El recuerdo de infancia –o la huella de Proust– en Peter Zumthor
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Mediante un doble testimonio, escrito
y construido, Peter Zumthor manifiesta
explícitamente la huella de la infancia que
subyace en su impulso creativo, como una
presencia, en su Pensar la arquitectura. La
correlación de ambos registros, el literario y
arquitectónico, nos permite esbozar el germen
de una epistemología de la arquitectura a
partir del recuerdo de infancia así como una
relectura de Marcel Proust a través de la obra
del arquitecto.
Desde este territorio primigenio de la
experiencia, la analogía entre la evocación del
texto “En busca de la arquitectura perdida”
(2010), y la atmósfera de su obra para el
Serpentine Gallery Pavillion, en Hortus
conclusus (2011), nos invita a comprender la
huella de la infancia como un poderoso hilo
conductor de su impulso creativo. Partiendo
de la escena de infancia, realizaremos una
lectura del pabellón como un viaje en el tiempo
penetrando en el espacio de la memoria, donde
la arquitectura busca recobrar una conciencia
que no osamos comprender mientras habita en
nuestro propio cuerpo.
By a double testimony, written and constructed, Peter Zumthor manifests explicitly the childhood footprint that underlies his creative impulse, as a presence, in his “thinking about architecture.” The correlation of both records, literary and architectural, allows us to outline the germ of an epistemology of architecture from childhood memory as well as a re-reading of Marcel Proust through the work of the architect. From this original territory of the experience, the analogy between the evocation of the text “In search of the lost architecture” (2010), and the atmosphere of his work at the Serpentine Gallery Pavillion, Hortus conclusus (2011), which invites us to understand the imprint of childhood as a powerful leitmotif of his creative impulse. From this childhood scene, we will conduct a reading of the pavilion as a journey through time, penetrating the memory space where architecture seeks to recover an awareness which we do not dare to understand while it dwells in our own body.
By a double testimony, written and constructed, Peter Zumthor manifests explicitly the childhood footprint that underlies his creative impulse, as a presence, in his “thinking about architecture.” The correlation of both records, literary and architectural, allows us to outline the germ of an epistemology of architecture from childhood memory as well as a re-reading of Marcel Proust through the work of the architect. From this original territory of the experience, the analogy between the evocation of the text “In search of the lost architecture” (2010), and the atmosphere of his work at the Serpentine Gallery Pavillion, Hortus conclusus (2011), which invites us to understand the imprint of childhood as a powerful leitmotif of his creative impulse. From this childhood scene, we will conduct a reading of the pavilion as a journey through time, penetrating the memory space where architecture seeks to recover an awareness which we do not dare to understand while it dwells in our own body.
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Eslava Cabanellas, C. (2016). El recuerdo de infancia –o la huella de Proust– en Peter Zumthor. REIA: Revista Europea de Investigación en Arquitectura, (6), 37-56. http://reia.es/REIA6_02.pdf







