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Declaración Artística noviembre 29, 2010

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Declaración Artística

Creo arte en el espacio, al que entiendo como un contenedor intangible capaz de acoger un cúmulo de expresiones y sensaciones formuladas temporalmente por un cuerpo organizado y revelado ante la dimensionalidad. Por ello mi trabajo es una perspectiva interdisciplinaria sustentada en ideas que estimulan acciones para la construcción de una sensibilidad enlazada a trayectorias, cuestiones y sorpresas condicionadas al tiempo, a la materia y a las relaciones entre la individualidad y la colectividad.

La constante en mi obra expone un carácter cinético que busca lograr múltiples significaciones resultadas de la activa intervención del espectador. Experiencias que no se aprecian solamente como una referencia lúdica, sino como la consecuencia y responsabilidad confabulada a la participación.

Es así como provoco junto a la diversidad y uso de recursos materiales e inmateriales, el desarrollo de procesos conceptuales y constructivos similares a los efectos de un laboratorios experimental fuera de control, el cual se reconfigura constantemente para volverse cómplice de piezas híbridas que priorizan formas diferentes hacia contextos cotidianos, explorando posibilidades criticas y reflexivas para un espacio transformable, energético y vivaz que es al mismo tiempo presencia física y, paradójicamente, una apariencia inmaterial.

Christian Saucedo

invierno 2010

Elements of Screenology noviembre 18, 2010

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Elements of Screenology

Erkki Huhtamo

A covered framework, partition, or curtain, either movable or fixed, which serves to protect from the heat of the sun or of a fire, from rain, wind, or cold, or from other inconvenience or danger, or to shelter from observation, conceal, shut off the view, or secure privacy; as, a fire-screen; a folding-screen; a window-screen, etc.; hence, such a covered framework, curtain, etc., used for some other purpose; as, a screen upon which images may be cast by a magic lantern; in general, and shelter or means of concealment.

Definition of ‘screen’, The Century Dictionary and Cyclopedia, 1911 (1889)
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Urban Screens: Discovering the potential of outdoor screens for urban society agosto 20, 2010

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Urban Screens: Discovering the potential of outdoor screens for urban society

Tore Slaatta

Abstract

Architecture and media technology is melting into each other, and buildings are turning into becoming media infrastructure. Following Sharon Zukin’s suggestions on how to interpret urban change as social and cultural change, the article discuss how our new electronic landscapes mediates, both symbolically and materially, between the socio-spatial differentiation of capital implied by market and the socio-spatial homogeneity of labour suggested by place. The focus is set on how large media corporations are presently developing building projects where the use of screen technology is an important element. These projects are analysed as reflecting shifting corporate and cultural ideas about the relations between media and society: a new material and symbolic relation between constructed spaces for symbolic creativity in the global audio visual industry and global urban centres. As with all “new” technologies, the convergence of buildings and media technology has been envisaged for some time; what is new is not necessarily the idea, but the ways in which current technology makes it possible. As the technological possibilities of urban screens unfold, we become able to analyse their social and cultural consequences more fully.

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Intelligent skin mayo 12, 2010

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Intelligent skin: Real virtual

Vera Bühlmann

Abstract

What will it feel like to live in a city, where houses court each other in springtime?

The ‘intelligent-skin’ project investigates the potential of media-façades in terms of corporate communication: what does it mean to build houses out of bricks of mediality? What does it imply to say that communication literally takes place? The virtualization of housing through large sized media skins will introduce medial milieus into our urban spheres to come – they might seize to function as add-ons and instead become infrastructure of our very surrounds just like street lightening, many-storey buildings or large sized rear windows have come to be. And like any of these, media façades will introduce new social habits; they will stimulate us to integrate new ways of engaging with our surrounds into every day live.

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On Art, Interactivity and Tactility febrero 5, 2010

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On Art, Interactivity and Tactility

Erkki Huhtamo

1.

“I have secretly caressed paintings in museums, shaken hands with statues…” This line from a song called “The Tourist” recently caught my attention.1 Is this an expression of projected affection? The confession of a madman? An account of innocent touristic pranks familiar from travel snapshots? Or is it a deliberate subversion of received codes of behavior with – perhaps – ideological implications? As it turns out, the protagonist of “The Tourist” is a loner, “a man lost in his hometown.” Touching paintings and sculptures is a compensation for the lack of a human touch that he has been searching for “in wrong places.” Touching the untouchable, crossing the line, avoiding the public eye. Our experiences in public spaces often include the temptation to ‘exceed the limits,’ at least for a passing moment. Such actions often involve the hand. I have met ‘normal’ people – including artists – who occasionally practice shoplifting. Not for profit or the need for anything – the stolen object is something insignificant, like a piece of gum. For such people the act of shoplifting is more like a sleight-of-hand that challenges the limits of the permissible. It is also a test of one’s agility and “guts,” bringing to mind the lonely endeavors of Robert Bresson’s Pickpocket (1959). More determined challenges are the “para-legal” arts of street graphics and graffiti that often spring from alienation. They represent the need to “make one’s mark” and to assert one’s presence while remaining anonymous, a shadow figure. Posting notes or spraying tags is linked with tearing down, covering, replacing. These acts are part of an unfinished/able urban semioclasm, a palimpsest taking place anywhere where bills are posted and bare walls – potential surfaces to be filled – are available.

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Urban Screens: the beginning of a universal visual culture septiembre 23, 2009

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Urban Screens . the beginning of a universal visual culture

Urban Screens: the beginning of a universal visual culture

Paul Martin Lester

Abstract

Austrian statistician Otto Neurath wrote in 1925, “words divide, pictures unite.” In 1936 Neurath introduced a set of pictographic characters he called Isotype (International System of Typographic Picture Education) that he hoped would become a universal visual language and help unify the world. Traffic, airport, and Olympic competition sign designers owe their careers in large part to the efforts of Neurath and his staff. As we can see today by the examples shown and analysed in this special issue on urban screens, the unification of the world is happening literally in front of our eyes whether as similarly stylistic graffiti mural presentations or seven-story nanotech light shows projected on an infinite variety of urban substrates. Literal, narrative, horizontal, cloistered, and verbal culture is being replaced by symbolic, interactive, profound, global, and visual culture. Neurath would be pleased.

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Art Installation or Hackers’ Gimmick? mayo 27, 2009

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Blinkenlights

Art Installation or Hackers’ Gimmick?

Tim Boer

…Die Hauptfortschritte der Zivilisation sind Vorgänge, welche die Kulturen, in denen sie stattfinden, fast zugrunde richten.“

Alfred North Whitehead (1861-1947)

When it is dark, 144 blinking windows illuminate a huge socialistic building of 54 meters height in the centre of East Berlin. It is located directly at the traffic junction of Alexanderplatz, its long side facing the public plaza with its shopping malls, train stations and stop-over points.

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Manifiesto de la Arquitectura Futurista noviembre 26, 2008

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metropolis

Manifiesto de la Arquitectura Futurista

Antonio Sant ́Elia.

Dirección del Movimiento Futurista, Milán, 11 de julio de 1914.

Después del siglo XVIII la arquitectura dejó de existir. A la mezcla destartalada de los más variados estilos que se utiliza para disfrazar el esqueleto de la casa moderna se le llama arquitectura moderna. La belleza novedosa del cemento y del hierro es profanada con la superposición de carnavalescas incrustaciones decorativas que ni las necesidades constructivas ni nuestro gusto justifican, y que se originan en la antigüedad egipcia, india o bizantina o en aquel alucinante auge de idiotez e impotencia que llamamos neo-clasicismo.

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Un estadio para 4.000 millones de espectadores agosto 30, 2008

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Un estadio para 4.000 millones de espectadores

José Pérez de Lama / notas de trabajo

Descrito mediáticamente con el mixtificador nombre de “El Nido”, cuando más bien parece una jaula, el estadio olímpico de Pekín y la inauguración de los Juegos Olímpicos que tuvo allí lugar constituyen quizás el acontecimiento arquitectónico y metropolitano global más sobresaliente desde el Guggenheim de Bilbao (1997).

Como el Guggenheim, diseñado por el starchitect global Frank Gehry, el estadio olímpico de Pekín también es diseño de dos arquitectos estrellas, en este caso, el equipo de origen suizo Herzog y De Meuron (en España el Forum 2004 de Barcelona, el Museo del Flamenco de Jerez – proyecto – y la sede de Caixa Forum en Madrid; a escala global, la Tate Modern de Londres).

Lo que hace especialmente destacados ambos proyectos, no es sólo su innovación y/o belleza formal y tecnológica, – sino el ser como el Barca en su momento -, algo más que una arquitectura – en el sentido tradicional del término. Analizarlo así, estimo que nos da más claves para pensar su seducción y el significado de su relevancia innovadora. Cuando analizamos edificios les pregunto a mis estudiantes por las formas singulares de belleza que crean los edificios que nos atraen. Una de las vías por las que me gusta aproximarme a la cuestión es preguntándonos por las nuevas máquinas que las arquitecturas contribuyen a generar, las máquinas en las que se ensamblan, en cuya creación participan. Máquinas, entendidas, como escribe Brian Holmes, en el sentido fuerte del término, en el sentido deleziano-guattariano, esto es, “los ensamblajes simbólicos, tecnológicos, humanos (y espaciales) que nos configuran a nosotros mismos y a nuestras sociedades, y las hacen funcionar de las formas especificas en que lo hacen”. (1)

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The poetics of urban media surfaces junio 23, 2008

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The poetics of urban media surfaces

Lev Manovich

Abstract

Although historically built environments were almost always covered with ornament, texts and images, the phenomenon of the dynamic multimedia information in these environments is new. Living your life in the modern city, you constantly interact with multiple urban media interfaces – from the small screen of a mobile phone to a large screen of a public electronic billboard. This essay will discuss how the general dynamic between spatial form and information which has been with us for a long time, functions differently in computer culture of today. What are the most aesthetically daring examples of urban media surface designs so far? How is our experience of a spatial form (i.e. architecture) affected when it is surrounded with dynamic and rich multimedia information? What are the historical precedents of urban media surface phenomena and what can we expect in the future?

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Pantallas urbanas . La fachada mediática: De lo general a lo particular junio 8, 2008

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Abstact

¿Enorme pantalla o superficie inteligente? ¿Plataforma de comunicación gráfica o de un sinfín de expresiones? ¿Elemento funcional o sólo de carácter estético? A veces son tantas las cuestiones que surgen al tratar de entender y enriquecer la definición del concepto de fachada mediática, actual herramienta de comunicación a la frecuentemente recurre la arquitectura contemporánea como parte de su proceso de composición. Una arquitectura que se vuelve medio, usando elementos formales y funcionales para construir expresiones visuales, mismas que nos seducen hasta llegar a un nivel máximo de contemplación, atención y admiración por la superficie.

 Pero, ¿Cómo podemos entender ampliamente el sentido conceptual y expresivo de la fachada mediática?¿Es sólo una pieza más inmersa en el enorme contexto mediatizado en el que vivimos?

 Encontrar las respuestas a estas y otras interrogantes, nos lleva a conocer la transformación histórica que ha tenido el concepto de fachada mediática, mismo que se vale de importantes recursos históricos sustentados a lo largo de la teoría y la práctica entre el arte, la arquitectura y la tecnología.

 Entremezclando entonces hechos y conceptos, podemos reflexionar sobre una definición diversificada que se muestre abierta a seguir creciendo y transformándose, como respuesta a las nuevas necesidades y parámetros de los propios conceptos que la componen.


 Christian Saucedo Rodríguez

Escuela Superior Técnica de Arquitectura . Universidad de Sevilla

Sevilla, España . junio de 2008

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Skin: New design organics mayo 29, 2008

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Skin: New design organics

Ellen Lupton

Skin a multilayered, multipurpose organ that shifts from thick to thin, tight to loose, lubricated to dry, across the landscape of the body. Skin, a knowledge-gathering device, responds to heat and cold, pleasure and pain. It lacks definitive boundaries, flowing continuously from the exposed surfaces of the body to its internal cavities. It is both living and dead, a self-repairing, self-replacing material whose exterior is senseless and inert while its inner layers are flush with nerves, glands, and capillaries. Contemporary designers approach the surfaces of products and buildings as similarly complex, ambiguous forms. Manufactured skins are richly responsive substances that modulate the meaning, function, and dimension of things.

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Urban Screens – The urbane potential of public screens for interaction mayo 8, 2008

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Urban Screens – The urbane potential of public screens for interaction

Mirjam Struppek

Abstract

Within a time frame of about ten years, experimental (interactive) media installations and performances have gained recognition as new art forms in public space. Artworks explore the interconnectedness of public space, interaction, and new media. Urban Screens investigates how the growing infrastructure of dynamic digital displays in urban space, currently dominated by commercial forces, can be utilized in this context and broadened with cultural content. The research project wants to network and sensitize engaged parties for possibilities of using the digital infrastructure for contributing to a lively urban society. The integration of current information technologies supports the development of a new digital layer of the city in a fusion of material and immaterial space, redefining the function of this growing infrastructure. Interactivity and participation will bind the screens to the communal context of the space and thereby create local identity and engagement.

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Living Skins: Architecture as Interface abril 30, 2008

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Living Skins: Architecture as Interface

Peter Hall

Buildings communicate their function and status through a language of visual signs. 

A cross on the roof generally signifies a church, a grand arch commemorates a triumph, steel-and-glass curtain walls usually indicate there are offices inside, and a duck-shaped or hot-dog shaped building usually means that poultry or hotdogs are for sale. A more dynamic system of communications arrived in the 20th Century with the first “zipper” sign in New York’s Times Square in 1928, an illuminated bulletin board that transmitted the day’s headlines: buildings henceforth began to communicate in data flows as well as via bricks and mortar. Today, commercial hubs from Times Square to Seoul are showcases of giant moving graphics that fly across several stories, though more often than not they are advertisements that disregard what is happening within the building itself. What if a sign did not simply tout new movies, sodas, and celebrity babies in one-way feeds, but instead revealed something unique about the building, its occupants, or its environment? What if the building could respond, in real time, to the movement of people, the weather, or the whims of bystanders or behind-the-scenes artists? Digital designers and architects have begun working together to move beyond the façade and give buildings a living skin.

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