Sanz-Alarcón, J.P. (Juan Pedro)

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    Interacciones fotografía y arquitectura en la obra de Charlotte Perriand y Eileen Gray
    (Servicio de Publicaciones Universidad de Navarra, 2016) Moreno-Moreno, M.P. (María Pura); Sanz-Alarcón, J.P. (Juan Pedro)
    The capture of the reality across the photographic technology facilitated to the architecture an experimental tool in the area of the plastic abstraction. The overcoming of conventional looks stimulated the exploration of complex meanings that, developed in parallel to the architectural project, contributed an alternative knowledge both in the conceptual area and in the material. This paper will analyze the use of the photographic aim as the notebook of visual notes on the part of Charlotte Perriand (1903-1999) and Eileen Gray (1878-1976). Charlotte Perriand’s approximation to the photography was many-sided and like that, in the rereading of her images, it will differ from a new perception of the nature reflected in the most vernacular aspects of her projects, up to his socio-political activism spread thanks to strategic photomontages. Her interest in the field of the project, re-thrown by Pierre Jeanneret, invited her to photograph “ objects trouvés “ whose unexpected juxtapositions or studied staging with the Fernand Leger’s help were looking for a reactionary beauty-art brut –objected to any cold geometry or symmetrical order. On the other hand, Eileen Gray-vocational architect and painter with formation - developed the action to come out in photographs from two slopes: one with documentary character, revealing the spirit –pathos– of the synergic combinations of her designs in her architecture. And another one, as a procedure of experimentation concerning a visual lyricism established to surrealistic aspects. Her tablescape of daily objects in strange combinations –evocative of those of Man Ray and André Kértesz– or the images of trunks of trees, industrial ruins, and remains of heritage flooded by the Mediterranean light reveal certain abstract look towards the reality that crystallizes at once in his own work. In that context of exploratory avantgarde, the search of inspiration in both approaches demonstrates the interaction photography –architecture detected in the immediate appearance of plastic resonances in theirs works.