L’objecte d’estudi d’aquesta recerca tracta sobre la metodología i anàlisi de les transformacions del paisatge. Una metodología que requereix un llenguatge propi, per tal d’interpretar la percepció del paisatge en moviment.
Consisteix en fer un treball pont entre l’anàlisi formal del paisatge de carretera i les causes que han originat aquestes transformacions; l’anàlisi de la dinàmica del paisatge.
En primer lloc, es pendrà com a base i matriu territorial 3D el tram de la carretera C-260 entre Figueres i Roses (20 Km. aproximadament.)
En segon lloc, es procederà a seqüenciar el “paisatge de carretera” en tota una sèrie de fotogrames, definides per uns observatoris establerts al llarg del recorregut de la via. Resulta interessant destacar el concepte de “paisatge de carretera”, el paisatge no el fa la carretera, sino en la messura en què dóna accessibilitat al territori.
La tercera fase de recerca consistirà en el·laborar la cartografia 2D sobre la realitat del medi, catalogar els espais, detectar fragilitats, referències visuals, horitzonts, noves construccions, alineacions, etc. Es pretèn fer una interpretació de la realitat observada per poder posicionar-se en termes de projecte.
Per últim l’objectiu que es vol aconseguir és arribar a uns criteris o directrius correctores que serveixin com a base projectual de futures propostes i transformacions.
Abstract Projecte de Tesis:
Un paisatge de carretera: C-260 Figueres Roses
domingo, 4 de octubre de 2009
jueves, 1 de octubre de 2009
Manifiesto del tercer paisaje
TERCER PAISAJE: Este conjunto no pertenece ni al dominio de la sombra ni al de la luz. Está situado en sus márgenes. En las orillas de los bosques, a lo largo de la carretera y de los ríos, en los rincones más olvidados de la cultura, allí donde las máquinas no pueden llegar.
El tercer paisaje reviste a Tercer estado (Panfleto de Sieyès 1789) El tercer estado es TODO, ¿qué ha hecho hasta ahora? NADA. ¿Qué aspira a ser? ALGO
*Clasificación según Gilles clèment:
- Conjuntos Primarios: gran diversidad específica; especies estables, dinámica lenta; fuerte eudemismo
- Residuos: diversidad específica heterogénea; especies inestables; eudemismo débil.
- Espacios administrados: diversidad específica reducida; espacios mantenidos con energía contraria o artificialmente; eudemismo mínimo.
Un territorio que es declarado como reserva desde un punto de vista administrativo dispone de protección, vigilancia y sanciones. El borde de una carretera o un residuo urbano no son objeto de ninguna clase de protección. Son lugares que se desena reducir o suprimir. De todos modos, todos ellos constituyen reservas biológicas.
Los restos propios del Tercer paisaje están por encima (o más allá) de los restos territoriales
La realidad del Tercer paisaje es de orden mental. Funciona con la misma movilidad de la cuestión en juego: la vida en el planeta. Coincide con los recortes administrativos.
Se posiciona en el dominio ético
Adquiere una dimensión política.
La representación del Tercer paisaje depende de la posibilidad de fijar sus límites geográficos. *frontera residuo/territorio explotado
El límite del Tercer paisaje tiene un grosor superior al del límite administrativo
Uso no institucional del Tercer paisaje es uno de los usos más antiguos del espacio.
Considerar el margen como un territorio de investigación de riquezas al encuentro de medios distintos... capacidad para reinventarse constantemente
Design with nature
Paradoxically, the view from above induces both humility and sense of omnipotent power
Mc. Harg va utilitzar en el seu estudi -ecological landscape planning- fotografies del planeta terra realitzades des del satèlit Apolo.
Aircraft: the new Vision 1935
The eye now sees in substance what the wind could subjectively conceive; (the view from the air) is a new function added to our senses; it is a new standard of measurement; it is the basis of a new sensation. man will make use of it to conceive new aims. Cities will arise out of their ashes...The earth is our clock... One, thirty, three hundred and sixty five, those are the units by wich our undertakings must be measured
A modern stream: water, landscape, modernism, and geography
The streamline implied more than just speed -the latest stage in the conquest of space by time; it also implied rational, scientific efficiency through adjustment to natural flows. Water and air always follow the path of least resistance around obstacles
The Palladium Landscape
Geometry was the renaissance measure of man, that cultural invention of the years of discovery, whom the Renaissance philosopher Giovanni Pico della Mirandela placed widpoint between heaven and earth, angel and animal, and whom Leonardo located perfectly within circle ans square.
Music, art and science were all structured around mathematical harmonies (mathesis), each disclosing the coherency of the universe and embracing the full metaphorical range of measure described above.
Geometry uunited humanity and nature; it was the secret measure by which God's original creation had been ordered and sustained.
Across the american landscape
The airplane is the most visible of a great range of modern technologies that have progressively amhilated space by time over the course of this century
The streamline implied more than just speed -the latest stage in the conquest of space by time; it also implied rational, scientific efficiency through adjustment to natural flows. Water and air always follow the path of least resistance around obstacles
The eye now sees in substance what the wind could subjectively conceive; (the view from the air) is a new function added to our senses; it is a new standard of measurement; it is the basis of a new sensation. man will make use of it to conceive new aims. Cities will arise out of their ashes
Paradoxically, the view from above induces both humility and sense of omnipotent power
*Mc. Harg va utilitzar en el seu estudi -ecological landscape planning- fotografies del planeta terra realitzades des del satèlit ApoloOne must view with skepticism, then, those who claim to art upon the land with confidence and certainly (as might the "master-planner" for example), because such actions (measures) are always predicated upon a particular fiction, a representation (itself measured) that is not only ideologically loaded but also subject to shift and revision over time.
To appreciate the essential character of the American landscape, it is first necessary to understand how its appearance is an envolving expression of American ways of life and other material practices.
The American landscape, like the culture it embodies, is a magnificient paradox.
The aporia of modern measure is characterized by a general confusion of meaning and relationship between art and science, culture and nature, or objectivity and subjetivity.
TRADITIONAL MEASURES
1) The sources of traditional measures were the concrete experinces of everyday life... The movement of the planets, the rhythm of the seasons *Ref. Platón, els trascendentals del ser
2) Its development through the relationship of the human body to physical activities and materials... "day of field", "hands", "a stone's throw away"...
Both the phenomenal and imaginative dimensions of reality were earlier uses of measure and geometry...
Such measures made coherent the relationships between people, place, activity, morality, and beauty.
MODERN MEASURES
Measures assumed an increasingly autonomous and self-referential place in human Knowledge, becoming less and less connected to experiential and culturally situated origins.
The earth is our clock... One, thirty, three hundred and sixty five, those are the units by wich our undertakings must be measured
Because the human condition is finite and intimately bound to all other life on the planet, such measures belong to a world that is founded upon the values of hope, respect and humility. Poetic and fitting, measures of faith belong to a form of awiting, admitting, and opening that presumes neither closure nor certainly
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