v Clasificación / Classification: C.T. – 12
Título / Title: Tamaño / Size: Fecha / Date: Serie / Series: Nº pág. / Pages : Descripción / Fondo / Collection:
S/T
21,5 x 64,5 cm.
Década 1980 / Decade of 1980 Cuadernos / Notebooks
Docencia / Teaching
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Documentación para Taller de América, Material de tareas de alumnos. / Documentation for America Studio, Student task Material.
Description:
s Clasificación / Classification: O.C. – 117
Título / Title: Tamaño / Size: Fecha / Date:
S/T
18,5 x 22,5 cm.
Década 2000 / Decade of 2000
Fondo / Collection:
Cuadernos / Notebooks
Serie / Series:
Observaciones / Observations
Subserie / Sub-series: Ciudad / City Nº pág. / Pages : 118 Descripción /
Dibujos a lápiz pasta, lápiz tinta y lápiz a color con notas sobre observaciones de distintos aspectos del puerto. / Drawings in felt-pen, pens and in coloured pencil with notes on observations of different aspects of the port of Valparaiso.
Description:
But two features of architecture as an art and its immediate consequences should be immediately highlighted. One is that it accommodates and shelters for any activity and craft, including the architect. Another one is that simultaneously with accommodating, it enables to shine in his work the light of that creative courage specific to the human condition. With the first characteristic that is peculiar to it –giving place and position to all activities, be them what they be– architecture itself shows the field and aperture where they are possible. That is why it is open, operable and public. With the second characteristic –to shine the creative virtue– it never can be replaced by sum or conglomerates of ordered, more or less well put offices under ceiling, standards, etc. Be «aesthetic» or not. However, it is evident that there is not always architecture. On the contrary, it is scarce. Why? Because also true to human condition is to be free. The creative virtue emerges, opens a field and unfolds a «time» every time in every project” . (6) A help to make this essay visible and to appreciate how “to accommodate” in the Alberto Cruz’s own work, is to resort to his personal observations and drawings notebooks which constitute a unique graphical corpus, although diverse in themes. These notebooks named by him as ‘folders’ – in its majority done with remainder papers, already used papers, wrappers, etc, many of them small sized so that they fit into jacket pockets – , accompany him everyday and to all parts. They are handy to draw on at any moment, throughout the day and part of the night. We can say that it is about a state, of contemplation, that occurs in the middle of daily life, not as interruptions of it, but as configuration of a creative rhythm. This constant drawing is dedicated and careful, in a way that what is set through it remains in its originality. More than an “expression of the artist” it is a “form of what is”, that reveals with his mastery of drawing. In many of these contemplative drawings it can be noticed that there exists a construction of the white of the page; the lines drawn place value on the whiteness of the paper. This has a correlation with the conception of architecture as the void that accommodates. In this way a contemplation in present time is carried out, active contemplation, that advances towards its object in a constructive manner. Let us see: “Drawing in itself chooses between the multiple. From there it gives account of an exterior that surrounds a knowledge that only identifies as soon as it is not already another one. But the creativity always lays waiting for a ray. That does not allow advancing step by step. Rays that can be in zigzag, that reaffirms itself, or a double ray, since it goes and comes back. Rays which are as drying to the circle or different to the square. And the creativity thinks in the unlimited, in that the square and the circle confirm an unique figure, in that the
square and circular are the same. Then not to it, but to a limitless one. The chore is in the limited”. .(7) The drawing and the spelling, hands that draws and writes as singular “hairy line” –illusion to the irregular trace – , modestly constructing bit by bit, unites in synthesis the urban internal creative and peculiar requirement of architecture, which is to house. The plastic, can be affirmed, is the way of the detention, which retains not as profit of something but as loosening. For that reason it accommodates. Thus: “A time in which one inhabits in current time. One which is construction and exhibition without expression. In which fatigue is expressed –so to speak. That of time of its guard. Such sign– then. The construction contracts in components. Take the long quantum of observations and drawings notebooks accumulated and done by hand, but hardly recognizable. Then slightly touch up that this or that. A rocking - probable. It is pure voluptuous. It is the eccentric voluptuous of the architectural thought”. (8) The unpublished graphic and written work by Alberto Cruz C. allows one to measure its consistency, significance and breadth. It is composed of Collections, each one divided into series, and in some case into sub-series, and unites some 2000 volumes, number which does not include –since they are not notebooks– the “Large Format Series”, of the Drawing Collections; the Correspondence Collections, and the Historical Extracts Collections.
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