Active Materiality / Materialidad Activa

Active Materiality / Materialidad Activa

Departamento de Proyectos Arquitectónicos. E.T.S.A.M. Universidad Politécnica de Madrid
Active Materiality / Materialidad Activa
La operatividad de la materia desde el punto de vista fenomenológico
The Agency of Matter from the Phenomenological Perspective
[Author]
Izabela Zofia Wieczorek, Architect
*
[Supervisors]
José Ignacio Ábalos Vázquez, Doctor Architect
José Miguel de Prada Poole, Doctor Architect
[2015]
*
[Table of Contents]
[ACKNOWLEDGMENTS]
[ABSTRACT]
[RESUMEN]
[INTRODUCTION]
vii
x
xii
1
Field of Investigation
State of Affairs
General Structure
Methodological Remarks
References Introduction
2
10
15
25
28
[PART I. TOWARDS A NEW PHENOMENOLOGY]
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CHAPTER 1. Atmospheric Taxonomy
1.1. Character, Mood, Ambiance, Aura. Notes on Atmospheric Perception
1.2. Between the Material and the Immaterial. Climatic Paradigm and Vaporous Sensibility
1.3. From Object to Materiality. Assemblages and Dissolved Perceptual Identity
1.4. Relational Materialism. Atmosphere beyond Poetics
References Chapter 1
34
36
43
50
55
60
CHAPTER 2. In Search of Atmospheric Consciousness
2.1. Active Engineers of Atmosphere. Décors, Systems, and Active Boundaries
2.2. Material Vocabularies. Qualities of Appearances and Atmospheric Values
2.3. Relational Entanglements. Environments, Energies, Performances
2.4. Occurences of Sensuous Particularity. Contingency and Experiential Solicitation
References Chapter 2
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66
75
83
89
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[PART II. ACTIVE ENVIRONMENTS AND FIELDS OF ENGAGEMENT]
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CHAPTER 3. Atmospheric Dispositifs. From Perceptual Apparatus to Immersive Field
of Experience
3.1. Atmospheric Dispositifs
3.2. Embodied Reason
3.3. New Sensibility
3.4. Towards an Immersive Field of Experience
References Chapter 3
104
106
112
119
131
140
CHAPTER 4. Looking Through the Glass. In Search of Affective Tectonics
4.1. The Garden of Atmospheres and What Alice Found There
4.2. In the Palace of Reflections
4.3. Trialectics of Transparency. Literal, Phenomenal and Affective
4.4. Materialized Immaterialisation
References Chapter 4
144
146
145
158
165
187
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[PART III. NEW MATERIAL CONSCIOUSNESS]
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CHAPTER 5. Constructing Situations or Phenomeno-Praxis
5.1. Polyatmospherical Societies
5.2. Material Suggestiveness and Operational Poetics
5.3. The World of Anti-Matter
5.4. Synaesthetic Environments
References Chapter 5
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196
198
210
218
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CHAPTER 6. Sensorial Regimes and Intensification of Experience
6.1. Space, Law and Atmosphere
6.2. Unbalancing Systems
6.3. Between Manipulation and Appeal
6.4. The Power of Atmosphere
References Chapter 6
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228
233
239
247
261
[CONCLUSION]
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In Search of Affective Materialism. Archaeology of the Future
References Conclusion
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275
[GLOSSARY]
277
[APPENDIX]
313
A1. From Immaterialisation to an Architecture of Engagement. Interview with Professor
WERNER RUHNAU
A2. Werner Ruhnau. The Play
A3. Werner Ruhnau. From Experienced To Virtual Space
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328
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[BIBLIOGRAPHY]
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Core Sources
Complementary Sources
Auxiliary Sources
Documentaries
Archives, Foundations, Collections
Exhibitions
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345
352
352
352
[LIST OF PUBLICATIONS AND PAPERS]
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[ATLAS OF AFFECTIVE TECTONICS]
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***
[Abstract]
The role of matter has remained central to the making and the thinking of architecture, yet many
attempts to capture its essence have been trapped in a dialectic tension between form and materiality, between material consistency and immaterial modes of perception, between static states and
dynamic processes, between the real and the virtual, thus advancing an increasing awareness of the
perplexing complexity of the material world. Within that complexity, the notion of agency –
emerging from and within ecological, politico-economic and socio-cultural processes – calls for a
reconceptualization of matter, and consequently processes of materialisation, offering a new understanding of context and space, approached as a field of dynamic relationships.
In this context, cutting across boundaries between architectural discourse and practice as well as
across the vast trans-disciplinary territory, this dissertation aims to illustrate a variety of design
methodologies that have derived from the relational approach. More specifically, the intention is to
offer new insights into spatial epistemologies embedded within the notion of atmosphere – commonly associated with the so-called New Phenomenology – and to reflect upon its implications for
architectural production.
In what follows, the intended argumentation has a twofold dimension. First, through a scrutiny of
the notion of atmosphere, the aim is to explore ways of thinking and shaping reality through relations, thus acknowledging the aforementioned complexity of the material universe disclosed
through human and non-human as well as material and immaterial forces. Secondly, despite the
fact that concerns for atmospherics have flourished over the last few decades, the objective is to
reveal that the conceptual foundations and procedures for the production of atmosphere might be
found beneath the surface of contemporary debates. Hence, in order to unfold and illustrate previously advocated assumptions, an archaeological approach is adopted, tracing a particular projective genealogy, one that builds upon an atmospheric awareness.
Accordingly, in tracing such an atmospheric awareness the study explores the notoriously ambiguous nature and the twofold dimension of atmosphere – meteorological and aesthetic – and the
heterogeneity of meanings embedded in them. In this context, the notion of atmosphere is presented as parallactic. It transgresses the formal and material boundaries of bodies. It calls for a reevaluation of perceptual experience, opening a new gap that exposes the orthodox space-bodyenvironment relationships to questioning. It offers to architecture an expanded domain in which to
manifest itself, defining architectural space as a contingent construction and field of engagement,
and presenting matter as a locus of production/performance/action.
Consequently, it is such an expanded or relational dimension that constitutes the foundation of
what in the context of this study is to be referred to as affective tectonics. Namely, a tectonics that
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represents processual and experiential multiplicity of convergent time and space, body and environment, the material and the immaterial; a tectonics in which matter neither appears as an inert
and passive substance, nor is limited to the traditionally regarded tectonic significance or expressive values, but is presented as an active element charged with inherent potential and vitality. By
defining such a relational materialism, the intention is to expand the spectrum of material attributes revealing the intrinsic relationships between the physical properties of materials and their
performative, transformative and affective capacities, including effects of interference and haptic
dynamics – i.e. protocols of transmission and interaction. The expression that encapsulates its
essence is:
ACTIVE MATERIALITY
Keywords: Atmosphere, Affect, Immateriality, Materiality, Relationality.
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***
[Resumen]
El significado de la materia ha estado desde siempre ligado al pensamiento y el quehacer arquitectónico. Sin embargo, muchos intentos de capturar su esencia se han visto sumergidos en una
tensión dialéctica entre la forma y la materialidad, entre la consistencia material y los modos
inmateriales de la percepción, entre los estados estáticos y los procesos dinámicos, entre lo real y
lo virtual, revelando una creciente conciencia de la desconcertante complejidad del mundo material. En esta complejidad, la noción de la operatividad o capacidad agencial– que emerge desde y
dentro de los procesos ecológicos, políticos y socio-culturales– requiere de una reconceptualización de la materia y los procesos inherentes a la materialización, ofreciendo una
nueva visión del contexto y el espacio, entendidos como un campo relacional dinámico.
Oscilando entre el discurso arquitectónico y la práctica arquitectónica, y atravesando un extenso
territorio trans-disciplinar, el objetivo de la presente tesis es ilustrar la variedad de metodologías
proyectuales que emergieron desde este enfoque relacional. Concretamente, la intención es indagar en las epistemologías espaciales vinculadas a la noción de la atmósfera– generalmente asociada a la llamada Nueva Fenomenología–, reflexionando sobre su impacto en la producción
arquitectónica.
A continuación, el estudio ofrece una doble línea argumental. Primero, a través del análisis crítico de la noción de atmósfera, el objetivo es explorar maneras de pensar y dar forma a la realidad
a través de las relaciones, reconociendo la mencionada complejidad del universo material revelado a través de fuerzas humanas y no-humanas, materiales e inmateriales. Segundo, a pesar de que
el interés por las atmósferas ha florecido en las últimas décadas, la intención es demostrar que las
bases conceptuales y los protocolos proyectuales de la creación de atmósferas se pueden encontrar bajo la superficie de los debates contemporáneos. Para corroborar e ilustrar estas hipótesis
se propone una metodología de carácter arqueológico, trazando una particular genealogía de
proyectos– la que se basa en una conciencia atmosférica.
Asimismo, al definir esta conciencia atmosférica, el estudio explora tanto la naturaleza notoriamente ambigua y la dimensión dual de la atmósfera– meteorológica y estética–, como la heterogeneidad de significados derivados de ellas. En este contexto, la atmósfera se entiende como un
concepto detonante, ya que sobrepasa los limites formales y materiales de los cuerpos, llevando a
la re-evaluación de la experiencia perceptiva y abriendo a preguntas la ortodoxa relación espacio-cuerpo-ambiente. En consecuencia, la noción de la atmósfera ofrece a la arquitectura una
dimensión expandida donde manifestarse, definiendo el espacio como una construcción contingente, performativa y afectiva, y presentando la materia como locus de producción/ actuación/
acción.
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Es precisamente esta dimensión expandida relacional la que constituye una base para lo que en el
contexto del presente estudio se define como una tectónica afectiva. Es decir, una tectónica que
representa una multiplicidad procesual y experiencial derivada de la convergencia entre el tiempo
y el espacio, el cuerpo y el entorno, lo material y lo inmaterial; una tectónica en la que la materia
no aparece como una substancia pasiva e inerte, ni es limitada al significado considerado tradicionalmente constructivo o a sus valores expresivos, sino que se presenta como elemento activo
cargado de un potencial y vitalidad inherentes. A través de la definición de este tipo de materialismo afectivo, la intención es expandir el espectro de los atributos materiales, revelando las
relaciones intrínsecas entre las propiedades físicas de los materiales y sus capacidades performativas, transformativas y afectivas, incluyendo efectos de interferencias y dinámicas hápticas– o
dicho de otro modo, protocolos de transmisión e interacción. Una expresión que encapsula su
esencia vendría a ser:
MATERIALIDAD ACTIVA
Palabras clave: Atmósfera, Afecto, Inmaterialidad, Materialidad, ‘Relacionalidad’
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