Publication: Arhitectura Magazine, No.4.2011
de arh. Ana-Maria Crisan
Bubles, bubles…. in sticlele de sampanie….
Cam asa vede si arhitectura transparentele – ca o efervescenta minunata, ca o calitate intrinseca, a arhitecturii contemporane. Dincolo de calitatea amagitoare, transparenta nu exista. Insasi termenul se refera la posibilitatea de a vedea dincolo, sau la proprietatea clara aproape lichida a substantei imateriale din care e facut materialul.
Transparentele in arhitectura pot “dizolva“ bariere – culturale, lingvistice, stilistice, functionale, estetice.
Oprindu-ma asupra ultimei categorii, remarc abundenta trasnparentelor “de sticla” a ultimelor decenii, care in esenta par a fi mai mult oglinzi, sau bariere imperceptibile, nu transparente. In lumea art nouveau-ului sau a goticului, transparenta arhitecturii era calitatea scheletului de a se descompune, si subordona altor planuri pline, pana la traversarea vizuala totala. A vedea dincolo, de o masivitatea proprie a unei tehtonici stabile este in esenta exact opusul arhitecturii. O constructie lipsita de greutatea structurala, din carti de joc, are atribul transparentei prin calitatea de a da liber perceptiei, care se opreste in alte planuri, dincolo de limitele construite.
Jean Nouvel, de la inceputul carierei, si pana in prezent ramane tributar suprafetelor riguroase, transparente, bazandu-se pe dematerializarea limitelor intre interior si exterior. Fondation Cartier este o succesiune de planuri transparente, in care se proiectiile se suprapun, si anturajul verde este apropiat, multiplicat prin reflexie, intr-un gest prin care materialul fatadei nu mai este o limita imperceptibila, din contra, “loc” de intalnire al imaginilor. Cartier si Branly 1, la distanta de 4 ani, neaga orasul, cu amplele panouri transparente, ascunzandu-se in spatele unei imagini reflectate vag, in spatele unei bariere, care exista…. Jean Nouvel experimenteaza, abordand in L’Institut du Monde Arabe2, fatada perforata – ca un plan alcatuit deopotriva din plin si gol, un mecanism reglabil, care introverteste cladirea. Sanaa, adopta o tipoogie similara in Extensia Institutului de Arta Moderna, Valencia3, prin tratarea fatadei ca un filtru. Aceste panouri perforate, imprumutate stilistic din lumea islamica, erau la origini expresia clara a barierei intre zone functionale distincte, in prezent fiind preluate sub forma unor filtre de lumina, la limita opacitatii, fatade care rematerializeaza lumina.
Dincolo de aparenta optica, calitatea transparentelor, rezida insa in primul atribut, in proprietatea fantastica de comprimare optica, in capacitatea de a percepe mecanica unui proces, de a surpinde un fenomen, in spatele usilor inchise, de a fi mai mult decat un plan static.
Adica …. nu ajunge sa fie Crystal, ar trebui sa aiba si bubles….
Citiți textul integral în nr 4 / 2011 al Revistei Arhitectura.
foto: Fondation Cartier, Paris, Jean Nouvel, 1994 © Alexandru Crișan
Crystal? What they have in common Moet, Veuve Cliquot and Cartier … Fondation Cartier?
Bubbles, bubbles…. in the champagne bottles5….
This is how architecture also sees transparency: as a kind of effervescence, an intrinsic quality of contemporary architecture. Beyond its deceitfulness, transparency does not exist. The very term implies the possibility to see through or the clear, almost liquid quality of the immaterial substance of which the material is made.
Transparencies in architecture may overcome many barriers: cultural, linguistic, stylistic, functional, aesthetic.
If I dwell on the last category, I have to notice the abundance of the last decades’ „glass transparencies”, which essentially tend to suggest mirrors or imperceptible barriers rather than transparencies.In the Art Nouveau or Gothic worlds, architectural transparency was the quality of the skeleton of decomposing itself and becoming subordinate to other full plans, until total visual crossing. To see through, beyond the massiveness characterizing a stable tectonics is essentially the very opposite of architecture. A building lacking structural weight, a building made of game cards, is transparent because of its quality of giving free rein to perception, which stops to linger on other planes, beyond the built limits.
Jean Nouvel, from the beginning of his career and until present, has remained indebted to rigorous, transparent surfaces, relying on the dematerialization of the limits separating the interior from the exterior. Fondation Cartier is a succession of transparent plans, where projections overlap and the green proximal space is drawn nearer, multiplied by reflection, in a gesture converting the material of the façade from an imperceptible limit into its opposite, a „place” of meeting for the images.
Read the full text in the print magazine- nr 4 / 2011 Arhitectura.1 Crystal – Champagne initially produced by Louis Roederer for Tsar Alexander II of Russia. Crystal is the first cuvee champagne in the world, targeted at elite consumers and marketed since 1945 – source: www.crystalchampagne.net. 2Moët & Chandon – company established in 1743 by Claude Moët; produces annually approximately 26,000,000 bottles of champagne. 3 Veuve Clicquot Ponsardin – a champagne house from Reims, France, and a premium brand; founded in 1772 by Philippe Clicquot-Muiron; the 1811 edition „comet vintage” – Veuve Clicquot is considered to be the first modern champagne due to its pioneering manufacture technique applied (méthode champenoise-remuage) – source: http://www.veuve-clicquot.com/accessed: 05/09/2011; 4Fondation Cartier pour l’Art Contemporain – Jean Nouvel, Emanuel Cattani et Associés (1995) – 261 boulevard Raspail, 75014 Paris, France 5145 bottles of champagne, part of which were produced by Veuve Clicquot, dating from the first half of the 1800s, were discovered in a sunk wreck in the Baltic Sea, in July 2010. „Three of the bottles found last summer were opened on November 16 and confirmed to be Veuve Clicquot: the brand is clearly legible on the inside of the cork. A deep yellow colour, refined hints of flowers and citrus and length in taste are the striking characteristics of this still sparkling champagne. It is intact yet almost two centuries old, as if it had travelled in a time machine. The Baltic route was often used for shipments to Russia, which sealed the early commercial successes of the champagne House, founded in 1772. The branding discovered in Marienhamn, Aland Islands, includes a comet which was added to her logo by Madame Clicquot, to pay tribute to the one that went through the skies of Champagne in 1811, a year of a superlative harvest. This historical discovery confirms Madame Clicquot’s motto: «One quality only, the finest.»” source:http://www.visitaland.com/en/facts/champagne;
Extras din scenariul filmului Four Rooms9(1995) – Screenplay:Allison Anders, Alexandre Rockwell, Robert Rodriguez, Quentin Tarantino.
Cristal. When you’re drinkin’
anything else, you’re drinking
champagne. When you’re drinkin’
Cristal, you say you’re drinkin’
So, Ted the Bellboy, as I was saying —
would you care for some champagne?
That’s not what I was saying, but
would you care for some champagne?
No, thank you.
Ya sure? Cristal. It’s the best. I
never liked champagne before I had
Cristal, now I love it.
Okay, yeah, sure.
As Chester goes and pours Ted a glass:
As I was saying, Ted, don’t worry
about being late. For our purposes,
promptness is far behind thoroughness.
On “thoroughness,” he hands Ted the glass.
They clink glasses and drink.
Whadya say, Ted?
No, not thank you. Whadya say about
the tasty beverage?
Fuckin’ good, Ted. It’s fuckin’ good.
Let’s try it again, shall we? So,
Ted, whadya think about the beverage.
It’s fuckin’ good.
You bet your sweet bippy, Ted.
It’s fuckin’ Cristal,
everything else is piss
Chester walks over to Ted and fills his glass
Who drank out of this bottle — not
the other bottles — this bottle
What’s wrong, Chester?
He spills the champagne from his glass onto the floor.
It’s fuckin’ flat, Norman, that’s
what’s wrong. The champagne — the
fuckin’ Cristal’s fuckin’ flat.