The Dissolution of Limits Through Photography. Transparency Strategies in the Work of Alejandro de la Sota and Alberto Campo Baeza

• Javier Cortina Maruenda ^[1] ; Ignacio Cabodevilla-Artieda ^[1] ; Irene de la Torre Fornés ^[1]
  1. [1] Universidad Politécnica de Valencia

     Universidad Politécnica de Valencia

     Valencia, España

     
• Localización: Graphic horizons / Luis Hermida González (ed. lit.), Joao Pedro Xavier (ed. lit.), Pedro Sousa (ed. lit.), Vicente López-Chao (ed. lit.), Vol. 3, 2024 (Graphics for Knowledge / Luis Hermida González (ed. lit.), Joao Pedro Xavier (ed. lit.), María Inés Pernas Alonso (ed. lit.), Carlos Losada-Pérez (ed. lit.)), ISBN 978-3-031-57579-2, págs. 11-17
• Idioma: inglés
• Enlaces
  • Texto completo
• Resumen

  • Since its beginning, photography has been one of the great allies of architecture. As a representation element, it manages to capture the architectural scene in fractions of a second. Its appearance as a technology available to the general public coincided with that of the Modern Movement in architecture, a Movement with which it became intimate and quickly allied itself. This new architecture, among other values, advocated lightness and transparency as values of modernity and photography attempted to reflect them. In Spain, without a doubt, Alejandro de la Sota has been one of the precursors of a mature Modern Movement. De la Sota took transparency as his banner in his latest works and this witness was taken up by one of his most notable students, Alberto Campo Baeza. This article aims to make an analysis of this architectural concept through the thoughts of its authors and especially the photographic series of several of their most paradigmatic works.