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Erschienen in:
Beyond Architectural Representation: A Contemporary Gaze Around Jujol’s Work Kapitel lesen Erstes Kapitel lesen

2024 | OriginalPaper | Buchkapitel

Unveiling the Environment Through the Exploration of Optical Phenomena and Color: Navarro Baldeweg’s Interior III (1975)

verfasst von : Covadonga Lorenzo-Cueva

Erschienen in: Graphic Horizons

Verlag: Springer Nature Switzerland

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Abstract

Juan Navarro Baldeweg´s installation Interior III (1975) was exhibited at the Center for Advanced Visual Studies (CAVS) of the Massachusetts Institute of Technology (MIT) in 1975, as a compendium of the research that he began to develop around the exploration of optical phenomena and color, seeking to investigate those mechanisms that allow observation, apprehension, and the understanding of the environment. The installation is part of a series, in which, starting from empty rooms, Juan Navarro Baldeweg explored various concepts and ideas, which, over time, came to be what he called the essential variables that can be found in his architectural designs and works of art. The study of this installation and the optical pieces that he created in this context can help us understand in depth some of these variables, which ended up laying the foundations on which his unique professional career is based.

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Vorheriges Kapitel Drawing the Quotidian. The Emergence of Ethnographic Drawing in Japan
Nächstes Kapitel James F. Stirling: Master of Representation. Graphic Resources Used in His Bachelor's Thesis Work
Fußnoten
1
It investigated the ability of vision to integrate images from different angles that are perceived with each of the eyes, into a single one in our brain, to generate a three-dimensional reconstruction of what is perceived, responsible for the sense of depth.
 
2
In the course program, which was taught again in the spring semester of 1975, the contents of the course were explained in the following paragraph: “The making of stereo visual spaces for the interior and outdoor environment. Cross-sensory explorations between stereo vision and auditory dimension will be investigated. After images. Thresholds. To the logical resonances. Tuning. To the body. To the environment. Acoustic spaces of felt sound phenomena, experienced either subliminally, or making recognizably direct physical resonances to the body. Composite mental images of immersion in space, as in stereo vision; direct physiological experience of an acoustic space, as distinguished from the perception of an acoustic space, aurally, as ‘image’”. See Center for Advanced Visual Studies Special Collection (CAVSSC), 1975. Projects in Environmental Art: Installations. Course Offerings. Spring Semester 1975. Cambridge, Massachusetts: Massachusetts Institute of Technology, Program in Art, Culture & Technology.
 
3
A persistent retinal image is one that remains retained in the mind by the direct stimulus of a color, which is no longer before the eye. It occurs when a colored surface is observed for a while and then the eye quickly glides over a gray or white surface. In these cases, the complementary or opposite color of the one observed first would be seen in second place; thus, when contemplating red, for example, the after image will be bluish green.
 
4
Simultaneous contrast is a phenomenon of visual perception whereby the colors of a figure tend to be seen with the opposite tonality, saturation or luminosity to the colors of the background on which they are placed.
 
5
Another CAVS’s fellow, Alejandro Siña, also worked at that time with neon gas lamps, in pieces such as Neon Gas discharge Sculpture (1974), in which rays of red light were created inside neon gas crystal lamps, using high-voltage electric discharges generated with a capacitor. The contact of the hands with the lamps generated different patterns of light. With these interactive pieces, the viewer was invited to activate a play of light and color by contact.
 
Literatur
1.
Center for Advanced Visual Studies Special Collection (CAVSSC): Plans and Perspectives: Budget. CAVS (1971–1974), Massachusetts Institute of Technology, Program in Art, Culture & Technology, Cambridge, Massachusetts (1974)
2.
MIT Institute Archives and Special Collections: Center for Advanced Visual Studies, School of Architecture and Planning. Report to the President and the Chancellor. Cambridge, Massachusetts (1975)
3.
Center for Advanced Visual Studies Special Collection (CAVSSC): Projects in Environmental Art: Installations. Course Offerings. Spring Semester 1975. Massachusetts Institute of Technology, Program in Art, Culture & Technology, Cambridge, Massachusetts (1975)
4.
Center for Advanced Visual Studies Special Collection (CAVSSC): Academic semester Coursebooks. Serie 3: Academic Program Files (1974–1975). Box 5, Folder 1. Massachusetts Institute of Technology, Program in Art, Culture & Technology, Cambridge, Massachusetts (1974)
5.
Center for Advanced Visual Studies Special Collection (CAVSSC): Individual Work by Fellows. (1971–1974). Serie 8: Works on Paper. Massachusetts Institute of Technology, Program in Art, Culture & Technology, Cambridge, Massachusetts (1974)
6.
Center for Advanced Visual Studies Special Collection (CAVSSC): Navarro Baldeweg, Juan (1970–1975). Serie 5: Individuals. Box 16, Folder 3. Massachusetts Institute of Technology, Program in Art, Culture & Technology, Cambridge, Massachusetts (1975)
7.
Center for Advanced Visual Studies Special Collection (CAVSSC): Collaborative Projects (1971–1974). Serie 8: Works on Paper. Massachusetts Institute of Technology, Program in Art, Culture & Technology, Cambridge, Massachusetts (1974)
8.
Navarro Baldeweg, J.: El medioambiente como espacio de significación. Fundación Juan March, Madrid (1975)
Metadaten
Titel
Unveiling the Environment Through the Exploration of Optical Phenomena and Color: Navarro Baldeweg’s Interior III (1975)
verfasst von
Covadonga Lorenzo-Cueva
Copyright-Jahr
2024
Buch
Graphic Horizons

Print ISBN: 978-3-031-57578-5

Electronic ISBN: 978-3-031-57579-2

Copyright-Jahr: 2024

DOI
https://doi.org/10.1007/978-3-031-57579-2_29