Supergraphics. Sea Ranch and the proto-Pop authenticity
The end of the works of the Condominium I in 1965 supposes the conclusion of a Californian model of domesticity that goes a step further in its relation with the inhabitant through a last process of non tangible transformation of the space. To do this, Charles Moore, accompanied by William Turnbull...
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| Format: | Article |
| Language: | Spanish |
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Universitat Politècnica de València
2018-07-01
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| Series: | EGA |
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| Online Access: | https://polipapers.upv.es/index.php/EGA/article/view/7880 |
| Summary: | The end of the works of the Condominium I in 1965 supposes the conclusion of a Californian model of domesticity that goes a step further in its relation with the inhabitant through a last process of non tangible transformation of the space. To do this, Charles Moore, accompanied by William Turnbull and making his own home a training camp, goes in search of the authentic; an immersion in the perceptual possibilities provided by the pictorial, de-scaled or encrypted modification of spaces capable of being reread in surprising codes.
The groundbreaking approach to the later Supergraphics takes shape at the facilities of the Moonraker Recreation Center thanks to the multidisciplinary collaboration of Lawrence Halprin and Barbara Stauffacher. There is a unique language and plastic daring here in a strange limbo, prior to the pictorial explosion of the posterous years that form a delicate and astonishing balance, definitely proto-Pop. |
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| ISSN: | 1133-6137 2254-6103 |