Sueños arquitectónicos viajes cinematográficos - Félix Ruiz de la Puerta - Belén Relloso Horna

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Perhaps there is no way to understand filmmaking or architecture, or any other artistic expression, but to take them out of their context. This is the way that authors follow. They do not look for coincidences between the different arts, do not try to establish parallelisms between filmmaking and architecture but that a particular film scene, what the spectator perceives on the film screen: light, darkness, framing, depth of field, action, spatial construction, and so on, are able to bring to light the spatial configuration of architecture as very often the built form hides from the spectator view and vice versa. The work hypothesis of authors is very simple: the gesture. The gesture, as spontaneous manifestation of the artist, is the fundament of any kind of art. Thus he makes us understand John Wayne’s famous rifle scene in the film The Stagecoach by John Ford, with the fact of opening the gate of a garden. Or that a path in Vienna’s cemetery serves to understand the construction of the courtyard in the Salk Institute by Louis Kahn. This text is a tool, a filter that, relying on a poetic language, tries to bring to the surface the deepest intentions of the studied feature films and architectures.

Six films, six travels that generate an architectonic experience through the symbolic, collecting dimensions developed in parallel to other artistic disciplines that reinforce the starting hypothesis. This work, rather than comment the evident, pursuits to make visible the invisible to make the reading impregnated with a kind of revelation.

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