This PhD thesis aims to analyse and verify the tense and intense relation that is established between the architecture, civil engineering and art worlds. Such analysis is conducted not only in a formal manner, but also at a level which is more conceptual and profound and whose basis are the three concepts that were posed by Severre Fehn at one of his last conferences, which was held under the title of “The Skin, the Cut, & the Bandage”1. This has been done in order to verify, in a general but also more particular way, that they shape their own operational language of the disciplinary endeavour, on whose limits common features of these three disciplines can be found, features that have seeped into research paces, guiding the sight, observation, contemplation and speculation, leading to the development of a theoretical frame which allows the connection between architectural and engineering interventions inside the operative field of art in the landscape.
In this regard, the development of such research leads to the exhaustive analysis of these three concepts, posed in a common space located on the limit of these three disciplines, expectant and mindful of the notion of time, memory and place. Elements that, at the same time, configure themselves by means of the tectonic, conceptual and symbolic and lay an Ariadna’s Thread of the common language in whom invariants and patterns can be found, which underlie the same procedural operative that is bounded to the territory accommodating the work and which respond to a dialogical and at the same time, dialectical relation between the work and its landscape.
Likewise, the work shapes an atmosphere that considers the crossing between the epistemological side of the discipline, the hermeneutic part of the thought that gazes at that which is conceptual, and the phenomenological part of the perception of the individual whom experiments the landscape.
La presente tesis trata de analizar y confirmar la relación tensa e intensa que se establece entre el mundo de la arquitectura, la ingeniería civil y el arte, no solo formalmente sino a un nivel conceptual más profundo a partir de tres conceptos planteados por Severre Fehn en una de sus últimas conferencias impartidas bajo el título de: "la Piel, el Corte y la Venda" . Para constatar, de forma general, pero a la vez particular que configuran un mismo lenguaje operativo propio del quehacer disciplinario donde se pueden hallar en su límite elementos comunes a las tres disciplinas que han ido impregnando los pasos de la investigación, canalizando la mirada, la observación, la contemplación y la especulación, y así desarrollar un cuerpo teórico que nos permita vincular la operativa arquitectónica e ingenieril dentro de la esfera operativa del arte. Así, el propio desarrollo de la investigación nos conduce al análisis exhaustivo de los tres conceptos planteados en un espacio común situado en el límite de las tres disciplinas, expectante y atento a la noción de tiempo, memoria y lugar. Elementos que a su vez se configuran a partir de lo tectónico, lo conceptual y lo simbólico, que trazan ese hilo de Ariadna de un lenguaje común en el que podemos encontrar invariantes y patrones que subyacen de una misma operativa procesual vinculada con el territorio que soporta la obra y que atiende a una relación dialógica y a la vez dialéctica entre la obra creada y su paisaje. De este modo, la obra configura una atmósfera que atiende a la vez a ese entrecruzamiento de lo epistemológico de la disciplina, lo hermenéutico del pensamiento que atiende a lo conceptual y lo fenomenológico de la percepción del individuo que la experimenta en comunión con el paisaje.
