La expansión del color hacia la superficie arquitectónica y su entorno urbano en el arte contemporáneoaproximaciones desde la práctica pictórica personal, el proyecto Coloring Spaces

Résumé

This research addresses the interaction between painting and architecture in urban space in the 20th and 21st centuries, using colour as one of the elements of the main plastic and visual language. To this end, it analyses the pictorial movements of constructivism, De Stijl and neoplasticism, as well as the pictorial practices that take place in the public outdoor space, contextualising expanded painting among them. All this gives sense and forms the theoretical basis on which the personal pictorial project is developed, proposed for three recreational and leisure spaces in the city of Murcia, reaching the conclusion that the project and the interventions it contains are necessary because they are capable of connecting painting and architecture as well as urban space and society through a methodology of their own, based on the design of a functional chromatic strategy. In relation to the union of the disciplines of painting and architecture, as well as the involvement of colour in it and the exit of pictorial practices into the public space, various research questions are raised in order to achieve certain objectives, which are set out below. Among them, it stands out the questions about how painting has been integrated into the architectural surface since the 20th century? What role does the public play in the exit of painting into the public space? Or what characteristics should a pictorial proposal developed in the urban space today have in order to be innovative while still responding to personal expressive interests? Taking these and other research questions into consideration, the main objectives (general and specific) of this Thesis are dealing with: the contextualization of the painting-architecture union in history, attending to specific stages; to define the terms and phenomena involved in the pictorial practices that take place in the public space; to indicate which elements of the plastic and visual language intervene in the union of painting with the architectural discipline; to make a selection of artists who work with colour on the architectural surface of the urban space, from abstraction; and finally to define the guidelines of an own methodology related to the personal project that implies the hybridization of painting and architecture through colour. Regarding the methodology, a deductive method is proposed in which the union of painting and architecture is contextualised through pictorial practices, focusing the research on the 20th and 21st centuries. All the subjects dealt with in the Thesis are accompanied by graphic examples, which have been selected to explain the theoretical concepts and to serve as a reference for the personal project. Furthermore, an own methodology is contemplated in which a design of chromatic strategy applied to the interventions is proposed, taking place in the space of the city of Murcia. In this way and referring to all the above, the following conclusions or results of the investigation are reached, in which the application of colour on architecture by architects, artists or the collaboration of both in a project is taken into account. The result of these chromatic designs varies depending on whether one is working on a given architecture or only on a sketch, since colour can condition the distribution of architectural plans. As for their application on a given architecture, they usually involve both solo artists and the union of architects and artists. The difference in the results lies in the artists' freedom from the pictorial stain, as opposed to the frequent use of geometric motifs by the architects. In the case of the union between architect and artist in a construction on plan, as can be seen in the examples analysed, colour is applied following the original form of the plans, but it conditions the composition or distribution on plan of the walls and other architectural elements. When architects are faced with an architectural design, they usually apply colours adapted to the architectural plans, limiting the introduction of drawings or geometric fretwork, which enhance the decorative aspect. And finally, the difference in the tones used is also relevant, since the chromatic range used by architects is more limited than that of artists. Architects take into consideration the function of the rooms and the incidence of sunlight on the walls whereas artists are free when choosing the tones and this is evident in the amount they apply in a project.