The architecture of the silence | Marcelo Gardinetti

The Farnsworth House | Phootography: Jonathan Rieke | Source: flikcr

The meanings of the word I silence they allow to establish a multiplicity of allegoric images that can be applied indistinctly to different contexts. Understood as absence of noise, it allows to interpret an introverted profile of reflection. In the architectural fact, a silent intervention can turn out to be that one who does not interfere with the natural characteristics of the site where it is inserted.

In this respect, the incorporation of the Farnsworth House in the leafy land that borders on the river Fox composes an operation that suggests the reading of a secret portrait. The forms of his architecture construct the poetical necessary simbiosis to insert the man in the landscape. A simbiosis that comes out his own faculty in the complementación of forms, textures and tonalities structured under a poetics that enaltece in the metric ones of transparencies and established opaquenesses.

Of this form, the relation between linguistics and site develops by means of an architectural statement that denies the privacy so much as his own materiality.

The omission of ways to come to the house is one of the most forceful gestures of silence that uses Grain not to interfere in the site. In his enclave, the horizontal planes that construct the space levitan as lines planned in the horizon. The low plane establishes itself at a height of the eyes to accentuate this perception flotable. The Superior lodges not very far from the angle of vision, to avoid the sudden rumor of the look.

The Farnsworth House | Phootography: Jonathan Rieke | Source: flikcr

This game compositivo ends for composing an operation of absolute classic sense: a podium, a horizontal dominant space and the rhythmic sequence of the elements of support. Nevertheless, the gesture of displacement applied to the podium constructs a profile that resembles figures of abstract paintings of the first decades of the 20th century and allows to dilute the features of classicism before mentioned.

The columns betray a rigorous accuracy. This regularity turns out to be revealed by the application of elements under the stimulus of the technology. His location removed from the angles of intersection of the transparent planes, allows desmaterializar the angles of the volume.

To accentuate this perception, the transparent perimeter does not turn out to be interrupted by any element. The plane of constant glass expresses his denial to the materiality of the volume and the visual continuity only is disabled for the body of services.

Consequence of his own quality, the front blurs the habitual borders. This condition can attribute a double to him oxímoron: the interior out, the exterior I enter. An abstract conception ratified by the application of neutral colors, which happen unnoticed in the context in which it is inserted.

Ignoring any mimetic action, the Farnsworth house dilutes his abstract character in the nature. His forms reveal a synthetic character and ratify in a concrete way the maxim of his author.

His moderate and decisive figure connected between the arboreal species that live the site, thinks up a subliminal message: when the architecture fertilizes a silent infiltration between elements of the nature, the arrangement of the site reaches his major beauty.

The Farnsworth House | Phootography: Jonathan Rieke | Source: flikcr

Mies knew this secret.

Marcelo Gardinetti. Architect

La Plata. February 2014

Marcelo Gardinetti

No voy a hablar de la penumbra, mejor voy a ver si puedo despertar.

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