Arquitetura e Indeterminação. Padrões. Tótens Abstractizantes a uma Estratégia de Projecto

Abstract

Understanding the defined Arquitectura de la Indeterminación, by Yago Conde, as "a certain state of suspension to the meaning of an object or place, allowing an inexhaustible reestablishment of new limits of interpretation, reading and representation of moments" 01, exposing tension between hovering images of geometries and visual patterns, as an effort to determine an abstract and indeterminate character to which a process, project and drawing have been submitted. In a first moment, the reading and interpretation instruments between essayistic stations are anticipated, in order to define a sense of principle. The indeterminate condition of architecture unfolds in its own positioning, in a school/house, a drawing problem. In an abstract understanding/reading, it is recognized in both the architecture and the different artistic practices and images of the everyday life. Between distant/contrasting readings of the project under: a sea and a pier, an arboreal and a foamy, an abstract and a constructed. In a second moment, is searched an approximation to different project and creative processes related to the meaning of indeterminacy and abstraction. Is considered an individual reflection on the form, geometries, patterns and images, which are associated in affinity to the methods of Aldo Rossi, Eduardo Souto Moura, Batia Suter, Jurgen Mayer H. and Bernard Cache, understood as pedras-de-toque02 to the validation of a process on its own. In a third moment, the approximation to an experimental drawing of the project and the parallel phenomenal perception of the constructed form is established. It is reflected in a graphic language of the project and the representation of a language inherent to the form. In an abstract/indeterminate condition of drawing, where operations of experimental designs and structural alphabets come together, between formal systems of representation that prioritize and posteriorize the project.03 In a fourth moment, the essay of OM Ungers is reinterpreted as drawing and thinking through patterns, metaphors and analogies, as a visual essay of notebooks of recorded geometries instrumented by an abstract reading adapted from reality. As the final chapter, in a final moment, the permanent and transmissible questions are punctuated, evoking a continuous process and project, highlighting the abstracted formulas and totems, the personal and intuitive will, both reflected as a thought and the drawing of the project itself.