Fotografía / IFAC 2016, The Legend

Note: Behind every myth there is a legend. This is the germ of the photographic project: Ifac 2016 The Legend, which is also an experimental methodology based on a ludic learning and photography as a way for exploring the environment. Visit it on its original web, or keep reading.

Nota: Detrás de cada mito hay una legenda. Éste es el germen del proyecto fotográfico Ifac 2016 The Legend, que sienta además una metodología experimental basada en el aprendizaje lúdico y en la fotografía como medio de exploración del entorno. Visítalo en su página original, o continúa leyendo.

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Art & Architecture: Marcin Sacha / interview

The present art world is influenced by continued image-bombing. Where we, as mere spectators, are immersed. Anytime we go through the media searching for what is new or what has been done inside art, we realise that there are more and more flanks, fields and levels where art is continually developing itself.  Away from the closed circles of the art market system, the number of amateur artists that rise and take a spot in our visual culture increases every day.

Some of these artists are here just to reconsider the relationship between humanity and the world, emphasizing on the defamiliarization we daily go through with daily realities. These seem to evolve faster than our reasoning or our perception. From this point, Marcin Sacha, an amateur photographer from Tarnow, Poland, shows in his work as a strange world full of this black spots, or ‘gaps’, in the understanding process. Educated as a geophysicist, he turned to Photography in order to show us a world that can be both scarily dangerous and transcendentally beautiful. The process he goes through is to interact with defamiliarized architecture and materials – which he also uses to create graphic effects and illusions of space allow a whole picture to turn into a view of fantasy.

Marcin Sacha’s name might not ring a bell yet, but his breath-taking landscape photographs and his graphic creations are lately taking attention within the Internet web.

Personally, when in front of any picture of Marcin Sacha I feel caught by a sense of nostalgia – nostalgia for to return as the prodigal son; nostalgia for the return to this place we once called ‘ours’ and now it is nothing more than a stage in ruins.

He has taken part in both online and physical exhibitions. Here, he has been awarded several times with gold medals and honour mentions. However, his photographic style has not been consistent during the length of his career. Starting as a landscape photographer, he ended up close to graphic design, always following his theme of ‘creating the space’.

I see no better way to appraise his work than by making this short interview about his career.

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#3 Blanco / White


Desde la arquitectura popular mediterránea y sus construcciones blancas encaladas, hasta la obsesión por la blancura en el Movimiento Moderno, pasando por El Racionalismo Iluminista y “The Whites” (“los blancos”, con Peter Eisenman, John Hedjuk, Charles Gwathmey, Michael Graves, y Richard Meier), o arquitectos cercanos persiguiendo su propia idea de belleza blanca, como Campo Baeza, o César Manrique en Lanzarote. Estos contenidos ya dan para una monografía dedicada. Pero no es esa nuestra intención. Otros paisajes nos susurran. Y están al pasar esta página blanca.

From the vernacular architecture of the Mediterranean– with its whitewashed buildings – through to Modernism’s obsession with whiteness, thento the Enlightenment rationalism, the ‘New York Five’ – Peter Eisenman, John Hejduk, Charles Gwathmey, Michael Graves and Richard Meier – or other fellow architects who pursued their ideal of ivory beauty – Campo Baeza, Cesar Manrique in Lanzarote. These topics alone would already be enough to write an entire monograph. But that’s not our intention. Other landscapes are whispering in our ears. They await you beyond this white page.

Consíguela aquí.


Healing Architecture / The hospital-garden that helps healing

It would be hard to remember how many times I have wondered if there was a straight relationship between human behavior and architecture, if there is a direct relationship between the shape of the space and how we get along in the atmosphere that this space evokes.

Unfortunately, along my architecture studies, I haven’t found topics related to this, what is today called neuro-architecture, so I had to wait until I was done with school to fetch the chance to research and go deeper in this wonderful field.

Therefore, I spend my spare time looking for examples that demonstrate this invisible buttangible relationship between space and spectator. Let me explain. There are scientific evidences regarding this connection between what we do and how we do it, but few of these evidences have been taken as principles to design spaces. Moreover, we are nowadays analyzing spaces that show this connection as today’s example.

Few months ago, I ran into the Prouty Garden, part of the Children Hospital of Boston. A place that is said to help young patients heal, giving us a great example of this link between neuroscience and architecture (landscape architecture in this particular case).

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A life / Melnikov House

Cortesía de Do.Co.Mo.Mo

Arbat, residential district of Moscow, 1927. The Russia of change. After the Russian Revolution in 1917, and with Bolshevik ruling the Soviets under Lenin’s command, the USSR is born. This new Soviet Union would get entangled in the web of totalitarianism when, in 1927, an all power-possessing ruler arises: the ascension of Stalin dramatically defined the transformation of Soviet society, sculpting a new face of the country, characterised by collectivisation and industrialisation.

In such a political and social context, architecture, the main channel of propaganda and subliminal messages throughout history, wasn’t left aside. The revolutionary vanguards, waving the banner of constructivism, were imbued with an aesthetic search for provocative, free forms and functionality and found themselves blinded by a new wave of architecture.

In the middle of this landscape, the Melnikov house was built, home for the last 45 years to the architect Konstantin Stepanovich Melnikov. This work would be a turning point in the life of the artist: his own home became his most renowned and appraised masterpiece, but also his most bitter.

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