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  1. ArchDaily
  2. Projects
  3. Kindergarten
  4. Spain
  5. Esculpir el Aire
  6. 2013
  7. The Garden of the Silhouettes / Esculpir el Aire

The Garden of the Silhouettes / Esculpir el Aire

  • 01:00 - 3 July, 2014
The Garden of the Silhouettes / Esculpir el Aire
The Garden of the Silhouettes / Esculpir el Aire, © David Frutos | BISImages
© David Frutos | BISImages

© David Frutos | BISImages © David Frutos | BISImages © David Frutos | BISImages © David Frutos | BISImages + 13

  • Architects

  • Location

    Alicante, Spain
  • Architect in Charge

    José Ángel Ruiz Cáceres
  • Collaborators

    Azucena Maestre Mones arquitecto, Gloria Soler Ródenas arquitecto, Mónica Costa López, Ramiro López Pérez, Ricardo Perdomo Flórez, FERPAS (viveros)
  • Project Year

    2013
  • Photographs

© David Frutos | BISImages
© David Frutos | BISImages

From the architect. Tactile perception in “the Garden of the Silhouettes”

1. Tactile perception in architecture
If the eye "is the organ of distance and separation", touch is the one “of nearness, intimacy and affection". The eye "surveys, controls and investigates", whereas touch "approaches and caresses." 1.

Plan
Plan

2. Tactile perception in childhood: a scene for the action.
A child experiments a new discovery when the action of his hands and his feet is leaving visible traces: his fingerprints in the material thing.

Sketch
Sketch

3. Tactile perception in The garden of the Silhouettes

3.1. The main door
A certain point of time exists in the architectural work definition where the outdoor space skin and the indoor space skin come together: the main door. Rhythm slows down and the feet then seem to pause, the man’s skin and the building’s skin touch each other.

© David Frutos | BISImages
© David Frutos | BISImages

3.2. Rhythm is also a tactile experience
The skin breakup produces rhythm. All around the perimeter of the Garden’s skin it is taking place the multiplicity of ‘the silhouettes’.
The artificial lighting of that space offers the same vibrant, sequenced character throughout the night just like the day, by using thin luminaries inside the vertical joints of the ceramic pieces. 

© David Frutos | BISImages
© David Frutos | BISImages

3.3. The material skeleton of The Garden of the Silhouettes.
The Garden of the Silhouettes operates in front of three gradual levels: the scale of a child, the scale of Man and the scale of the building and the environment.

The folded floor
Folding the floor in order to define the heigth of a child, with his small scale, make possible we could perceive space like ‘an embrace below’: ‘space is able to hold us in its hands’.

Section
Section

The Garden of the Silhouettes, as a space of light and an illusion time, has been conceived for being experimented, as Juan Ramón Jiménez wrote, like “Nature, childhood beach for children and for men who have not forgotten that they can be children again”2

Citas
1 PALLASMAA, JUHANI.The eyes of the skin. Architecture and the senses. Chichester (West Sussex), Wiley-Academy, 2005, p. 47.
2 JIMÉNEZ, JUAN RAMÓN. Tiempo y Espacio. Fragmento 3. Madrid. Biblioteca Edaf, 1986, p. 84.

Location to be used only as a reference. It could indicate city/country but not exact address. Cite: "The Garden of the Silhouettes / Esculpir el Aire" 03 Jul 2014. ArchDaily. Accessed . <http://www.archdaily.com/521274/the-garden-of-the-silhouettes-esculpir-el-aire/>
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