Questions about the room | Miguel Ángel Díaz Camacho

Zapatillas al pie de las escaleras del “cottage” en Upper Lawn. En “Alison y Peter Smithson. De la casa del futuro a la casa de hoy”, Dirk Van Den Heuvel y Max Risselada. COAC/Ediciones Polígrafa, Barcelona, 2007.
Slippers at the foot of the stairs of the “cottage” in Upper Lawn.
In “Alison and Peter Smithson. From the house of the future to the today house”, Dirk Van Den Heuvel and Max Risselada. COAC/Ediciones Polígrafa, Barcelona, 2007.

The space is the distance between two bodies. The dictionary always so conclusive1. Is here the exact, fenced and seemingly objective definition of the contumacious countless one, container of everything what exists: the space, distance between two bodies. The inoffensive aspect of this geometric precision on the space, actually limits the spatial condition to the constellation of relations between his marginal elements: the soil and the table, the tree and the window, the bridge and the plane … borders without which, and this one is the question, the space would not exist.

Of precise form, Luis Moreno Mansilla introduces the devices vision and limit as the instruments necessary for the appearance of the space:

“The idea of the space, as such, in yes same, probably do not exist. Capture forms, becomes visible, appears across the conscience or the vision of his limits. And this way, we can define a space as that one that stays between this wall and this line, between that limit and opposite this one, inside a frame”.2

The expansion of the limits liberates the space and there consoles the look of the men, something that the own one Le Corbusier should have understood from the panoramic vision that despliega to several thousands of feet on the landscapes of Rio, Sâo Paulo, Montevideo, Algiers or Buenos Aires.3

Another condition of the space exists nevertheless, an inverse species to opened by the geography of the things. It is a question of the space folded towards us, the space more here of the distances and the borders. Difficult to explain with words his nature, probably let’s be able wonder only if it is a question of the space of our own existence: the space of the memory or the emptiness that the second-hand excavates meticulously and systematicly:

“Every morning / close to the rubber-soled slippers / my life”.4

Chantal Maillard‘s prayer remembers the shoes of Alison and Peter Smithson floating of way arranged under Upper Lawn’s stairs. Together with them there rest the fingerprints of farms and ways of the whole Whiltshire’s county, steps accelerated by the study of London, thousands of kilometres crossed on board of his Citröen DS. As if the existence and the space were constituting actually an indissoluble, interior and exterior experience to a time. Experience and desire. Geography and memory. You ask on the space.

Miguel Ángel Díaz Camacho. PhD Architect
Madrid. May 2015.
Author of the Parráfos de arquitectura#arquiParrafos


1 The seventh definition of the room word spreads withdrawal in the Dictionary of the Spanish Language, RAE, 2001, page 971.

2 Luis Moreno Mansilla, “Los márgenes de los ojos”, CIRCO nº99, 2002, page. 3.

3 The Le Corbusier´s fascination for the planes and the look from the air made him cross thousands of miles between 1928 and 1958, his last trip. For more information about this topic We recommend “Conquering the air to look at the land” in Ramon Pico Valimaña’s book “Robert Smithson. Aereal Art“, Sevilla, IUACC, 2013, págs. 31-52.

4 Chantal Maillard, “La Herida en la Lengua“, Barcelona, Tusquets, 2015, page. 46.

Miguel Ángel Díaz Camacho

Doctor en Arquitectura, Decano de la Facultad de Tecnología y Ciencia UCJC. Presidente de la Asociación Sostenibilidad y Arquitectura,  perteneciente al Consejo Superior de los Colegios de Arquitectos de España. Director de MADC Arquitectos, estudio profesional con premios en concursos nacionales e internacionales, en la actualidad desarrolla proyectos en España y Noruega. Escritor y crítico de arquitectura, es autor de los libros “Párrafos de Arquitectura. Core(oh)grafías” (2016) y “Arquitectura y Cambio Climático” (2018).

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