Architekturforum München Prof. Kirsten Schemel Leo Filser | Ferdinand Knecht
Helio Oiticica Metaesquema - 1958
The term ‘metaesquema’ can be translated as ‘meta-structure’. While Oiticica himself never explicitly provided a clear rationale for this title, it may refer to the particular use of symmetry in the work, which provides a framework for the artist to work with, but also to challenge. While Ramírez has argued that the rotational symmetry of the Metaesquema works provides a degree of ‘formal structure’ (Ramírez 2007, p.42), Small has noted that it also enacts a ‘three-dimensional folding of the flat surface of the plane’, which ‘acts as a point of spatiotemporal torsion rather than stability’ (Small 2016, p.35). In other words, through rotational symmetry, Oiticica created a kind of structure which folds in on itself and so might reasonably be called a ‘meta-structure’. [...] These works are also notable for the way in which they evoke but destabilise grid compositions [...] Rather than ‘the balance and predictability of normative perception’, Oiticica’s Metaesquema paintings confront the viewer with ‘a vertiginous, queasy ... sensation of jostling forms’
Konzeption
Absenken des Niveaus
Emporsteigen des Grundkörpers
Zerspringen der Masse
Formung einer kartesische Struktur
Ausbilden von Cardo & Decumanus
Rotation innerhalb der Struktur
F i g u r- G r u n d - P l a n | M 1 : 2 0 0 0
Lageplan | M 1:500
Grundriss Untergeschoss | M 1:300
Grundriss 1. Obergeschoss | M 1:300
Grundriss 3. Obergeschoss | M 1:300
Grundriss 5. Obergeschoss | M 1:300
Grundriss Erdgeschoss | M 1:300
Grundriss 2. Obergeschoss | M 1:300
Grundriss 4. Obergeschoss | M 1:300
Dachaufsicht | M 1:300
Schnitt A | M 1:300
Schnitt B | M 1:300
Ansicht Nord | M 1:500
Ansicht Süd | M 1:500
Ansicht West | M 1:500