Los humores de la arquitectura. De lo gráfico a lo irónico

Laburpena

Humor reflects the sociocultural moment of society, it is a powerful instrument to understand the ways of thinking and feeling of culture, and also one of the most direct, subtle and intelligent resources to criticize it. If architecture is part of this context, it seems logical to think that humor also extends its vectors to the critique of its thought and architectural practice. In addition, they evolve in parallel, so if the use of humor in society has been growing exponentially in recent times manifesting itself in places where it was previously unthinkable, it will also do so in the architectural framework. We will try to understand and analyze the ways of proceeding of the humorous construct and verify them in the field of architecture, so that in this possible relationship we can shed some light to better understand the lines that make up the architectural panorama of recent decades. Architecture is potentially creative, and the creation and humor responds to the same logic. The architectural design process alternates modes of deductive and inductive thinking and resolves through analogy. Humor constructs analogical representations for its communication. Both cases relate to the incongruity or juxtaposition of two frames of reference, interpretation, contrast or manipulation. Humor is a powerful weapon of communication, the logic of language is subject to semantic and syntactic rules that produce traditional verbal representations, and what can be applied to humorous creation is precisely the improper use of these rules. Thus arises a new linguistic creation that, together with the analogical capacity, serves to innovate and communicate a new experience, whose transformational mechanism can be applied both in the humorous process and in the architectural project creation. There are two means by which architects handle humor with greater skill; thinking with images, drawing, the graphic version of humor: caricature, and doing the opposite of what they think and the serious version of humor: irony, the practice of which can make us fall into addiction. Both are the excuse to taxonomically present a collection of singular, heterogeneous architectures or fragments, whose affinity produces a strange knowledge (never closed), grouped into different genres, rhetorical figures and formal manipulations that generate a new reading and as many interpretations as readers. The narration will therefore be of a fragmentary nature and with a high degree of entropy, a non-chronological but dated organization that produces new relationships, connections between projects, links and contacts that each viewer/reader will be able to detect according to their degree of involvement, their cultural skills, and sense of humor in order to, in short, awaken thought.