develops ‘la Promenade architectural’ as its evolution.
- the Faculty of Architecture of Porto University -FAUP- provides the most important example of a built architecture of inductive ways that sequentially operate in order to achieve a common purpose: the main entrance.
Si la arquitectura moderna se ha esforzado en ofrecer medios para que podamos articular las visiones parciales que obtenemos durante nuestras vivencias arquitectónicas, gran parte de los espacios arquitectónicos de Álvaro Siza Vieira nos proponen la construcción mental de su conjunto desarrollada a lo largo de una experiencia de recorridos inducidos: su madurez arquitectónica ha sabido articular conjuntamente la percepción visual con la percepción táctil. De este modo, logra alcanzar su necesitado objetivo: inducir nuestro desplazamiento físico hacia adelante en pos de arribar a un `ámbito posicional de alcance’ establecido con anterioridad mediante los trazos dinámicos de su propia mano -a veces consciente y otras intuitivamente-. El caminar del hombre a través de la envolvente arquitectónica que propone el recorrido inducido se asemeja a cómo fluye el agua en movimiento, a cómo recorre una senda y horada la roca de la montaña en su discurrir, a cómo se acelera cuando se facilita una pendiente descendente o cuando el río se condena en canal cerrado aumentando su velocidad y, sin embargo, se desacelera cuando se aproxima a su encuentro con el mar... la entrada principal.
Los espacios arquitectónicos de Álvaro Siza Vieira basan su composición en la adición y articulación de superficies -fragmentación compositiva- que materializan escenarios para la acción, organizando y proponiendo, así, el desplazamiento de la figura del hombre. Cada una de dichos escenarios nos propone un recorrido inducido, mientras que, mediante la adición de distintos escenarios solapados consigue establecer una secuencia ordenada de recorridos inducidos. La cadena de inducción se inicia con la aproximación a la envolvente arquitectónica exterior, es continuada con la íntima acción del tránsito en la entrada principal y prosigue en el espacio interior hasta alcanzar la cubierta, un espacio interior de fuerte identidad -como es el caso de la Biblioteca en la FAUP- o retorna, de nuevo, a la entrada principal.
Los episodios creativos de aSV se desarrollan a lo largo de tres estadios sucesivos: en una primera fase, su obra se dibuja articulando, secuencialmente, los espacios arquitectónicos de manera que, la proyección del cuerpo humano y su movimiento a través de ellos, definen la envolvente arquitectónica; en una fase posterior, la materialización de rastros perceptuales, dejados por su mano intuitiva, retroalimenta nuestra percepción visual y táctil, haciendo aflorar así el movimiento perceptual que aquéllos nos ofrecen; en una última fase, nuestra mente los interpreta para, seguidamente, darles continuidad por medio de las huellas de nuestros pasos a través de una experiencia de recorridos inducidos.
Para constatar este modo de experimentar la arquitectura, durante la Tesis, se ha procedido a:
1) mantener una entrevista personal en Oporto con el propio Álvaro Siza Vieira donde asegura que el movimiento perceptual y la inducción están presentes en su obra desde su primer proyecto y
2) utilizar el método de ‘demostración por sustracción’ para poder desgranar, en 3 obras concretas de Siza (la FAUP, el Pabellón Carlos Ramos y la sede de la Sucursal del Banco Borges e Irmao) que, cuando eliminamos perceptos de movimiento de la envolvente arquitectónica, las trayectorias perceptuales, es decir la inducción de movimiento, se modifican hasta diluirse.
Como conclusiones, se obtiene:
- que existen ciertos Mecanismos Inductores (MI), que fomentan nuestro desplazamiento en el espacio arquitectónico,
- que el recorrido inducido se nos presenta como una alternativa para nuestra experiencia del espacio arquitectónico, desarrollándose como evolución del paseo arquitectónico,
- que la Facultad de Arquitectura de la Universidad de Porto -FAUP- constituye el ejemplo más relevante de la puesta en práctica de una arquitectura de recorridos inducidos que operan secuencialmente hasta alcanzar un objetivo común: la puerta de entrada principal.
If modern architecture has strived to offer means so that we can articulate the partial visions that we obtain during our architectural experiences, a large number of the architectural spaces of Álvaro Siza Vieira propose us the mental construction of a whole developed along an induced ways experience: his architectural maturity has been able to articulate together with visual and tactile perception. This mode achieves his needed objective: induce our physical forward displacement in order to arrive at a ‘positional scope’ established in advance by the dynamic strokes of his own hand -sometimes consciously and at times intuitively-. Man’s walk through the architectural envelope that the induced way proposes is similar to the way that water flows in motion, to how it runs along a path, to how it erodes a mountain rock in its course, to how it is accelerated on a downward slope or when the river is condemned in a closed channel to increase its speed and, however, it slows down when it is approaching its encounter with the sea... the main entrance.
Architectural spaces of Álvaro Siza Vieira base their composition on the addition and the articulation of surfaces -a compositional fragmentation- that materialize scenes for action which organize and suggest the displacement of the figure of man. Each scene proposes an induction of physical movement while the overlapping of the different stages defines an ordered sequence of induced ways. The chain of induction begins with the approximation towards the external building envelope, is continued with the intimate action of the transit at the main entrance and continues in the inner space up to the roof, a strong identity inner space -as the library at FAUP- or returns, again, to the main entrance.
Creative episodes of aSV are developed along three successive phases: in the first phase, his work is sequentially drawn by articulating the architectural spaces so that the projection of human body and its movement through them define the architectural envelope; in a later phase, the materialization of the traces left by aSV feeds back our visual and tactile perception of motion perceptual contained in them; in a last phase, our mind interprets them and consequently gives them continuity with the traces of our footsteps along our experience through induced ways.
In order to establish this way of experiencing architecture, this work has proceeded to:
1) have a personal interview with Álvaro Siza Vieira in Oporto where he assures that perceptual movement as induction are in his work since the first Project he thought,
2) use the ‘demonstration by subtraction’ method in order to thresh, in three Siza’s work (FAUP, Carlos Ramos Pavilion and Borges e Irmao Bank) that the perceptual tracks or movement induction end up being diluted when we eliminate the movement percepts contained by the architectural envelope.
By way of conclusion, it is possible to ensure that
- exist a certain number of Mechanisms for induction (MI) in order to encourage our forward displacement in the architectural space,
- the inductive way is presented as an alternative way by experiencing the architectural space and it one develops ‘la Promenade architectural’ as its evolution.
- the Faculty of Architecture of Porto University -FAUP- provides the most important example of a built architecture of inductive ways that sequentially operate in order to achieve a common purpose: the main entrance.
