I do not remember the year, but yes that I remember that it was a winter. I opened a suspicious book of the library of the university, very well supplied of nooks and wrong books, and thought the image that it illustrates this post, Concetto Spaziale Attese, 1968. In these times it was walking obsessed with Barragán, not specially at all prominently for a pupil of the third or fourth course. Nevertheless the image of Lucio Fontana‘s stabbed fabric, it opened a wound in the concept of the space that has accompanied me always. There is absolutely nothing between Barragán’s spatial appearance and the fabrics wounded by Fountain, and nevertheless the coincidence temporary space of the moment, leads me to associating constant Barragán with Fountain and vice versa. Probably this relation, also mistaken, turns into a post some day.
I jump several periods up to coming to today. I recover the White Manifest1 of 1946, predecessor of Spazialism‘s idea. Again, in an erroneous book arranged in a non-place, a table obsolescente in a strange house, which lately receives my nights, I find this vital text. There is something deeply precarious in this meeting. And nevertheless also there is something specially pertinent.
Accidentally to spoil the memory of the artist Italoargentino, I proceed to distinguish some of the points from the manifest elder, changing any reference to the art, for that of architecture. He would never excuse it to myself, I know it, but he died in 1968. I still am alive. Nonetheless I ask for excuses him.
This exercise, of supplanting2 simply the word consists of changing art into the word architecture. Hereby so simple, the text turns transgresoramente contemporary, that is to say, of his time, of the time of today, be this the one that we decide that it should be.
Este ejercicio, de suplantación2 simplemente consiste en cambiar la palabra arte por la palabra arquitectura. De esta manera tan sencilla, el texto se vuelve transgresoramente contemporáneo, es decir, de su tiempo, del tiempo de hoy, sea este el que decidamos que sea.
We are continuing the evolution of the architecture…
The architecture is in a period of latency. There is a force that the man3 cannot demonstrate. We express it in literal form in this manifest.
Because of it we ask all the scientists of the world who know that the architecture is a vital need of the species, which they orientate a part of his investigations towards the discovery of this luminous and malleable substance and of the instruments that will produce sounds, which allow the development of the architecture four-dimensional.
The ideas are not refuted. They are in germ in the company, then the thinkers and the architects express them.
All the things arise for need and are of value in his epoch.
The transformations in the material means of life determine the psychic conditions of the man across the history.
There transforms the system that directs the civilization from his origins.
The enormous findings of the science gravitate on this new organization of the life.
The discovery of new physical forces, the domain over the matter and the space imposes gradually on the man conditions that have not existed in the whole history. The application of these findings in all the forms of the life produces a modification in the nature of the man. The man takes a psychic different structure.
Today, the experimental knowledge replaces to the imaginative knowledge. We have conscience of a world that exists and is explained for yes same, and that cannot be modified by our ideas.
HWe need a valid architecture for yes same…
The pleasant life has disappeared. The notion of the rapid thing is constant in the life of the man.
The architectural age of the colors and the paralytic forms touches to his end. The man becomes increasingly insensitive to the images fixed without indications of vitality. The former immobile images do not satisfy the cravings of the new man formed in the need of action, in the conviviality with the mechanics, that it imposes a constant dynamism on him. The aesthetics of the organic movement replace to the exhausted aesthetics of the fixed forms.
Invoking this mutation produced in the nature of the man in the psychic and moral changes and of all the relations and human activities, we leave the practice of the forms of the architecture known and approach the development of an architecture based on the unit of the time and of the space.
The new architecture takes his elements of the nature.
The existence, the nature and the matter are a perfect unit. They develop in the time and in the space.
The change is the essential condition of the existence. The movement, the property of evolving and to develop is the basic condition of the matter. This one exists in movement and not otherwise. His development is eternal. The color and the sound are in the nature tied to the matter.
The matter, the color and the sound in movement, are the phenomena which simultaneous development integrates the new architecture.
The construction of voluminous forms in mutation by means of a plastic and movable substance.
Arranged in the space they act in synchronous form, integrate dynamic images.
We exalt this way the nature in all his sense.
The matter in movement demonstrates his total and eternal existence, developing in the time and in the space, adopting in his mutation different conditions of the existence.
We conceive the man in his reunion with the nature, in his need to link itself to her to take again the exercise of his original values. We postulate a complete comprehension of the primary values of the existence, because of it we restore in the architecture the substantial values of the nature.
Let’s sense beforehand the substance, the accidents. We represent neither to the man, nor to other animals nor to other forms. These are manifestations of the nature, mutables in the time, which they change and eliminate according to the succession of the phenomena. His physical and psychic conditions are subject to the matter and to his evolution. We direct for ourselves the matter and his evolution, sources generatrices of the existence.
We take the own energy of the matter, his need to be and to develop.
We postulate a free architecture of any aesthetic artifice. We practise what the man has of native, of really. We reject the aesthetic falsehoods invented by the speculative art.
We never locate ourselves near the nature since it the architecture has been in his history.
Our intention is to approach in a synthesis all the experiences of the man, which joined the function of his natural conditions, an own manifestation of the being constitutes.
From this new condition of the conscience an integral architecture arises, in which the being works and demonstrates in its entirety..
We conceive the synthesis as a sum of physical elements: color, sound, movement, time, space, integrating a unit physicist psychic. Color, the element of the space, sound the element of the time and the movement that develops in the time and in the space, they are the fundamental forms of the new architecture, which contains four dimensions of the existence. Time and space.
The new architecture needs the productive function of all the energies of the man, in the creation and in the interpretation. The being demonstrates integrally with the fullness of his vitality.
Certainly, also it happens to me that when I see Lucio Fontana’s photography, I am thinking about seeing Antonio Tabucchi.
Miquel Lacasta. PhD architect
Barcelona, november 2013
1 White manifest, published as opuscule in Buenos Aires in 1946, was never signed by Lucio Fontana, in fact it was produced under his direction by the students Bernardo Arias, Horace Cazeneuve, Marcos Fridman, Paul Arias, Rodolfo Burgos, Enrique Benito, César Bernal, Luís Coll, Adolfo Hansen and Jorge Rocamonte. I ask all of them also for excuses.
2 That is to say, literally I change the word art and all those words that refer to the art, for that of architecture. Also I have proceeded to eliminate some parts of the manifest for thinking that they reach relatively little to this exercise of transvestismo. I have emphasized in boldface the changes in order that those connoisseurs of the original text could corroborate the honesty of my deception.
3 I would like to change the word man into the word individual, clearly more trans-generic, but manipulation has seemed to me to be too much. It is not necessary to forget that the text is of 1946 and the word man was alluding to all the kinds of his species, already they were of the masculine, feminine or different kind. It is curious that today this word sounds so exclusively.