11
REVISTA DE ARQUITECTURA VOL. 30
INVESTIGACIÓN EN TEORIA ARQUITECTÓNICA
THE TRANSFERENCE OF DESIRE: THE
GREENHOUSE AS CONTEMPORARY
ARCHITECTURAL PARADIGM
LA TRANSFERENCIA DEL DESEO: EL INVERNADERO COMO
PARADIGMA ARQUITECTÓNICO CONTEMPORÁNEO
e a m. luque-ga cía
O cid: 0000-0003-1815-6698
Depa amen o de P oyec os a qui ec ónicos.
Uni e sidad de Se illa
[email protected]
esumen
Es e a ículo abo da la con e gencia
en e ma e ialización a qui ec ónica y
cons ucción eó ica. A a és de la c í ica
in e encial y del análisis de la ep esen ación
del pensamien o, examina el in e nade o
como pa adigma enseg í ico-espacial a
pa i del caso alme iense, median e un
pabellón depo i o y una in es igación
doc o al. Los esul ados iden i ican pa ones
in encionales especí icos: el equilib io
es uc u al dinámico que minimiza la
ma e ia gene ando espacios ing á idos, la
c eación de a mós e as luminosas uni o mes
median e en ol en es anslúcidas y la
con inuidad espacial sin je a quías. El
es udio e ela cua o modelos e olu i os del
pensamien o espacial, desde el encuad e del
paisaje has a la a qui ec u a como paisaje
mediado. Se concluye que el in e nade o
an icipa aspi aciones cla e de la a qui ec u a
con empo ánea, al es ablece ans e encias
ac i as en e ma e ialidad y pe cepción
que ede inen la elación en e écnica y
expe iencia.
palab as cla e
Espacialidad a mos é ica, in e nade o
alme iense, enseg idad espacial, ans e encia
a qui ec ónica, anslucidez mediado a
How o ci e:
Luque-Ga cía E. (2025).
La ans e encia del deseo:
El in e nade o como
pa adigma a qui ec ónico
con empo áneo.
Re is a de A qui ec u a,
30(48), 11-34. h ps://
doi.o g/10.5354/0719-
5427.2025.77745
Recei ed:
2025-01-05
Accep ed:
2025-04-25
abs ac
This a icle add esses he con e gence
be ween a chi ec u al ma e ialisa ion
and heo e ical cons uc ion. Th ough
in e en ial c i icism and he analysis
o hough ep esen a ion, i examines
he g eenhouse as a enseg i y-spa ial
pa adigm, aking he Alme ian case as i s
cen al ocus h ough a spo s pa ilion and
doc o al esea ch. The indings iden i y
speci ic in en ional pa e ns: a dynamic
s uc u al equilib ium ha minimises
ma e ial o gene a e weigh less spaces; he
c ea ion o uni o m luminous a mosphe es
h ough anslucen en elopes; and spa ial
con inui y ee om hie a chies. The s udy
e eals ou e olu iona y models o spa ial
hough , anging om landscape aming
o a chi ec u e as media ed landscape. I
concludes ha he g eenhouse an icipa es
key aspi a ions o con empo a y a chi ec u e
by es ablishing ac i e exchanges be ween
ma e iali y and pe cep ion, hus ede ining
he ela ionship be ween echnique and
expe ience.
keywo ds
A mosphe ic spa iali y, g eenhouse, spa ial
enseg i y, a chi ec u al ans e ence,
media ing anslucency
REVISTA DE ARQUITECTURA VOL. 30
THE TRANSFERENCE OF DESIRE: THE GREENHOUSE AS CONTEMPORARY ARCHITECTURAL PARADIGM
INVESTIGACIÓN EN TEORIA ARQUITECTÓNICA
12
INTRODUCTION
Con empo a y a chi ec u e is de ined by a cons an ension be ween
he ma e ial and he concep ual. Fa om being opposed, cons uc ion
and hough a e in e wined in a space o ans e ence whe e each
design ges u e in ol es a ques ioning, a seeking. As Heidegge
eminds us, “e e y ques ioning is a seeking” (1994, p. 30). The gaze
is also laden wi h in en ion. Fo José An onio Ma ina, “no e en
scien i ic con empla ion (…) is innocen con empla ion” (2016, p. 38).
In a chi ec u e, o pe cei e is al eady o in e p e . Each a chi ec u al
ges u e implies assuming a posi ion ha in e oga es ma e , space,
and hei abili y o p oduce sensa ions.
In his con ex , he g eenhouse eme ges as a pa adigm. No only because
o i s unc ion, bu o i s capaci y o a icula e he echnical wi h he
a mosphe ic, he cons uc i e wi h he pe cep i e. The case o he
Alme ian g eenhouse in Spain is pa icula ly eloquen . I s ligh weigh
s uc u e, based on dynamic balances, minimizes ma e and p oduces
a weigh less spa iali y. Ligh , il e ed h ough a anslucid skin, c ea es
a con inuous a mosphe e, de oid o shadows o hie a chies. I s spa ial
o ganiza ion is iso opic. Al hough hese cha ac e is ics espond
o ag icul u al needs, hey condense undamen al a chi ec u al
aspi a ions: o build wi h he minimum, o inhabi he a mosphe ic,
o dissol e he bounda ies be ween echnique and expe ience.
Thus unde s ood, he g eenhouse can be ead as a o m o ‘unusual
a chi ec u e’ (Vielma-Cab uja e al., 2023), whose appa en con ingen
na u e conceals c i ical po en ial. An a chi ec u e ha e eals a he
han imposes. Tha ans o ms he banal in o he poe ic. In line wi h
Pallasmaa, his expe ience is only possible h ough an ‘innocen gaze’,
open o he unexpec ed. Zum ho , o his pa , highligh s how he
a chi ec , aced wi h an unknown place, de elops a enewed sensi i i y
o ligh , clima e, o landscape (Ande sen, 2012). Being o eign, a om
es ic ing, sha pens ou a en ion.
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This eading inds a conc e e applica ion in he analysis o he Pabellón
Polidepo i o de Ga ucha (2004–2010) and he subsequen doc o al
hesis El ja dín de los deseos (Luque Ga cía, 2023). The o me ope a es as
causa e iciens, by cons i u ing i sel as a ma e ialized an icipa ion; he
la e se es he unc ion o signi ica io, by heo e ically o ganizing and
de eloping he p ojec insigh s o mula ed in he ini ial s age. Fa om
a con en ional deduc i e logic, whe e heo y p ecedes he wo k, he e
he hesis, in a e oac i e way, ein e p e s, o ganizes, and ac i a es
la en senses in he p ojec . Bo h mani es a ions —p ac ice and
esea ch— a e hus si ua ed wi hin a single concep ual shi be ween
ma e iali y and hough . A me hodological b idge is d awn ha makes
i possible o in e p e he g eenhouse as a c i ical de ice endowed wi h
e lexi e capaci y, concei ed om i s p ojec and concep ual po en ial,
abo e hei de ini ion as unc ional ypology. The analysis is s uc u ed
based on con e ging pa e ns: he ligh weigh ec onics o he pa ilion
an icipa es he g eenhouse’s economy o means; he s uc u al
modula i y is ex ended in a non-hie a chical spa ial o ganiza ion; he
skin, in bo h cases, a icula es he in e io and he ex e io , he clima ic
and he senso y.
This analy ical amewo k is ein o ced by he iden i ica ion o ou
e olu iona y models o ep esen a ion o spa ial hinking (cogi a io):
om he amed landscape o a chi ec u e as media ed landscape.
In his jou ney, he g eenhouse is in e p e ed as a condense o
disciplina y ensions: con ol and openness, abs ac ion and
expe ience, pe manence and ansience. The pu pose o he a icle
is no o ex ol he Alme ian landscape, o o analyze ag icul u al
echniques. No is i o o mula e a me ely o malis eading.
Al hough he hesis inco po a es he meneu ic elemen s , such as
he in e p e a ion o e e yday landscapes h ough di ec expe ience,
cul u al media ion, and collec i e in e p e a ion (Ojeda, 2013), The
objec i e he e is di e en . I is abou explo ing how ce ain seemingly
neu al spa ial condi ions —ho izon ali y, p og amma ic iso opy,
s uc u al ligh ness— can become c i ical ehicles o a chi ec u al
hough . Concei ed in his way, he g eenhouse ceases o be a passi e
objec . I becomes an ac i e agen . I gene a es ideas. I condenses
disciplina y desi es. And challenges ou habi ual ways o looking,
designing, and inhabi ing (Figu e 1).
CONTEXTUAL FRAMEWORK
The g eenhouse as objec o he a chi ec u al
The mode n concep o g eenhouse was es ablished in he ea ly
19 h cen u y, when i s design was o ien ed owa ds he c ea ion
o con olled mic oclima es. John Claudius Loudon iden i ied his
ans o ma ion as he momen in which “e e y hing (…) which has
a hea y appea ance, o ends o exclude he ligh , in some deg ee
us a es hei u ili y (…) and consequen ly ough o be a oided”
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THE TRANSFERENCE OF DESIRE: THE GREENHOUSE AS CONTEMPORARY ARCHITECTURAL PARADIGM
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(1805, p. 199). Un il hen, he o ange ies o ho houses esembled
domes ic spaces a he han speci ic clima e con ol de ices (Luque
Ga cía, 2023). The signi icance o his concep ual shi is ha
a chi ec u al decisions began o espond o en i onmen al condi ions,
subo dina ing o m o clima ic unc ion. Thus, ma e ializa ion is
ocused on he gene a ion o an encapsula ed a mosphe e. The sea ch
o uni o m ligh a o ed anslucency o e anspa ency, adap ing
a chi ec u e o he biological needs o plan s. Al hough clima e con ol
echnologies al eady exis ed, ad ancemen s in he p oduc ion o i on
and la ge- o ma glass allowed o a new ec onics o ligh ness, which
enabled slimme g eenhouses, wi h dema e ialized s uc u es and
di use luminosi y (Luque Ga cía, 2023; P ie o, 2019).
Figu e 1
Spa ial Tenseg i y:
s uc u al sys em and
a mosphe ic de ice in he
Alme ian g eenhouse
No e.The ‘ aspa and
amagao’ ypology op imizes
he s uc u e h ough
p o iles, cables, and
plas ic ilm, es ablishing a
balance be ween ension
and comp ession ha
anscends he s uc u al
aspec . Reducing he
ma e ial o i s minimal
exp ession quali ies
he space, ans o ming
echnical p inciples in o
a mosphe ic de ices.
Sou ce: au ho .
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Seminal p o o ypes like The G ea S o e (1836-1840) by Joseph
Pax on ma ked he ansi ion om he domes ic scale o e i o y-
cap u ing de ices (Luque Ga cía, 2023)1, becoming media ed
a chi ec u al landscapes (Shin, 2025). This ans o ma ion eaches
i s ul ima e exp ession wi h he C ys al Palace (1851), whe e i on
and glass in eg a e in an a chi ec u e ha is a mosphe ic and
habi able, es ablishing a new ec onic logic. I s legacy pe sis s in o
he 20 h cen u y in p ojec s like P ojec C (1936) by Le Co busie
and Jeanne e , whe e he glass and me al oo s uc u e echoes
Pax on’s palace in a ede ini ion o he ela ionship be ween
s uc u e, ligh , and ma e iali y (O’By ne O ozco, 2007). In his ein,
he g eenhouse is insc ibed in he genealogy o ‘buildings o ligh ’,
whe e he cons uc i e aspec becomes a pe cep i e in e ace, and
whe e a chi ec u e is expe ienced no as objec bu as phenomenon.
I s anslucency, i s ligh ness, and i s open s uc u e ans o m i
in o a ca alys o an ac i e ep esen a ion in a chi ec u al hough
(Luque Ga cía, 2023) (Figu e 2).
The p oduc i e g eenhouse
While he o namen al g eenhouse e oked an encapsula ed Eden,
ano he mo e ope a i e lineage eme ged s ongly: s uc u es
designed o op imize cul i a ion, a ionalize he a mosphe e, and
subo dina e he space o p oduc i i y. A ounda ional e e ence
o his genealogy is Cha les McIn osh’s design o Dalkei h Palace
(1841), whose conca ena ion o i on and glass modules es ablished
a epe i i e, p ecision-li spa ial g amma . The Du ch ype de i ed
om his logic, s uc u ed using he idge-and- u ow sys em and
Pax on’s gu e , which c ys allized in he Venlo model. I s p esen
con inui y does no espond o nos algic e oca ions, bu o a
p o en a mosphe ic e icacy (Luque Ga cía, 2023).
The eal u ning poin came in he mid-20 h cen u y, when glass
is eplaced by plas ic. Ve sa ile, ligh weigh , un uly, his ma e ial
opened he way o an a chi ec u e o anslucen panels a ached
o ligh weigh ames. A new o m hus eme ges, adap a i e,
con ingen , sensi i e o i s su oundings. A hyb idiza ion be ween
indus ial echnique and e nacula wisdom (Luque Ga cía,
2023). By he end o he cen u y, wo a che ypes encapsula ed
his e olu ion: he glass g eenhouse and he plas ic mul i-
unnel. The o me , wi h i s luminous on ; he la e , wi h i s
abili y o en elop, a enua e, and modula e he clima e. Bo h
deploy di e en modes o a mosphe ic media ion: hey p oduce
c ops, bu also pe cep ion (Uni ed Na ions Food and Ag icul u e
O ganiza ion [FAO], 1990). Fa om being neu al objec s, hese
s uc u es o m an a chi ec u e o modula ion. They ac i a e
ideas. They do no impose o ms; hey espond o a ia ions. The
s uc u e becomes a mosphe e. The a mosphe e, expe ience.
1 Re e ing o he cons ella ion o glasshouses
and g eenhouses cha ac e is ic o 20 h cen u y
bo anical ga dens.
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THE TRANSFERENCE OF DESIRE: THE GREENHOUSE AS CONTEMPORARY ARCHITECTURAL PARADIGM
INVESTIGACIÓN EN TEORIA ARQUITECTÓNICA
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Figu e 2
F om Pax on o Le
Co busie : mig a ion
o s uc u e and
ligh ing p inciples om
g eenhouses o mode n
a chi ec u e
No e. (a) Joseph Pax on,
Illus a ion o he building
o he pa ilion o London’s
G ea Exhibi ion o
1851; (b) The idge-and-
u ow glazed oo ing
sys em (Pax on’s Gu e )
pa en ed by Pax on in
1850: assembly o glass
panels be ween idge ba
and gu e , suppo ed by
i on usses; (c) Sec ion
and loo plan o P ojec
C: Cen e D’es hé ique
con empo aine (Pa is,
1936) by Le Co busie and
Pie e Jeanne e .
Sou ces. (a) Cou esy o
Yale Uni e si y Lib a y
(h ps://collec ions.lib a y.
yale.edu/ca alog/2029095);
(b) (Luque Ga cía, 2023,
p. 206. Fig.II.86); (c) (Le
Co busie & Jeanne e ,
1999, p. 155).
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As poin ed ou by Koolhaas (2020), in hese ope a ional landscapes, a
disquie ing logic o clima ic con ol pe sis s, a a ionali y ha Ha away
(2015) de ines as Plan a ionocene, whe e bodies and e i o ies
in eg a e in ex ac i e egimes. Howe e , educing he g eenhouse
o me e echnique would be o impo e ish i . I s de ice condi ion
ans o ms i in o an a i ac whe e s uc u e, clima e, ma e and
pe cep ion a e in e wined (Koolhaas, 2018). No only does i g ow
oma oes. I also p oduces in ensi ies, expe iences, a mosphe es. F om
i s p agma ism wi hou au ho o s yle, i hin s a a poe ics o he
minimal ges u e: e icien a chi ec u e, bu also sensi i e space.
The Alme ian g eenhouse: singula i y and sophis ica ion
Beyond i s ag icul u al unc ion, he Alme ian g eenhouse
cons i u es a sophis ica ed model o in eg a ion be ween s uc u e,
clima e, and pe cep ion. Eme ging in he 1960s in Campo de Dalías
unde he auspices o he Ins i u o Nacional de Colonización, i s o m
adap ed he ineya d sys em, o pa al, om La Alpuja a o he
coas al con ex . We can ind speci ic echnical de ails on g eenhouse
ypologies and c op ypes in (Luque Ga cía, 2023, pp. 261-286; 287-385;
Vale a Ma ínez e al., 2016; Fundación Cajama , 2025).
Tha e nacula s uc u e o pos s, wi e, and plas ic e ol ed
o e a ew decades o become a e ined en i onmen al ypology
(He nández A ango, 2014). The ‘ aspa y amagao’ ype exempli ies
his ans o ma ion. I s mixed sys em — igid p o iles, ensed cables,
anslucid ilm— gene a es a logic o e icien enseg i y: minimum
ma e ial, maximum clima e con ol (Á alos-Sánchez e al., 2023;
Vale a Ma ínez e al., 2016). Techniques such as whi ewashing, which
a enua es sola adia ion, and passi e na u al en ila ion allow
he in e io o be empe ed be ween 2 and 5 deg ees wi h espec o
he ex e io wi hou equi ing mechanical ai condi ioning (Cen o
Expe imen al Valencia, 2016; Fundación Cajama , 2025). S uc u al
ligh ness is no ci cums an ial; i is an ac i e p inciple. Unlike
o he solu ions, his model has a smalle en i onmen al oo p in
—be ween 0.5 and 1.3 kg CO₂ eq/m² as compa ed o he 2.9 kg o a
glass g eenhouse— (An ón e al., 2014). This ligh weigh a chi ec u e
e e s o nomadic adi ions whe e, a he han de ining physical
bounda ies, he enclosu e egula ed a mosphe es (Faeg e, 1979;
Guache a-Alba e al., 2023). Space becomes a li ing medium. Ligh ,
nuanced by he whi ewashing; he ai , egula ed by minimal openings.
The a mosphe e becomes ma e ial o he p ojec (Figu e 3).
F om his pe spec i e, he epheme al implies openness, no
weakness. Bo ghi (2022) ela es i o a ‘los spa iali y’, mo e
pe meable han pe manen . Ebeling, in Raum als Memb an (1926),
al eady p oposed an a chi ec u e concei ed as a sensi i e en elope
ha modula es ligh , hea , and ai , as opposed o he igidi y o he
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wall (López del Río, 2024; Panco bo C espo & Ma ín Robles, 2014).
Jo é & O ega (2020) ex end he epheme al owa ds o he isually
uns able o ms, whe e anspa ency and he e lec ion gene a e
ambiguous, luc ua ing, and pe cep i e expe iences o he mu able,
he ambiguous, he a mosphe ic. The g eenhouse hus ac s as an
a mosphe ic in e ace. I s p og amma ic iso opy and en eloping
spa iali y si ua e he body in he cen e o he expe ience. In
line wi h Ge no Böhme (2017), an ‘a mosphe ic a chi ec u e’ is
con igu ed, aimed a sensa ions a he han ep esen a ion. The
Alme ian g eenhouse, hen, no only g ows ege ables: i also
cul i a es p esence, desi e, clima e, and ligh . I is p esen ed as a
concep ual ope a o whe e echnique, pe cep ion, and ma e a e
in e wined in a single p ojec logic (Kousidi, 2023).
Figu e 3
The Alme ian g eenhouse,
an example o a enseg i ic-
spa ial sys em.
No e. Images cou esy o he
au ho .
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The g eenhouse as a chi ec u al a i ac
Beyond i s ag o-indus ial u ili y, he g eenhouse has been
p og essi ely ein e p e ed as a chi ec u al a i ac : a concep ual
ope a o ha a icula es echnique, clima e, pe cep ion, and socie y.
I is no longe a pe iphe al in as uc u e, bu a igu e capable o
condensing, om wi hin i s ligh weigh logic and a mosphe ic
pe o ma i i y, new ways o inhabi ing. This e- eading mani es s
i sel wi h pa icula cla i y in he wo k o Laca on and Vassal who,
in Maison Cou as (2000), explo e he domes ic po en ial o he
mul i- unnel g eenhouse, ans o ming an ag icul u al ypology
in o habi able space. The s a egy is adicalized in Mani ies o Ci y
(2005), whe e hey p opose an expanded no ion o luxu y based on
gene ous spa iali y, na u al ligh , and en i onmen al quali ica ion,
and no in he use o noble ma e ials (D uo e al., 2011) (Figu e
4). These p ojec ac ics ha e been upda ed by he a chi ec s in
p oposals ha e isi he no ion o a chi ec u al esilience and he
ecycling o collec i e housing, and inco po a e he g eenhouse as a
o mal and en i onmen al ma ix o imagine second habi able li es
in he g ands ensembles o he 20 h cen u y (Luque Ga cía, 2023;
Tos ões y Sil a, 2020; T zcińska, 2021).
Figu e 4
Domes ica ion o he
p oduc i e g eenhouse
No e. F om le o igh . The
mul i- unnel g eenhouse as
p o o ype o inhabi ing, in
Maison Cou as (2000) and
Mani ies o Ci y, Mulhouse
(2005).
Sou ce. Images cou esy o
Anne Laca on and Philippe
Vassal. Pho o by Philippe
Rouaul .
In he p esen u ban con ex , he g eenhouse is econ igu ed as a
hyb id in as uc u e ha a icula es ood p oduc ion, ma e ial
sus ainabili y, and public space. The Obe ehausen adminis a i e
building (2019), designed by Kuehn Mal ezzi, o he ICTA-ICP
cen e (2014), by H A qui ec es, exempli y his ision by ope a ing
as ecologic and social media o s. The p oduc i e oo s, a om
being me e echnical de ices, a e p ojec ed as landscapes o he
econnec ion be ween ci y and na u e (Appolloni e al., 2021; Nadal
e al., 2017). This line is expanded in p oposals like he Design
Dis ic Can een (2021) by SelgasCano, he Floa ing Fa m Dai y in
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Fi s model: he place as a aming o he landscape. F om he
Temple P imi i (1923) o he Ville Sa oye (1928), Le Co busie
p oposes an a chi ec u e whe e buil space ac s as a geome ic
amewo k ha quali ies he landscape. Al hough isually open,
his scheme o ganizes he expe ience h ough sequen ial ou es,
whe e elemen s such as he pilo is o he enê es en longueu
media e he pe cep ion o he en i onmen as a agmen ed
isual na a i e (Colomina, 1987). He e, he obse e emains
di e en ia ed om space, ea i ming he au onomy o he
a chi ec u al objec .
Second model: he dissolu ion o ma e ial bounda ies. In wo ks
like he B ick Coun y House (1924) o he Ge man Pa ilion
(1929), Mies an de Rohe in oduces a geome y o open walls
and glazed su aces ha expands he space ou wa ds. In luenced
by neoplas icism, his model de elops a luid spa iali y whe e
hie a chies be ween ull and oid a e ela i ized, shi ing he
ocus owa d abs ac ion as an o ganizing p inciple, guiding
a chi ec u e owa d he essen iali y o space (Al és Bus elo, 2013;
San a ecla-Fayos, 2005; San a ecla-Fayos e al., 2024).
Thi d model: he a omiza ion o a chi ec u al space. In he
Mo iyama House (2005), by Ryue Nishizawa, and he Japan
Pa illion (2008) by Junya Ishigami, a chi ec u e dissol es in o
he landscape, and he bounda ies be ween he buil and he
na u al a e dissol ed (López del Río, 2022). In pa icula , Ishigami
Figu e 7
E olu iona y models o
spa ial hinking: om
amed landscape o
a chi ec u e as media ed
landscape
No e.Concep ual e olu ion
o a chi ec u al space in he
loo plan: (a.1) aming o
he landscape, in e e ence
o (a.2) Temple P imi i by
Le Co busie ; (b) dissol ing
o bounda ies; (c) spa ial
a omiza ion; (d.1) space
as an a mosphe ic ield;
(d.2) in e p e a ion o he
g eenhouse space o e
loo plan and ele a ion
iew o he Temple P imi i
(1923).
Sou ce. Images cou esy
o he au ho . (a.2; d.2) (Le
Co busie , 1995, pp. 55-56).
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ein e p e s e nacula Japanese s uc u es h ough ac ylic
g eenhouses ha encapsula e na u al agmen s, sub e ing he
adi ional logic o he shel e . The dispe sion o hese ligh weigh
ac ylic glass s uc u es suppo ed by s eel ubes a omizes he
a chi ec u e in he landscape, econciling scale, p opo ion,
and p og am wi h na u e. The li ing space ex ends ou wa ds,
o ganized by ou doo u ni u e, while ege a ion ac s as a he mal
egula o , ede ining he in e ac ion be ween a chi ec u e and
en i onmen (Ishigami, 2008; Jua anz, 2018; Vi o ino, 2018).
Fou h model: a chi ec u e as media ed landscape. This pa adigm
is consolida ed in he KAIT Wo kshop (2004–2008) and Ho izon
(2010), also by Ishigami. De i ed om esea ch on g eenhouses,
bo h wo ks p opose a adical ho izon ali y whe e space and
s uc u e o m a con inuous ield ha ope a es in e ms o being-
landscape a he han seeing-landscape. In he KAIT Wo kshop,
a mul iplica ion o slende pilla s e okes a ‘ o es ’ s uc u e,
a con empo a y e sion o he hypos yle hall, homogeneous
and wi hou hie a chy, simila o SANAA Pa k Ca é (Kazuyo
Sejima and Ryue Nishizawa), des abilizing any pe cep ual
cen e . (Ca asco Apa icio y Gama a Sampén, 2024; Ja aíz, 2013).
Ho izon, ins ead, p oposes an almos o al dema e ializa ion,
whe e he in e io me ges wi h he landscape, and he s uc u e
disappea s in a o o an en eloping a mosphe e, sha ing a
g ea simila i y wi h he Alme ian g eenhouse (Ichikawa, 2023).
Bo h ypologies sha e undamen al axonomic cha ac e is ics:
‘ho izon al’ s uc u es, ligh weigh ma e iali y, and hyb id
a mosphe es, which ede ine liquid space as a ‘playg ound’, a
place whe e hings simply happen wi hou imposi ions, in an
imme si e and spon aneous expe ience (Cas o Ma cucci e al.,
2021; López, 2018; Nu jannah e al., 2024) (Figu e 8). The Pabellón
Polidepo i o de Ga ucha is insc ibed in his ype o uni a y
and ho izonal spa ial model. Essen ially, he g eenhouse space is
cons i u ed, in o he wo ds, a space ha con ains, wi hin i sel , a
apped landscape.
The e olu ion o hese models e eals a decisi e shi in he way
spa ial hough is ep esen ed: om he mode n ideal o isual
anspa ency and o mal syn hesis o dense con igu a ions,
whe e he cons uc ion i sel ope a es as an ac i e media o
be ween bodies, ma e ials, and a mosphe es. Rep esen ing
a chi ec u al hough , he e o e, in ol es opening up a symbolic
e i o y whe e senso y expe ience akes on a cons uc ed o m.
In his con ex , he g eenhouse s ands ou as a pa adigma ic
igu e. I s con inuous spa iali y, minimal s uc u e, and
homogeneous a mosphe e make i a de ice o media ion, in une
wi h Pallasmaa’s no ion o ull habi a ion and Pe e Zum ho ’s
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idea o silen oo ing, which he a ibu es o a chi ec u es ha
emain wi hou ha ing o impose hemsel es (Ande sen, 2012).
I seeks o os e , no o expose. I s design logic ac i a es he
senso y, allowing a mosphe ic condi ions o un old wi hou
o cing hem. In his a ailabili y, in his a en ion di ec ed o
he place is whe e i s powe lies. F om his clea pe spec i e —
ha o someone who a i es wi hou p econcep ions, eady o
pe cei e wha he en i onmen has o o e — a spa ial concep
eme ges ha in e wines echnique, desi e, and iden i y. A o m
o knowledge ha a ises om doing, om expe imen ing, om
adjus ing. A hough ha un olds a he in e sec ion be ween he
ma e ial and he a mosphe ic, be ween he s uc u al and he
pe cep ual, and which inds in he g eenhouse a con empo a y
a che ype: a ense syn hesis be ween s uc u e, a mosphe e, and
li ed o m.
Figu e 8
Concep ual syne gies: he
g eenhouse space as an
a mosphe ic ield
No e. F om op o bo om.
Con empo a y g eenhouse
o wasabi p oduc ion; 1:50
scale model o he s uc u e
o KAIT Wo kshop (2008),
Junya Ishigami + associa es;
g eenhouses in Honshu,
Japan (1999); p o o ype
model o Ho izon (2010).
Sou ce. Cou esy o he
au ho ; F ac Cen e-
Val de Loi e (www.
ac-cen e. ); Yann
A hus-Be and (www.
yanna husbe and2.o g);
junya.ishigami+associa es.
Pho og aphe : Yasushi
Ichikawa.
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LUQUE-GARCÍA, E.
29
CONCLUSION
This a icle explo ed he eme gence o he Alme ia g eenhouse
as an ope a ional igu e capable o a icula ing a con empo a y
a chi ec u al logic whe e echnique and pe cep ion a e in e wined
wi h p ecision and openness. Based on he in e sec ion be ween
a cons uc ed wo k — he Ga ucha Spo s Pa ilion— and
subsequen heo e ical esea ch —El ja dín de los deseos— a si ua ed
me hodology has been deployed in which hough eme ges om
p ac ice i sel , id does no an icipa e a chi ec u e. E e y buil o m
con ains a ma e ial memo y ha , when ein e p e ed, p ojec s
u u e possibili ies. In his con ex , a he han s a ing om he
excep ional, he essen ial eme ges om a sensi i i y di ec ed
owa d he common, owa d ha which pe sis s in i s daily use. The
ou spa ial models p oposed ou line a genealogy o a chi ec u al
hough ha connec s mode n aspi a ions wi h new o ms o
en i onmen al and pe cep ual sensi i i y. This e olu ion implies
a shi om he isual aming o mo e di use con igu a ions,
whe e he a chi ec u al enclosu e ac s as a ield o media ion, no
as a limi . Con empo a y a chi ec u e is inc easingly de ined by
i s abili y o a icula e complex ansi ions be ween he ma e ial
and he a mosphe ic, be ween he echnical and he expe ien ial.
In his jou ney, he g eenhouse consolida es i sel as a p ojec -
space pa adigm and epis emic igu e, capable o ope a ing as a
case, model, and me hod wi hin he ou h model ep esen ed: a
emo ed om a me ely echnical o p oduc i e ision.
As discussed he e, he Alme ia g eenhouse embodies an
a chi ec u al a che ype ha in eg a es he e nacula , he
a mosphe ic, and he echnical. I s ligh weigh s uc u e,
con olled modula ion o ligh , and non-hie a chical spa iali y
o e a localized esponse ha a oids gene ic abs ac ion. This
seemingly neu al a chi ec u e is ac i a ed by bodily expe ience:
in a ligh ha does no dazzle, in a skin ha does no sepa a e, in
an a mosphe e ha does no ado n bu cons i u es he space i sel .
T anslucency unc ions as an ope a ing p inciple: i does no
ep esen , i happens. I s concep ual powe lies in i s condi ion
as a h eshold be ween in e io and ex e io , be ween ma e and
a mosphe e. Theo y, a he han closing o he objec , allows
i o ope a e as a ca alys o hough . Thus, om i s echnical
speci ici y and pe cep ual capaci y, he g eenhouse e eals i sel
as a igu e capable o ea icula ing he ela ionships be ween
inhabi ing and building, be ween disciplina y knowledge and
senso y expe ience. Ra he han closing o a meaning, his wo k
opens up a ho izon om which o e hink, in a si ua ed key, he
possible o ms o an a chi ec u e o come (Figu e 9).
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30
CONFLICT OF INTERESTS
The au ho decla es no con lic s o in e es .
DECLARATION OF AUTHORSHIP
E a Luque-Ga cía: Concep ualiza ion, Fund aising, Resea ch,
Me hodology, P ojec Managemen , Supe ision, Visualiza ion,
W i ing – o iginal d a , W i ing – copy p oo ing and edi ing.
Figu e 9
Rep esen a ion o he
Alme ian g eenhouse o e
Moses’ Tabe nacle
No e. Pho omon age based
on Moses’ Tabe nacle,
illus a ed in e p e a ion o
Exodus:40, Biblia Pic ó ica
Popula , 1862.
Sou ce. Cou esy o he
au ho .
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