Key 2: Definition of architectural PLASTICITY
which start from a privileged position of the viewer - as in a cathedral centered on one symmetrical axis - mask the plastic continuity of the work, because formal chaos follows when leaving the compositional axis. This does not happen in the Pisa complex. He then looks for a way to sort the elements of the work that is not altered by the user’s position. That is, an arrangement of the elements invariant to the movements of people. In his 1964 text, Plástica, he reports on Pisa: “DESCRIPTION: on the horizontal ground level plane four volumes rise to form the complex. From the ground up to a certain height, a first arcade - with large spans and columns with heights greater than the superior one - extends like an all-around base”. “The development of these bodies towards PLASTICITY could have followed different paths. (It is a fact that the whole so-called “Italian art” hardly changes geometric figures: they are few and essentially the same ones present in Pisa). What VARIES is how each architect has conceived the destruction of the object.“ In the same text, he defines what he means by Architectural Plasticity: “It may also be necessary to puncture and cut to avoid sectoring and letting everything DISINTEGRATE, in order for the eye to be able to READ CLEARLY and UNEQUIVOCALLY. This also leads to the in-curving of the walls, to working with the cylinder, cone and sphere, light, colors, the lines of the relief, and sometimes to simply use colored lines to highlight elements and forcibly direct the view in order not to break the continuity of vision".
Borchers entiende por Plástica la manera en que una idea se puede llevar a su materialización. Es decir, el paso desde la idea abstracta del proyecto a la obra construida, lo cual debe considerar la definición de cada uno de los elementos o componentes que la integran. Cada uno debe ser ordenado de acuerdo a un plan y una forma. Borchers understands Plasticity as the way an idea can become reality. That is, the path from the abstract idea of the project to the built work, which must consider the definition of each of the elements or components within. Each must be ordered according to a strategy and a form. The complex of the Acropolis of Pisa was the great work field that allowed Borchers to define this concept. His multiple and long stays at the site gave him the verification of the exceptional plastic interaction in this complex and how it acts upon people. He used photos, sketches, diagrams, measurements, writings and all forms of records to understand the phenomenon present there. The cathedral, baptistery, the Campanile and the cemetery, located on the flat expanse of the site, establish relationships with each other that remain intact even when people are constantly moving. The vertical and horizontal dimensions, changing axes, arches and columns, the proximities and separations, the total and partial concealments produced do not alter the comprehension and action of the work. How is this possible? Borchers notes that the regular geometric arrangements,
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