<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2301-1513</journal-id>
<journal-title><![CDATA[Anales de Investigación en Arquitectura]]></journal-title>
<abbrev-journal-title><![CDATA[An. Investig. Arquit.]]></abbrev-journal-title>
<issn>2301-1513</issn>
<publisher>
<publisher-name><![CDATA[Universidad ORT Uruguay]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2301-15132021000201307</article-id>
<article-id pub-id-type="doi">10.18861/ania.2021.11.2.3132</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Ma: El vínculo entre la obra de Kazuo Shinohara y el Shodo]]></article-title>
<article-title xml:lang="en"><![CDATA[Ma: the bond between Kazuo Shinohara&#8217;s work and Shodo]]></article-title>
<article-title xml:lang="pt"><![CDATA[Ma: O vínculo entre a obra de Kazuo Shinohara e o Shodo]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Verdejo Ruiz]]></surname>
<given-names><![CDATA[Mónica]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad Politécnica de Madrid  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Spain</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>00</month>
<year>2021</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>00</month>
<year>2021</year>
</pub-date>
<volume>11</volume>
<numero>2</numero>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.edu.uy/scielo.php?script=sci_arttext&amp;pid=S2301-15132021000201307&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.edu.uy/scielo.php?script=sci_abstract&amp;pid=S2301-15132021000201307&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.edu.uy/scielo.php?script=sci_pdf&amp;pid=S2301-15132021000201307&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen: En Japón, tradicionalmente las artes como la pintura, la música, el teatro y, en especial la caligrafía -shodo-, comparten una constante esencial: el no-ser como agente compositivo en oposición al ser. En términos matéricos esto puede expresarse en la dualidad interdependiente lleno-vacío. El término nipón ma implica tanto ese vacío en sí mismo -como intervalo-, como la simultánea percepción de lleno y vacío. Su vinculación con la percepción espacial ha sido objeto de interés durante las últimas décadas. Sin embargo, escasean las declaraciones en cuanto a la materialización del ma por medio de la construcción física. Por ello, la presente investigación persigue descifrar los medios a través de los cuales dicha dualidad se manifiesta en la arquitectura. Para ello se analizarán dos obras proyectadas por Kazuo Shinohara, defensor de la esencia arquitectónica tradicional nipona y la condición artística de la casa. El estudio se centra en los planos de la Casa Paraguas y la Casa en una Calle Curvada, redibujados especialmente para esta investigación siguiendo un código binario que distingue el lleno, en negro, del vacío, en blanco. A partir de los resultados obtenidos, se infiere que Shinohara intencionadamente condensa las actividades domésticas, liberando el resto del interior de compartimentaciones y configurando así un gran espacio vacío en el que aparecen elementos estructurales aislados, cuya función consiste en tensionar el vacío a través de la variabilidad en las distancias con respecto de la envolvente. Ambas estrategias -los distintos grados de compartimentación, y por tanto, de condensación del lleno, y la tensión del vacío a través de elementos aislados- son igualmente apreciables en las obras de shodo. Y a pesar de las fundamentales diferencias entre ambas disciplinas, más allá de una azarosa coincidencia, tales similitudes apuntan hacia una lógica compositiva común, que encuentra su centro en la configuración del ma.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract: In Japan, traditionally, the arts as painting, music, theatre and, exceptionally calligraphy -shodo-, share an essential constant: not-being as compositional agent opposed to being. In terms of materiality, this can be expressed by interdependent duality between fullness and emptiness. Japanese term ma implies this void in itself -as interval-, as well as the simultaneous awareness of both: full and void. Its linkage with spatial perception has been an object of interest over the last decades. Nevertheless, statements regarding the materialization of ma through physical construction are scarce. For that reason, this research pursues the decryption of the means by which this duality emerges in architecture. For that purpose, two works projected by Kazuo Shinohara, well known advocate of traditional Japanese architectonic essence and of the artistic status of the house, will be analysed. The investigation focuses on the plans of Umbrella House and House in a Curved Road, which have been redrawn specifically, employing a binary code in order to distinguish full, in black, from void, in white. From the results obtained, it is inferred that Shinohara intentionally condenses household activities, releasing the remaining interior space from partitioning and thus generating a large void space inside which isolated structural elements arise to create spatial tension through the inconstant distances between them and the enclosure. Both strategies -the varying degrees of compartmentalization, and thus of fullness condensation, just as the void tensioning due to isolated elements- are equally visible in shodo works. And, despite the underpinning differences between these two disciplines, beyond being a haphazard coincidence, these similarities point to a common compositional logic that finds its core at the configuration of ma.]]></p></abstract>
<abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo: No Japão, tradicionalmente, as artes como a pintura, a música, o teatro e, especialmente, a caligrafia - shodo -, compartilham uma constante essencial: o não-ser como agente compositivo em oposição ao ser. Em termos matéricos, isto pode ser expresso na dualidade interdependente cheio-vazio. A palavra japonesa ma implica tanto esse vazio em si mesmo - como intervalo -, como a percepção simultânea de cheio e vazio. Seu vínculo com a percepção espacial foi objeto de interesse durante as últimas décadas. No entanto, são escassas as declarações quanto à materialização do ma por meio da construção física. Por isso, esta pesquisa busca decifrar os meios através dos quais essa dualidade se manifesta na arquitetura. Para tal, serão analisadas duas obras projetadas por Kazuo Shinohara, defensor da essência arquitetônica tradicional japonesa e da condição artística da casa. O estudo se foca nos planos de duas casas: Umbrella House e Casa numa Rua em Curva, redesenhados especialmente para esta pesquisa seguindo um código binário que diferencia o cheio, em preto, do vazio, em branco. A partir dos resultados obtidos, infere-se que Shinohara condensa intencionalmente as atividades domésticas, liberando o resto do espaço interno de compartimentações e configurando, assim, um grande espaço vazio no qual aparecem elementos estruturais isolados, cuja função consiste em tensionar o vazio através da variabilidade nas distâncias em relação à envolvente (fachada). Ambas as estratégias - os diversos graus de compartimentação e, portanto, de condensação do cheio, e a tensão do vazio por meio de elementos isolados - podem ser igualmente apreciadas nas obras de shodo. E apesar das diferenças fundamentais entre as duas disciplinas, além de uma desventurada coincidência, essas semelhanças apontam para uma lógica compositiva comum, que encontra seu centro na configuração do ma.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[Vacío]]></kwd>
<kwd lng="es"><![CDATA[ma]]></kwd>
<kwd lng="es"><![CDATA[shodo]]></kwd>
<kwd lng="es"><![CDATA[Kazuo Shinohara]]></kwd>
<kwd lng="es"><![CDATA[dualidad]]></kwd>
<kwd lng="es"><![CDATA[lleno-vacío]]></kwd>
<kwd lng="es"><![CDATA[espacio despilfarrado]]></kwd>
<kwd lng="es"><![CDATA[arte]]></kwd>
<kwd lng="es"><![CDATA[lógica compositiva]]></kwd>
<kwd lng="es"><![CDATA[tensión espacial]]></kwd>
<kwd lng="es"><![CDATA[grados de compartimentación]]></kwd>
<kwd lng="en"><![CDATA[Void]]></kwd>
<kwd lng="en"><![CDATA[ma]]></kwd>
<kwd lng="en"><![CDATA[shodo]]></kwd>
<kwd lng="en"><![CDATA[Kazuo Shinohara]]></kwd>
<kwd lng="en"><![CDATA[duality]]></kwd>
<kwd lng="en"><![CDATA[full-void]]></kwd>
<kwd lng="en"><![CDATA[wasted space]]></kwd>
<kwd lng="en"><![CDATA[art]]></kwd>
<kwd lng="en"><![CDATA[compositional logic]]></kwd>
<kwd lng="en"><![CDATA[spatial tension]]></kwd>
<kwd lng="en"><![CDATA[degrees of compartmentalization]]></kwd>
<kwd lng="pt"><![CDATA[vazio]]></kwd>
<kwd lng="pt"><![CDATA[ma]]></kwd>
<kwd lng="pt"><![CDATA[shodo]]></kwd>
<kwd lng="pt"><![CDATA[Kazuo Shinohara]]></kwd>
<kwd lng="pt"><![CDATA[dualidade]]></kwd>
<kwd lng="pt"><![CDATA[cheio-vazio]]></kwd>
<kwd lng="pt"><![CDATA[espaço esbanjado]]></kwd>
<kwd lng="pt"><![CDATA[arte]]></kwd>
<kwd lng="pt"><![CDATA[lógica compositiva]]></kwd>
<kwd lng="pt"><![CDATA[tensão espacial]]></kwd>
<kwd lng="pt"><![CDATA[graus de compartimentação]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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