Gogo andamioak arkitektura pentsamenduaren lanketan

Abstract

Jakintzat ematen bada ere, arkitektura maketak esanahi desberdin askotarikoak uztartzen dituen objektu multzo bati egiten dio erreferentzia. Eremu honen hedakortasuna eta lausotasuna erakargarria bada ere ikuspegi artistiko batetik, sarriegi produktu amaituen miniaturazko errepresentazio soil bezala ulertuak izatera mugatzen dira. Idazlan honetan fokua aipatu eremu hedakor horren mugetara bideratu nahi da: errepresentazio nahia desagertzerainoko muga eremuetan operatzen duen objektu arkitektonikorantz hain zuzen. Objektu hauek lanabes bezala identifikatuko ditugu, praxi baten isla zuzen, proiektu arkitektonikoaren bilakaera prozesuaren baitan lehen lerroko agente. Horrela pentsamendu arkitektonikoaren lanketarako lanabes izateaz gain, proiektatze prozesua beraren lorratz edo hondakin bezala ulertuko ditugu. Errepresentazioaren muga eremuetan barna ibiltzeak eta pentsamenduen eskuzko lanketari zentraltasuna emateak arte sorkuntzaren esparrutik zuzendutako begirada analitikoa desiragarri bezain derrigorrezko egiten du. Azken hamarkadetan arkitektura bera arte galerietara eramateko mekanismoa izatetik haratago, nola arkitektura maketak arte lanaren sorkuntza dinamikak ere partekatu ditzakeen ikusiko dugu, eta nola berauek ere defini ditzakeen.; Oftenly taken for granted, architectural model refers to a set of objects that combine a variety of different meanings. Although the wideness and vagueness of this field is appealing from an artistic point of view, too often they are limited to being understood as mere miniature representations of finished products. The aim of this paper is to focus on the limits of this area: towards the architectural object that operates in the boundary areas where the desire for rep-resentation disappears. We will identify these objects as tools, a direct reflection of a praxis, a front-line agent in the process of the development of the architectural project. In this way, in addition to being a tool for the elaboration of architectural thinking, we will understand as a trace or a waste of the same projection process. Giving centrality to the boundary areas of representation and to the manual elaboration of thoughts makes the analytical gaze directed from the realm of artistic creation as desirable as it is mandatory. Beyond being a mechanism for bringing architecture itself to art galleries in recent decades, we will see how architectural models can also share the dynamics of the creation of art works, and how they can define them as well