Design, architecture and spaces
Contenido
El término minimalismo también se utiliza para describir una tendencia en el diseño y la arquitectura, donde la estructura se reduce a sus elementos necesarios. Los diseñadores de arquitectura minimalista se centran en la conexión entre dos planos perfectos, la iluminación elegante y los espacios vacíos que deja la eliminación de las formas tridimensionales en un diseño arquitectónico. La arquitectura minimalista se popularizó a finales de la década de 1980 en Londres y Nueva York,[3] donde arquitectos y diseñadores de moda trabajaron juntos en las boutiques para lograr la simplicidad, utilizando elementos blancos, iluminación fría y espacios amplios con el mínimo de objetos y muebles.[4].
El diseño minimalista ha estado muy influenciado por el diseño y arquitectura tradicional japonesa. Las obras de los artistas de De Stijl son una referencia importante. De Stijl amplió las ideas de expresión organizando meticulosamente elementos básicos como las líneas y los planos.[5] En cuanto al diseño de viviendas, los diseños "minimalistas" más atractivos no son realmente minimalistas porque son más grandes y utilizan materiales de construcción y acabados más caros.
Se puede igualmente hablar de una arquitectura minimalista visible en la obra de, por ejemplo: Ludwig Mies van der Rohe, John Pawson, Souto de Moura, Tadao Ando, Hiroshi Naito o Rudi Riccioti.
Hay observadores que describen la aparición del minimalismo como una respuesta al descaro y el caos de la vida urbana. En Japón, por ejemplo, la arquitectura minimalista empezó a ganar adeptos en la década de 1980, cuando sus ciudades experimentaron una rápida expansión y un gran aumento de población. El diseño se consideró un antídoto contra la "abrumadora presencia del tráfico, la publicidad, las escalas de los edificios desordenados y las imponentes calzadas. "[6] El entorno caótico no sólo fue impulsado por la urbanización, la industrialización y la tecnología, sino también por la experiencia japonesa de tener que demoler constantemente estructuras a causa de la destrucción provocada por la Segunda Guerra Mundial y los terremotos, incluyendo las calamidades que conlleva como el fuego. La filosofía del diseño minimalista no llegó a Japón por medio de otro país, pues ya formaba parte de la cultura japonesa arraigada en la filosofía zen. Hay quienes atribuyen específicamente el movimiento de diseño a la espiritualidad y la visión de la naturaleza de Japón.[7].
El arquitecto Ludwig Mies van der Rohe (1886-1969) adoptó el lema "Menos es más" para describir su estética.[8] Su táctica consistía en organizar los componentes necesarios de un edificio para crear una impresión de extrema simplicidad: utilizaba cada elemento y detalle para servir a múltiples propósitos visuales y funcionales; por ejemplo, diseñando un suelo que también sirviera de radiador, o una enorme chimenea que también albergara el baño. El diseñador Buckminster Fuller (1895-1983) adoptó el objetivo del ingeniero de "hacer más con menos", pero sus preocupaciones estaban orientadas a la tecnología y la ingeniería más que a la estética.[9].
Japanese minimalism in furniture and interior design
Japanese minimalism extends beyond architecture and enters the realm of furniture and interior design. As in architecture, this approach focuses on simplicity, functionality and aesthetics, but also strongly incorporates Zen philosophy and connection with nature.
Minimalist Japanese furniture is usually low and low to the ground, reflecting the tradition of sitting on the floor on tatami mats. Often the furniture is devoid of unnecessary ornaments and emphasizes the beauty of natural wood and craftsmanship. Futons, low tables, and floor pillows are common items.
Japanese minimalist interior design is characterized by large, clear spaces that invite reflection and serenity. Sliding partitions, or shoji, made of rice paper and wood, allow residents to reconfigure the space according to their needs, promoting flexible and efficient use of space. These spaces are also complemented by a palette of neutral and natural colors, which evoke tranquility and calm.
In decoration, each object has a purpose and a place. There is no room for clutter or unnecessary clutter. Decorative artifacts, if included, are usually of natural origin, such as stones, branches or flowers, and are chosen for their ability to evoke nature and serenity.
The integration of nature into the home is essential in Japanese design. Whether through a Zen garden, a small fountain or even the choice of natural materials, nature is always present, reminding residents of the beauty and impermanence of life.
This aesthetic has widely influenced designers around the world, valuing not only the function and utility of an object, but also its ability to evoke calm, serenity and a sense of purpose. Thus, despite their apparent simplicity, these spaces and objects designed under the influence of Japanese minimalism[10] are deeply contemplative and timeless.
Concepts and design elements
The concept of minimalist architecture is to reduce everything to the essentials and achieve simplicity.[11] The idea is not to completely dispense with ornamentation,[12] but rather that all parts, details and joints are considered reduced to a state in which nothing else can be removed to improve the design.[13].
Considerations for "essences" are light, form, material detail, space, place, and the human condition.[14] Minimalist architects do not only consider the physical qualities of the building. They consider the spiritual dimension and the invisible, listening to the figure and paying attention to details, people, space, nature and materials,[15] believing that this reveals the abstract quality of something that is invisible and helps in the search for the essence of those invisible qualities, such as natural light, sky, earth and air. Furthermore, they "open a dialogue" with the environment to decide the most essential materials for construction and create relationships between buildings and places.[12].
In minimalist architecture, design elements strive to convey the message of simplicity. Basic geometric shapes, undecorated elements, simple materials, and repetitions of structures represent a sense of order and essential quality.[16] The movement of natural light in buildings reveals simple, clean spaces.[14] At the end of the century, when the arts and crafts movement became popular in Britain, people valued the "truth of materials" attitude regarding the profound and innate characteristics of materials.[17] Minimalist architects They "listen to the figure" with humility, seeking the essence and simplicity, rediscovering the valuable qualities of simple and common materials.[15].
Influences of Japanese tradition
The idea of simplicity appears in many cultures, especially in the traditional Japanese culture of Zen Buddhist philosophy. The Japanese manipulate Zen culture into aesthetic and design elements for their buildings.[19] This idea of architecture has influenced Western society, especially in the United States since the mid-century.[20] Additionally, it inspired minimalist architecture in the 19th century.[13].
Zen concepts of simplicity convey the ideas of freedom and essence of life.[13] Simplicity is not only an aesthetic value, but has a moral perception that investigates the nature of truth and reveals the internal qualities and essence of materials and objects.[21] For example, the sand garden of Ryōan-ji temple demonstrates the concepts of simplicity and essentiality from the considered setting of a few stones and a huge empty space.[22].
The Japanese aesthetic principle of Ma "Ma (negative space)") refers to empty or open space. Eliminate all unnecessary internal walls and open up the space. The emptiness of the spatial arrangement reduces everything to the most essential quality.[23].
The Japanese aesthetic of wabi-sabi values the quality of simple and simple objects.[24] It appreciates the absence of unnecessary elements, treasures a calm life, and aims to reveal the innate character of materials.[25] For example, the Japanese floral art of ikebana has as its central principle letting the flower express itself. The branches, leaves and flowers of the plants are cut and only the essential part of the plant is preserved. This conveys the idea of essential quality and innate character in nature.[26].
Minimalist architects and their works
The Japanese minimalist architect Tadao Ando transmits the traditional Japanese spirit and his own perception of nature in his works. His design concepts are materials, pure geometry and nature. It usually uses concrete or natural wood and the basic structural form to achieve austerity and rays of light in the space. It also establishes a dialogue between the place and nature to create a relationship and order with the buildings.[27] Ando's works and the translation of Japanese aesthetic principles are very influential in Japanese architecture.[28].
Another Japanese minimalist architect, Kazuyo Sejima, works on her own and alongside Ryue Nishizawa, as SANAA, producing iconic Japanese minimalist buildings. He is credited with creating and influencing a particular genre of Japanese minimalism,[29] Sejima's delicate and intelligent designs can use the color white, thin building sections, and transparent elements to create the phenomenal type of building often associated with minimalism. Among his works are the New Museum (2010) in New York, Small House (2000) in Tokyo, House surrounded By Plum Trees (2003) in Tokyo.
In the Vitra Conference Pavilion, Weil am Rhein, 1993, the concepts are to bring together the relationships between building, human movement, place and nature. What as a main point of the ideology of minimalism that establishes the dialogue between the building and the site. The building uses the simple shapes of the circle and rectangle to contrast the full and empty space of the interior and nature. In the lobby there is a large oblong window that looks outside. This achieves the simplicity and silence of the architecture and enhances light, wind, time and nature in space.[30].
John Pawson is a British minimalist architect; His design concepts are soul, light and order. He believes that by reducing clutter and simplifying the interior to a point that surpasses the idea of essential quality, a sense of clarity and richness of simplicity rather than emptiness is achieved. The materials of its design reveal the perception of space, surface and volume. In addition, he likes to use natural materials for their vibrancy, their sense of depth and their individual quality. He is also attracted to the important influences of Japanese Zen philosophy.[31].
Calvin Klein Madison Avenue, New York, 1995-96, is a boutique that conveys Calvin Klein's fashion ideas. John Pawson's interior design concepts for this project are about creating simple, calm and uncluttered spatial arrangements. He used stone floors and white walls to achieve the simplicity and harmony of the space. It also emphasizes reducing and eliminating visual distortions, such as air conditioning and lamps, to achieve a feeling of purity for the interior.[32].
Alberto Campo Baeza is a Spanish architect and describes his work as essential architecture. Values the concepts of light, idea and space. Light is essential and achieves the relationship between the inhabitants and the building. Ideas must fulfill the function and context of space, forms and construction. The space is made up of minimal geometric shapes to avoid non-essential decoration.[33].