Title: “Bio Bio Whirlpool”.
Technique: Steel structure on concrete fundation.
Size: 12.00 x 7.00 x 7.00 m.
Faced with the possibility of capturing a first intervention on the edge of our bio bio, through a sculptural work, we decided to declare the position that we shared about the way of occupying that forgotten space and denied in conception. The northern riverbank means a great creation challenge for us, especially now that the urban project for the riverbank is taking shape, defining a large blank paper on which the architectural and urban art concerns will be manifested for a future experience of Concepcion’s event. Bio[Bio Whirlpool is a sculpture that alludes to the unconscious of collective memory, semantically abstracting the primary conditions that are hidden in this phenomenon.
The original idea of the Whirlpool as a form leads to the appearance of a series of concepts that begin to give body to this work, elements taken from the nature of our environment, which makes our sculpture an integral part of the place.
The first point to develop is Geometry. We have the presence of two initial elements, firstly the sky as that virgin element to intervene, which is given to us as an unstable cloth, of wind and secondly the whirlpool as the element that bursts from the depths, but with subtlety.
We take the concept of the whirlpool to abstraction, rescuing from it essential qualities such as the enveloping, the silent, the centrifugal force that attracts, that traps, the mysticism that encloses the unknown, in the manner of a legend, all concepts that in the combination precise gift to the city the essential concept of our work: the idea of Movement.
The sculptural urban image speaks to us in its own language, of abstraction of Movement in silence, this point that breaks the forces of nature within the vastness. It is there, in the immensity, where this continuous ribbon appears, leaning on itself, in this dance of straight lines that generate tension, but always conversing kindly with the curves that inevitably envelop us in their metallic arms.
The idea materializes in a structure that we call a pyramidal ribbon, which makes its way into the sky with a zigzagging movement. The tape allows us to give the idea of continuity, this self-sustaining thing. On the other hand, the conical shape makes it possible to give the logical order of gravity, the idea of a supporting base and a body that eases and emerges.
At this stage the first real questioning arises, the answer to which had to fully respect the original idea consistent with the image of the work.
The first alternative arises from the idea of using a material typical of the area, such as wood, which in this case could be laminated, but added to the structural problem is an image problem of the material, which does not respond to the idea of aggressiveness. that was sought, because this element is a material of great nobility.
There steel appears, as the great solution to this problem and that fully adjusts to the concept of the language of the material that we are looking for. We wanted a material that would express aggressiveness, given by the geographical, the wind, the cold, the water. This material becomes the skeleton that also allows the handling of large spans and reinforces the idea of this sculpture that grows supported on itself.
The work is structured on a central pillar, which, like a backbone, is responsible for receiving and distributing the loads towards the foundations.
The need arises for a skin that speaks of the aggressive, but also towards the exterior, of movement, of the sound of silence, and also that is integrated into the urban landscape in the plane of reality, that adds to our southern roofs covered with this unmistakable brilliance. It is there where a material such as Zincalum is chosen, as a local material, our own, that we use in our houses to protect us from the rain, from the wind.
Image of the material.
The material speaks to us of current technology, of the Contemporary, but at the same time it is shown to be very close to our culture, as a daily urban material, which has not been fully exploited.
Constructively, it is presented as an unweldable material, with independent fixings, which must be joined with a bolting system to achieve the desired body. As for the real costs, it is an inexpensive material, which meets the conditions required for sculpture.
Development of the work.
Unlike other works of this type, due to the magnitude of the project, the assembly of the structure had to be carried out in situ and with it the corresponding installation of tasks, for the assembly of the central pillar and the foundations, in parallel in a workshop They made the beams. There begins the delicate process of assembling the beams, taking care of each angle, so that each
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