Hidden Light

HIDDEN LIGHT
An Underground Cultural Space
YONATAN LEANDRO SARMIENTO SOLER

UPC
ETSAB
MBArch
Contemporary Project
Barcelona (2019-2020)
Tutor: Marta Domenech
01
The Contemporary Project

02

“The underground Is a non-place, a parallel
noncity that collides with the skin of the
terrain that obsessively controls her; an ab-
sence that reminds us of Graham Greenes’s
third man, implicit but non existent, com-
prehensible and justifiable only by the re-
duction to the absurd and literally invisible,
present only through necessity”.
Josep Maria Fort. Quaderns.
Fig. 01. Wiston House Design By Don Metz.
03

I.
II.
III.
IV.
Index
04

Introduction
HIDDEN KNOWLEDGE.
I. MARK ROTHKO, “The Abstract of the Occult”.
II. RACHEL WHITEREAD “Negative Speculation”.
III. HIROSHI SUGIMOTO, “Mystery in Time”.
IV. ALBERTO BURRI, “Hidden Strokes”.
V. PETER ZUMTHOR, “The Secret Light”.
HIDDEN SUBSOIL.
I. A Historical Relation
II. Contemporary Black Space
III. Silence Barcelona Today
TALKING HIDDEN LIGHT.

I. The Light in the Reading of Space and Time.
II. The light of the Place.
III. light as an Abstract Element.
IV. When the Natural is Inside.
V. Contemporary Atmospheres.
THE LIGHT ENTERING THE SUBSOIL

IV.I The Mystery in a Cultural Space
IV.II Sequence and Void Relationships
Conclution
Bibliography
List of Figures
05

Abstract
06

A filter of light and city, negative interventions, to let the
above flood the mass of the subsoil with light. "Light and
gravity are the only elements capable of piercing the
thought of stone" 3
The light goes up to underground, to this hidden part of the

cities classified in different ways: The Light in the Reading of
Space and Time, The light of the Place, light as an Abstract
Element, When the Natural is Inside, Contemporary Atmos-
pheres. observe the opposite side of the underground line,
spaces of light.
Currently, the subsoil is a space of transition, of connection

between two points contained in a forgotten story, little ex-
plored and mysteriously developed as it is a space of experi-
ence, due to its main function of transporting elements, it is a
non-place, today Some cities have tried to give it a change of
use, a change from an exploration in densities, the little space
in territories makes use of the subsoil as the new destination.
Weave the subsoil with the city is a very effective way to

develop the growth and revaluation of built spaces and a
way to appreciate neglected underground areas, adding new
uses, in addition to transport infrastructure, activities such
as permanent stays generating the new normalized use as on
the surface, the connection of the urban fabric can not only
be horizontally on the surface, but we can have a vertical
perception of the cities, thus achieving the consolidation of
part of the fundamental system of public space and cultural
spaces.
3 Campo Baeza
07

Introduction
08

The subsoil has been a mysterious, silent, intriguing, dark
place, there are reasons or rather a preconceived argument
that we handle in the mind of why humanity has lived and
conquered the surface and not the subsoil.
The underground space has been developed primarily as
a hidden, negative substitute for above, we can bring it to
efficient character expressions, bring it unexplored qualities,
and bring architecture to its fullest expression of creativity
by bringing light underground.
Although today the subsoil has an integrating role in the

construction of cities, it is not really an integral part of the
metropolis; it is present only out of necessity. This is due
to many reasons, but mainly to its functions as “the fluids
rather to space itself” 3 and its limited relationship with the
city above.
It is interesting to discover and experience Barcelona from
another point of view. Because it is an undiscovered world,
but, at the same time, ironically contains pieces of history, as
if it was already lived and forgotten. In the Barcelona met-
ro there are so many elements that they keep waiting and
screaming to be integrated or rediscovered.
3
Josep Maria fort. Quaderns
09

Fig. 02. 1520 representation of the Dantean Hell
10

Taking into account light as an element of abstraction to take
it underground, this is the part of connection between two
worlds, one way to interpret these hidden scenarios is to
describe it through literature, Dante Alighieri's divine comedy
interprets an approach to the center from the earth.
"Literature and architecture when it comes to wanting to

architect, and this verb, The Divine Comedy, which Dante
Alighieri wrote from 1304 until his death in 1321, has
never had greater weight. The Divine Comedy recreates
a journey by the same poet through the three kingdoms
beyond the grave: Hell, Purgatory and Paradise. It is one
of the main literary landmarks in the entire history of
mankind and is therefore also considered one of the main
insignia of Italian culture. The passage from literature to
architecture produces a rich and complex interpretation
of the poem that goes so far as to contradict it in some
very relevant aspects. This is not the space to deal with it,
especially considering that we are talking precisely about
the opposite, that is, a superficial and epidermal read-
ing of the work, mainly what I consider the second most
beautiful and successful space that was conceived in it:
Hell".3
3
the tomb and the invisible monument. jparquitecte. 2018.
11

LIG
EMPTY
BELOW LUSTFUL
OPPOSITE
BLACK
MYSTERY
UNNOTICED
COVERT
CONTRARY
OPPOSITE 12

GHT
UNDERGROUND
SECRET
HIDDEN
NEGATIVE
OTHER
DARK
INVISIBLE SILENCE 13

HIDDEN KNOWLEDGE I.
14

“If it is really strong, it will show
itself. Although I hide it”
Alberto Giacometti
Fig. 03. Alberto Giacometti: Portrait
15

Fig. 04. Mark Rothko contemplating painting No. 25. Kay Bell Reynal Photographs
Hidden Knowledge 16

I.I
Fig. 05. Mark Rothko: Portrait
MARK ROTHKO,
“The Abstraction of the Occult”
philip johnson commissioned mark rothko to build walls for the four
seasons restaurant in the recently completed seagram building. In three
months I made forty paintings, I executed more than necessary to have
greater freedom at the time of the last election. One night he decided to
return the advance he had been paid: after a dinner at the restaurant he
had left traumatized, in his mind he had conceived an idyllic setting with
extraneous messages, in mystical communion with the murals, not a mul-
titude of wealthy consumers. then he decided to give his paintings to the
tate gallery, moved by the esteem he professed for william turner. She
sent abundant directives to the tate indicating how her paintings should
be exhibited, although her death would prevent her from seeing her pic-
torial group installed. Rothko had a very clear idea of how
these should
be displayed: the light in the gallery had to be reduced, the viewer had to
experience each painting slowly as he immersed himself in his silent sur-
roundings, he wanted his paintings to be studied closely, he insisted that
they be exhibited. in environments of a normal scale, immersion was for
him a strategic concept.
"I wanted to paint my own size, I wanted to rec-

ognize myself in my work" Mark Rothko.
Hidden Knowledge 17

Fig. 06. Rachel Whiteread, House, 1993. John Davies Photographs
18

I.II
Fig. 08. Rachel Whiteread: Portrait
RACHEL WHITEREAD
“Negative Speculation”
In 1993, artist Rachel Whiteread negotiated with the city council to empty
an archetypal Victorian terraced house at 193 Grove Road, east Lon-
don, destined to be demolished. Whiteread emptied the interior, turning
the contained space into a sculptural container. As in the metaphysical
boxes in oteiza in which the metal plates and sheets were only instead
that delimited the void that made up the true sculpture, when the mold
of the primitive construction was removed, the negative imprint of the
rooms appeared, the walls had vanished, revealing the other side of the
windowsills, frames, conditions of constalations, striated like bas-reliefs
in the solid mass. for a few months it was erected as a public sculpture in
a small park like a ghost, a contemporary Pompeii. The same night that
Whiteread won the Turner Prize, the city council demolished house.
"on some occasion the artist, trying to define

her work of a negative specular strategy, has
referred to the figure of Roman death masks.
There is something in her work of the republican
maiorum images, wax funeral masks that served
as casts for bronze portraits, the traces that life
left forgotten on the face were for the Roman
the sign of a vital status. with its solidified voids,
transferences of life between the mold and the
form, whiteread fixes the space in time; Contrary
to what happened in that Rome, it rescues the
inner image of the mold, previously in contact
with reality, subverting the way of understanding
our environment and underlining the layers and
traces of human social life".
19

Fig. 09. Franklin Park Theater, “Rashomon” 1950, Boston, 2015
Fig. 10. Palace Theater, “Snow White” 1937, Gary, 2015
20
Fig.11. Everett Square Theater, “Mujo” 1970, Boston, 2015

I.III Fig. 12. Hiroshi Sugimoto: Portrait
HIROSHI SUGIMOTO
“The Mystery in Time”
The mysterious target of the photographs in Hiroshi sugimoto's Cinemas

series is the impossible attempt to photograph time, the trail of cinematic
time. To carry them out, the photographer places the camera in front of
a screen, taking care that some elements of the movie theaters where it
takes place are used in the frame, the shutter opens with the first credit
titles and closes on the final label. As a result, a blank screen appears
revealed
"By photographing different films, different in-

tensities of light are achieved, each one of them
leaves only a trace of light"
although they appear the same, each of them has a characteristic target,
not the usual sequence of projected juxtaposition. celluloid reflectogra-
phy. any material presence functions as an accumulator of time, like the
sugimoto screens, a mirror that reflects the passage of time, the action of
the environment or the events of the centuries.
21

Fig. 13. Alberto Burri, Big Cretto de Gibellina, 1981. Javier Callejas Photographs
22

I.IV
Fig. 14. Alberto Burri: Portrait
ALBERTO BURRI
“Hidden Strokes”
On January 15, 1968, an earthquake shook the Belize river valley in west-
ern Sicily, more than a thousand people died and nearly a hundred thou-
sand lost their homes. Gibellina, with more than six thousand inhabitants,
was one of the twelve towns totally destroyed. The new Gibellina was not
rebuilt on the ruins of that fallen city, it was built according to a model of
a garden city in the new location next to a train track and a highway, on
a plain twenty kilometers away from the remains of the center destroyed
by the earthquake. In 1981, the artist Alberto Burri proposed an interven-
tion in the devastated city.
Burri had developed his cretti in the previous decade, they were watery
masses made up of vinyl glues and zinc or kaolin white, which he allowed
to dry horizontally on trestles until the paste cracked or cracked, resulting
in cracked landscapes crossed by many fissures, the soils in the sun. For
Guibellina, Burri proposed a large white cretto adapted to the topography
of the terrain, on part of the ruins of the old city, another solidification
of a mass in a fused state. The great Cretto di Gibellina thus appears as a
thick layer of white cement that unfolds on the steep side of the moun-
tain, visible from far away, with its undulations and its wounds.
The great Cretto partly reproduces the layout of the destroyed streets,
through the routes people could return to the church, to the square, to
their own home. The work constitutes for its inhabitants an instrument of
meditation with the place, the events and the memory, at the same time
that it freezes in time a situation of instability.
23

Fig. 15. Peter Zumthor, views of the exterior under construc- Fig. 16. Peter Zumthor, views of the exterior under construc-
tion and the interior of the Bruder Klaus chapel tion and the interior of the Bruder Klaus chapel
24

I.V
Fig. 17. Peter Zimthor: Portrait
PETER ZUMTHOR
“The Secret light”
Peter Zumthor's Bruder Klaus Chapel was built by farmers from Wachen-
dorf, south of Cologne, as a monolith on farmland using the “compacted
concrete” technique; its shape was determined by a structure of one
hundred and twelve trunks from the Bad Munstereifel forest converging
on an oculo at the top. The logs were arranged on a concrete slab and
then the 12 meter high walls were built around the wooden structure,
dumping 50 centimeters of concrete every day for twenty-four days,
giving the chapel its particular striated texture. When the last part of
the concrete finished setting, the logs were burners: the result was an
exciting interior space defined by a blackened concrete that refers to the
material that gave it shape, that is, to the absence of it, the negative of
the nearby forest ; perhaps it is not possible to imagine a better evoca-
tion of divine immateriality. the history of these logs has a specific end,
the end of the cycle of other forms that could be generated, today they
are nothing more than ashes.
"I was watching for five minutes what happened

with the living room of my house. What the light
was like. It's fantastic! Something similar is sure
to happen to them. I started to examine where
and how the light gave full, where there were
shadows and how they were. surfaces were dull,
radiant emerging from the depth. "
Peter Zumthor.
25

HIDDEN SUBSOIL II.
26

“The dream of the metropolis is
being built in the subsoil ”
Marcel Meili
Fig. 18. Marce Meili Portrait
27

it was built by sesotri and was laid out ac-
cording to a regular plan measuring 280 x
360 m and perfectly oriented according to
the cardinal points. each street had a 65cm
wide and shallow canal through which
rainwater and latrines were evacuated.
this is the first example of urban
canalization.
2500
Fig. 19, Kahun, City Plan (Quaroni, 1997) Fig. 21, Abhaneri Cistern (Vvaa, 2006)
Kahun city, Egipt

A.C
Valley of the Kings in Egypt
Fig. 20, Abhaneri Cistern (Vvaa, 2006) 1500 A.

necropolis of ancient egypt where the
names of most of the pharaohs of the new
empire (1500 BC) are found, among others,
it was declared a world heritage site by
Unesco in 1979. excavations have brought
to light a total of 62 names, in addition to
others that were left unfinished and from
different wells, totaling more than 80 bur-
ial points, apart from those that have not
yet been located.
This example is an unprecedented case

that forms an organization of southern
spaces that demonstrate that, already in
the Egyptian civilization, they mastered
the technique in a considerable way. And
thanks also to the geological characteristics
of the subsoil in this place, they can create
this large number of galleries that, despite
the proximity between them, do not get to
28 touch each other, but instead live togeth-
er in the subsoil as they do. the different
service networks in cities today.
II.I A Historical Relation
It is an example that, like the adalaj stair-

well in India, they are authentic buried
cathedrals, which in addition to being
spaces that allow the gods to be venerat-
ed, are places capable of bringing
together numerous people taking
A complete supply and drainage network
into account that people they can has been found in the minos palace. in
occupy many positions, their construction they used ceramic trun-
both on the stairs and on the platforms, at cated cone tubes provided with handles
different levels. but in this type of space to be able to maneuver them to depth by
and as in the present, looking towards the means of, as well as adaptation to sinuous
past, different alternatives can be opened. locks
700 3000
Fig. 23, Abhaneri Cistern (Vvaa, 2006)
Abhaneri Cistern. India A.C
Fig. 22, Deinkuyu, Kaymali, Özkonak, Cardak and

Gogala and turkey
900
When there are no natural materials to
build above ground, the nature of the
subsoil does not allow, and there is also the
risk of attacks, inhabited basements orig-
inate in which the hygienic conditions are
good, and the temperatures, both in winter
and in summer, are excellent.
in the case of Matmata, the basic structure

is that of a sunken patio about 8 meters
deep, 10m x 10m on each side, which al-
lows housing to be organized around it. the
rooms are 3m wide and of a variable depth
of 3 and 6m. This case can be considered
a prototype for more complex groupings,
such as in Derinkuyu, where it is to serve
a similar technique and up to 12 floors
deep where the main idea is to separate
the accesses from the vents. a perimeter
ditch controls the entry of the waters. the
organizing structure of29this town consists
of large “vantilacio highways” and totally
independent access roads
the history of the urban creation of rome
coincides with the creation of the maxi-
mum sewer. in principle a torrent that
separated the hills from the septimontium,
where the first settlers settled. the first
works were started in 200 by the first
Etruscan kings, after the opening of the
ditch, the ditch was fitted with stone fronts
to consolidate the channel, and the ditch
was covered with toulons. the dimensions
are not even known the same criterion.
in the sey route to the forum has a width
of 2.10 m to go down to 5 m. it crosses
important monuments that communicated
with this to drain the blood spilled to the
altars of the temples
200
Fig. 24, Kahun city, Egipt Fig. 26, Athenaeum Drainage System
A.C
Fig. 25, Athenaeum Drainage System

400 A.C
the first large-scale use of a drainage
system took place in greece, in the cities of
athens and corinth
in Athens a network of canals collected the

algae produced on the slopes of the hills
against which it settled. the trunk of the
network was located in the so-called large
canal, which was of rectangular section,
with dimensions of 1x1m, made of pieces of
terracotta 0.685 m long, and covered with
leveled slabs. paved roads ran over these
canals
30

the oldest sewer network in the Roman
Empire, the streets. in general, the sewers
are made up of a ditch on the axis of the
street. then, after raising the fronts on the
floor and building the colts, the surface of
the raised pavement was carried out in the
street to carry out the work. the commu- the best known are those of Paris and
nication between the track and the sewer, Rome. those of paris are the result of the
both for maintenance and for the entry of use of old disused mines in the 14th arron-
rainwater, was done by means of vertical dissement where the bones from ancient
logs. the sidewalks fulfilled not only the cemeteries (cemeteries of the innocent)
mission of segregating pedestrian traffic were placed on the walls. the transfer of
from the rolling stock and providing a firm the remains took place in 1786 and since
base on which to walk in rainy weather, but their creation aroused curiosity. they are
also that of driving rainwater into canals 20 m deep and can be visited for 1.7 km,
found in the nearest wetland. this urban which represents an intimate part of all the
typology did not reappear as such until the old underground mines in paris that are
19th century. estimated to reach 300 km
700 1787
Fig. 28, cuniculi. Etruscans.
Fig. 27, cuniculi. Etruscans. 700 A.C

these people, to dominate their environ-
ment, developed a series of innovative
hydraulic techniques. Among these is a
precedent for what will later be the sewage
network, but applied to the drying of the
land: the cuniculi
The cuniculi -or rabbit burrows- were
galleries dug at a certain depth, on an im-
permeable layer, which allowed to drain a
non-gaine terrain that was consistent and
easily saturable, and they said that it was
suitable for both agriculture and livestock,
while avoiding its fatal erosion in episodes
of heavy rains. after the excavation of a
first well, the gallery followed the path that
marked the groundwater discourse, with-
out increasing the slope too much to avoid
erosion of the channel.
31

Fig, 29. Painting by K.Malevich “Black Square” 1915
32

II.II Contemporary Black Space
" Everyone in the group is doing all black
paintings anon. There is a palpable frisson in
the air that heralds art innovation. A sense of
real gravitas now has everyone in a grip of
iron resolve. 'Colour' being no longer the is-
sue, 'size' has come to preoccupy some mem-
bers of the executive committee. "Size is not
important," the women try to explain.
None of the men believe this for a single mo-
ment, but they acquiesce from gallantry. Then
they give all their attention to the written
critical holding devices and are in sight of a
manifesto when late news arrives from Rus-
sia that a certain Kasimir Malevich has done
it. Not just done it, but with a tilt. Yes, all
white?but the tilt! (How we did not think of it
continues to astonish and depress us in about
equal proportions. We are haunted by balance
in all things and tinker with our emotions)".
33

Fig, 30. Plan of excavated Matmata haush,
Tunisia. (From Paul Oliver “Dwellings”)
Fig. 31. Black Space, Shinohara’s proposal at Odakyu

Exhibition (1964)Shinohara.
Fig. 32. Unfolded House of Earth [AD] 34

House of Earth stands in a small plot in central Tokyo, introverted among
higher buildings. From the outside it is a closed and low-lying volume, as
if belonging to the ground.
In fact, its pavement is made of beaten earth, or doma,258 like those

of some of his previous houses. But here the earth flooring is prevalent,
establishing a direct continuity with the exterior and, more importantly,
prefiguring what is the most striking feature of the house, an excavated
bedroom with no windows.
This space is the first partial realization (and

will be the only one) of his idea of Black Space shown at the Odakyu ex-
hibition, which proposed an entire house buried, formed by independent
units connected by corridors to a central space,
an arrangement similar to that of buried ancestral architecture that can
be found around the world.259
In a passage explaining his House with an Earthen Floor, Shinohara is very

explicit about his intentions for Black Space:
“Among the themes for the exhibition [at

Odakyu] was the plan for ‘The House of the
Mother Earth’ or ‘Black Space’. All of this
house, about 100 square meters in size, was
to be submerged under the ground. I was
thinking about the space that corresponds
to the unusual or hidden in man’s mind, such
as his dark passions, anxieties, and sense of
loneliness.”260
In a subsequent passage commenting on House
of Earth he insists on this idea, noting that “Sometimes I have the impulse
to create a space which is deeply involved with the irrational parts of
man’s heart.”261 Or the uncanny, which will be from then on a theme he
will try to develop, however difficult it may prove:262
“My intention to express in spatial forms vari-

ous emotional phenomena -such suppressed
feelings as anxiety, anger, and a sense of
alienation- will not change in the future. [...]
Houses cannot exist independently of man’s
insatiable desires.”263
35

“The underground Is a non-
place, a parallel non-city that
collides with the skin of
the terrain that obsessively
controls her; an absence
that reminds us of Graham
Greenes’s third man, implicit
but non existent, compre-
hensible and justifiable only
by the reduction to the ab-
surd and literally invisible,
present only through neces-
sity”.5.
36
Fig. 01
II.III Silence Barcelona Today
37

Fig. 33. Barcelona’s Surface
Fig. 34. Barcelona’s Subsurface
38

MOVEMENT
The underground is used as a space for mainly movement, currently in Barcelona
there is no static space on the subsurface being used. The important quality is the
transportation of elements from one side to another that connects with the surface
with the surface.
It seems paradoxical but the underground that is so dense, works with a fast fluid,
different from the above. On the surface there is free space and the predominant ele-
ments are static. Free space and dispersed movement.
IDENTITY
The surface contains the seen elements, there for, there are architectural or natural
aspects that shows us and characterize a place, serving as a constant reference, and
to which architecture seems to bound. “Architecture belongs to the place, and the
place is defined by its peculiar light; is one of the essential attributes for under-
standing the architectural problem”.6. On the underground, no identity is identi-
fied, could be wherever, lack of light, of views of identification, of belonging.
Perception
SPACE
Space on the above ground is empty, completely negative. Under- ground is com-
pletely positive. Human intervention and inhabiting is completely the opposite to
it’s nature. To inhabit the negative – you build in positive, and to inhabit the positive,
you build in negative.
Aboveground buildings are seen from the outside, they are elements placed filling the
negative, inhabiting in positive. On the underground, is the contrary, Instead of add-
ing elements, we inhabit by subtraction.
PERCEPTION
A consequence from the negative and positive spaces is the hidden and shown
perception of the space. Finding a building aboveground it is easy to be seen and
but discovering one on the underground is not discoverable that easy. Hidden means
some thing that is unseen, not discoverable. Shown refers to something exposed,
seen. This is directly influenced with light, no light, no visibility.
“You don’t have a reference for what is going on, no elements to identify, no
identity and no sense of time”
ACTIVITY
“Reality has replaces extension by superimposition of activities; activities
superimposed on different levels can be separated only by a few meters and can
establish diverse relationships between themselves at the surface. If we direct
our gaze towards what is happening under our feet, col- lectors and sewers ap-
pear as the out- er ring of a long chain of installations and services that permit
the existence of an apparent world, emerging before our very eyes and the origin
of their need. “8
39

TALKING HIDDEN LIGHT III.
40

“The ideas contained in the large
glass are much more important
than its result”
Marcel Duchamp
Fig. 35. Marcel Duchamp Portrait
41

Fig. 36. pantheon Rome
42

III.I
The Light in the Reading of
Space and Time
"What is space? It is
nothing but a very sub-
tle light"
Procio
To talk of architecture is to talk of space. space
that begins at the limit of tangible matter, and
that reaches us in the interaction of light and
shadow. Space that is necessarily perceived by
the light that qualifies it and joins it in such a
way that even some, such as the Neoplatonic
philosopher Procio.
House in Itoshima, Kazuo Shi-

nohara, 1976
“I felt something alien to the room. That
something seemed to me to be best de-
scribed by the term ‘nature’. It was not,
though, the sense of raw nature I felt in the
beautiful pillar. It was, rather, an abstract
conception born as a result of the inter-
play between the simplified, abstracted,
white-painted, square box and the cedar
log. ” 71
Pantheon Rome, 113-125 AD

the work that by antoncmasia represents
the architectural conception of classca light
is the pantheon. Using Greek arts as mere
ornamentation, I had traced for the very
Fig. 37. House in Itoshima (1976), designed by SHINOHARA, Kazuo.
structure of the building to the primitive
and fabulous times of Rome, to the circular
temples of ancient Etruria. I had wanted the
sanctuary of all the gods to reproduce the
shape of the terrestrial globe and the stellar
sphere, the globe where the seeds of eter-
nal fire are concentrated, the hollow sphere
that contains everything ... the dome, built
with lava hard and light ... communicates
with the sky through an alternately black
and blue hole. 247
43

Fig. 38. Collage Interior Avinguda de la Llum by author
44

L’Avenguda de la llum, Barcelo-
na.
finally, although it is of an exceptional na-
ture under the public subsoil, the case of the
commercial gallery called “avenida de la luz”
is noteworthy, since although it currently
does not function as such, in the past it had
relevance as a commercial space in the city. It
was located under the Pelai street, between
the Catalunya plate and the confluence of the
Bergara and Grotto streets, next to the sarria
railway hall, and was one of the first under-
ground shopping arcades in Europe (Gisbert,
2011). Opened in 1940 and promoted by Jaime
Quixal, it occupied a space that had been left
unused in the center of the city.
it was the first phase of a very ambitious
project, the city of light -or underground city,
which had to reach, always under the ground,
up to the urquinaona plate. Just as it was
born with great splendor, as a luxurious place,
an example of cosmopolitanism, during the
sixties it was forgotten by the authorities and
sloppiness turned it into a dark and decadent
corridor that ended up closing in 1990.
Fig, 01. Author
45

Fig. 39. Baumschulenweg Crematorium, Shultes Frank Architeckten
46

III.II
The Light of the Place.
Architecture is a constructed form, a sym-

bolic form that interprets man's relationship
with the world and that is not limited to
the mimesis of external reality, but rather
redefines, interprets and configures man's
relationship with the world.
Baumschulenweg Crematorium,
Shultes Frank Architeckten
‘People die and they are not happy’ – architec-
ture can’t change that. A place of rest, a space
for silence: that is something it still manages
to provide, despite the fact that not even
stones are as heavy as they were in more solid
epochs with a firmer belief in the eternal, as in
Saqqara, as in Giza, for example.
Our final road is uncertain. Neither church nor
temple of the dead offer a model for the path
to nothingness or angelhood. In lending shape
to freedom and necessity, the intensity, the
texture of a Maghreb mosque comes closest
to meeting the task: a Piazza Coperta, a place
in the middle of this cenotaph, where many
can assemble and yet the individual is shield-
ed; a catalyst for all our feelings. In this room
– 5000 years young – the columns with their
capitals of light establish the only reference
left to us: a cosmological contrast between
populated stacks of clay and the sun with its
light.
Zamora Offices, 2012, Alberto

Campo Baeza Fig. 40. Photographs Javier Callejas , Alberto Campo Baeza
Facing the cathedral and following the outline "IDEA with a vocation to be built,
of the former convent’s kitchen garden, we ESSENTIAL SPACE with Ability to
erect a strong stone wall box open to the sky. effectively translate these ideas,
Its walls and floors entirely made of stone. LIGHT that Puts man in relationship
The very same stone as the Cathedral. A real
with those Spaces" . Alberto Baeza.
Hortus Conclusus.
47

Fig. 41. Pearling Site, 2019, Valerio Olgiati
48

III.III
Light as an Abstrac Element.
"Only the pure manifestation of

the elements in a harmonious
relationship can mitigate the
tragic element in life and in art.
The modern artist consciously
feels abstraction as a universal
and cosmic aesthetic emotion."
Piet Mondrian 1917. De Stijl n 1
At the beginning of the 20th century, a theory

"Abstraction and Nature" of great influence
was established in all artistic intellectual circles
in Europe during the first half of the century,
in which it developed the difference between
transcendent art and classical art.
Pearling Site, 2019, Valerio Ol-

giati
The site contains ruins that are part of the

UNESCO Pearl Trail. The entire building func-
tions as the entrance to the cultural heritage
and the lobby of the medina. It is an urban hall
for the people of Muharraq with the scale of a
public park. Fig. 42. Church of the Light,1999, Tadao Ando
concrete structures. Completed in 1989, the

A roof, understood as an archaic gesture,
Church of the Light was a renovation to an
donates vital shadows for the people of Mu-
existing Christian compound in Ibaraki. The
harraq in this very hot climate and produces a
new church was the first phase to a complete
new and unique situation through its different
redesign of the site – later completed in 1999 –
scale.
under Ando’s design aesthetic.
Church of the Light, 1999,

Tadao Ando
The Church of the Light embraces Ando’s

philosophical framework between nature and
architecture through the way in which light
can define and create new spatial percep-
tions equally, if not more so, as that of his
49

Fig. 01
Fig. 43. Collage Portugal Pavilion Expo'98 / Alvaro Siza by author
50

National pavillion of Expo 98,
1998, Alvaro Siza
In the National Pavilion of Expo '98 in Portu-
gal, the architectural structure and form work
in graceful harmony. Located at the mouth of
the Tagus River in Lisbon, Portugal, the heart
of the design is a huge and incredibly thin
concrete canopy, effortlessly covered between
two powerful porticoes, creating a command-
ing view of the water. The simple and gestural
movement is both light and powerful, a bold
architectural solution to the common prob-
lem of the covered public square. Under the
elegant touch of Álvaro Siza Vieira, physics
and physical form are theatrically coupled with
each other, and simplicity and clarity raise the
pavilion to the height of modern sophistica-
tion.
Each of my projects aims to

seize, with the utmost rigor,
a fleeting image with all the
shadows; To the extent that
this quality that escapes reality
is grasped, the design will be
more or less clear and the more
precise it will be, the more vul-
nerable it is. 7 pag. 204
Those shadows that pessoa

talks about, "the shadows of
small things, still more humble
than them." the shadows speak
of the sun, of the light, of the
moment, of the instant. of the
"making" of things and not of
"how they are made".
51

Fig. 44. Ca’n Terra, 2018, Ensamble Studio
52

III.IV
When the Natural is Inside
la arquitectura definida por su luz y sombras,
sombras precisas y deligeradas que recor-
tan de forma compleja los volumenes. la luz
natural, fuerte, diafana y clara, que nos permite
conocer y medirl las formas arquitectonicas y
el paso del tiempo.
We cannot forget the strong

symbolic character that the
light of classical philosophy
has. Plato considered space
as one of the four constituent
elements of the world: earth,
air, fire and water. space, seen
as air, thus became a tangible
object, different in character
from all other objects in the
world. This introductory exam
will be limited to a small por-
tion of the time. very influen-
tial document in the formation
of western architectural theory.
on the other hand, the subject
of intellectual light related to
the knowledge of reality aris- Fig. 45. Collapse of part of the Canteras Caves in Puerto de
es, which is expressed in "the Sta Maria (Cadiz). Photo: Xurxo Gago
myth of the cave" (the repub-

lic, book VII) where the world Ca’n Terra, 2018, Ensamble
of leftovers appears through Studio
which we know reality , since
Ca’n Terra is the house of the earth. The fruit
the man would be blinded by that nature gives us, as a found space; which
direct vision of the light, which requires tillage and cultivation to imbue the re-
ceived offering with domesticity. If the history
is only available to the chosen of civilization has greatly evolved transforming
ones. If you were trained to ideas into built work, in Ca’n Terra, the process
look at the light itself, would is inverted and history interpreted to transform
it into architecture.
you not feel your eyes sore and
try to flee, turning towards the
shadows that you see easily? 53

Fig. 46. Bodegas Bell-lloc, 2007, RCR Arquitectes, Interior space
Fig. 47. Bodegas Bell-lloc, 2007, RCR Arquitectes, plants

54

III.V
Contemporary Atmospheres
space is nothing but pure, qual-

ified and unlimited extension
that begins to take shape as
a virtual dimension of the or-
dered, projected, formative
performance of a social group.
66
Before the industrial revolution creat-
ed the premises for a product change
in construction techniques, the first
large glazed surfaces appeared in the
architecture of romantic classicism,
supporting the trend towards the cult
of clarity and rationality, the inspira-
tional element of culture "illustrated
or illuminated", paxton, in the crystal
palace, as Ruskin appreciated, demon-
strated the possibility of creating a
greenhouse on a human scale. This
concept was developed in galleries and Fig. 48. bagsvaerd church, 1968, Jhon Utzon
stations, enriching Europe and America
with extraordinary urban greenhouses unique perception is the result of its spatial
and inaugurating a relationship be- geometry and its materials, steel and stones,
tween light and architecture hitherto which envelop you in an underground, cool,
isolated world , where you can feel and taste
unknown.
another tempo.
Bodegas Bell-lloc, 2007, RCR bagsvaerd church, 1968, Jhon

Arquitectes Utzon
It is a "promenade" to the underground world Jhon utzon offers us an interesting example
of wine from a path that follows the forest and of natural light in the church of Bagsvaerd,
links buildings. Its interior offers rest, gloom, in which the false ceiling is configured like
the weight of the earth. Also the air and rain previous clouds. the light is arranged zenithal
in the tasting room and the surprise of a small by means of a system of wavy surfaces that
auditorium, the inertia of this excavated en- the interior space in an unusual space, purely
vironment is used to avoid any energy con- unusual. the anterior finger, through the light,
sumption in its environmental qualities, whose will be directly related to the outside.
55

Fig. 49. House N - Sou Fujimoto.
56

House N, 2008, Sou Fujimoto
The house itself is comprised of three shells
of progressive size nested inside one another.
The outermost shell covers the entire prem-
ises, creating a covered, semi-indoor garden.
Second shell encloses a limited space inside the
covered outdoor space. Third shell creates a
smaller interior space. Residents build their life
inside this gradation of domain.
I have always had doubts about streets and

houses being separated by a single wall, and
wondered that a gradation of rich domain
accompanied by various senses of distance be-
tween streets and houses might be a possibility,
such as: a place inside the house that is fairly
near the street; a place that is a bit far from the
street, and a place far off the street, in secure
privacy.
That is why life in this house resembles to living

among the clouds. A distinct boundary is no-
where to be found, except for a gradual change
in the domain. One might say that an ideal
architecture is an outdoor space that feels like Fig. 50. House N - Sou Fujimoto.plan
the indoors and an indoor space that feels like
the outdoors. In a nested structure, the inside is
invariably the outside, and vice versa. My inten-
tion was to make an architecture that is not
about space nor about form, but simply about
expressing the riches of what are `between`
houses and streets.
Three nested shells eventually mean infinite

nesting because the whole world is made up
of infinite nesting. And here are only three
of them that are given barely visible shape. I
imagined that the city and the house are no
different from one another in the essence, but
are just different approaches to a continuum of Fig. 51. House N - Sou Fujimoto. plan
a single subject, or different expressions of the
same thing- an undulation of a primordial space
where humans dwell.
57

THE LIGHT ENTERING
THE SUBSOIL IV.
58

“¿Isn't the history of architec-
ture a history of the diverse un-
derstanding of light? Bernini, Le
Corbusier! ... Light is the basic,
essential material of architec-
ture. With the mysterious but
real ability, magic, to put space
in tension for man. with the
ability to endow that space with
such a quality that it moves, to
move men.”
Campo Baeza, Architecture sine luce multa arquitecture est.
Fig. 52. Campo Baeza Portrait
59

3
60

IV.I
The Mystery in a Cultural Space
61

62

The project is located at the crossroads of three neighborhoods that
are: Torrassa, Maria Cristina and Sant Josep, where the railway from
Sants station has different points both nationally and regionally, mak-
ing the division of the neighborhoods even more noticeable,
The urban plan is located the different cultural buildings that have
a new presence in the center of Barcelona and a lesser presence in
Hospitalt de Llobregat, the municipality intends to develop a cultural
space at the crossroads of these neighborhoods thus giving the con-
nection and continuation from different points.
The main problem identified in this area is the interruption of fluids,

the pedestrian traffic being the most affected, the deterioration of
smaller-scale cultural spaces, the highly forgotten environment and
led to being a car depot,
the light will be used to penetrate the subsoil layer providing the flow
that is needed in a safe way, seeking the cultured underground and
turning a negative space into contemporary architecture.
63

Fig. 53. Intervention in the cannaregio (project) Venice, 1978
64

IV.II
Sequence and Void Relationships
"Eisenman has introduced the important idea

of generational or transformational grammar in
which language is seen as a generating activi-
ty, as opposed to an understanding of grammar
as a mere description of syntactic relationships.
From this way of understanding language, syn-
tax acquires a new meaning, where the syntactic
structure itself is understood as the generator of
language. Eisenman incorporates this concept into
architecture because it helps him establish what
he sees as a synthesis process similar to architec-
ture, the process by which the architectural form
is generated."5
In 1978 the Municipal Government of Venice held an invited international
competition to design a major public open space in the city. The project
started from the notion of an architecture that invents its own site and
program. Rather than trying to reproduce or simulate an existing Venice
whose authenticity cannot be replicated, the project constructs another,
fictitious Venice. In this case, the gridded structure of Le Corbusier’s Ven-
ice Hospital, designed in the 1940s, was expanded and used as a structure
over the given site. This grid is marked as an absence, a series of voids,
which act as metaphors for man’s displacement from his position as the
central instrument of measure. In this project, architecture becomes the
measure of itself.
The objects that inhabit this landscape are variations of an earlier project,
House 11a, shown at different scales. The smallest object is too small to
shelter, but raises question whether it is a house or the model of a house.
The middle-sized object may be a house, but it contains the smaller object
inside. Is it a house, or a museum of houses? The largest object is twice
the size of the middle-sized object. What can this object be called?
The sequence and the relationships between the objects are intended
to place into question the idea of meaning as an effect of function. The
fiction thus created acts as a notation and a critique of existing institu-
tionalized definitions. The imaginary metaphysical landscape exists in
contrast to the surrounding urban context, yet at the same time enhances
it energy.
65

The distribution of the space will be deter-
mined by the light and how it enters the
space, the areas will also be determined by
S-0
1
the levels of the terrain generating accesses
from north to south and vice versa connect-
ed with the city, giving fluid for pedestrians,
the main idea is that at the along the inter-
section the shapes and lights are reflected.
S-0
4
S-1
0
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69

70

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S-0
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76

When the Natural is Inside
Contemporary Atmospheres
77

The Light in the Reading of Space
and Time
78

79

80

81

Conclution
82

A space of light and city, hidden problems, negative, opposite, dark to let the
interior focus the light on the mass of the subsoil, “light and gravity are the only
elements that have problems in drilling stone thinking”
Architecture is the meditation created from spaces that evoke the sensation of
the specific function. For the musician, the musical page means seeing from what
he hears. The floor plan of a building required to be read as a harmony of spaces
in the light ”
Light integrates with the subsoil in different ways, classified into six ways: light in
the reading of space and time, the light of the place, light as an instrument of ab-
straction, when the exterior is inside, creating atmosphere and play of shadows,
which allows the subsoil to let light transmit in different ways.
Now, the basement is a forgotten place, an intermediary space between two

places, which houses embedded pieces of hidden history. Buried space, a place of
transportation and rapid communication, in many cities has been a service space,
surely to provide support to the above.
The dialogue of the subsoil in the cities is an adequate way of improving develop-
ment and revaluing the built spaces. Adding new uses in connection with trans-
portation, acting in a unified way with permanent spaces, physically integrating
underground areas into the urban fabric, thus being part of the city, supporting
deteriorated spaces and converting them into potential public spaces, cultural
spaces and services.
83

Bibliography
84

Carmody, J. (1993). Underground Space Design. Library of Congress Cata-
loging-in-Publication Data.
Noel Sheridan (2000). The Secret Underground. Circa Art Magazine.
Raymond Durgnat. (1969). Symbolism and the Underground. The Hudson Review,
Inc
Angel Martinez Garcia-Posada (2009). Dreams and Dust, tales of time about art
and architecture, Lampreave.
Torres, Elias. Luz Cenital. Tesis doctoral, Escola Tecnica Superior d’ Arquitectura
de Barcelona, Universitat Politecnica de Catalunya, 2004.
Hall, Edward T. La dimension oculta. 20a edicion. Mexico: Siglo xxi, 2001.
Butterfield, Jan. The art of light and space. Nueva York: Abbeville Press Publish-
ers, 1993.
Turner a Jhon Ruskin, (1844). Atmosphere is my life.
Miguel Guitat Vilches, (2014) Filtros de Mirada y Luz, Una construccion visual del
limite arquitectonico, tesis, escuela tecnica superior de arquitectura, Universidad
Politecnica de Madrid.
Lewis Nkosi. World Literature Today, Vol. 70, No. 1, South African Literature in
Transition (1996), Board of Regents of the University of Oklahoma
Rosina Vinyes i Ballbe, (2015) Barcelona Oculta, la relevancia del subsuelo en una
gran ciudad contemporanea. Tesis Doctoral, escuela tecnica superior de arquitec-
tura de Barcelona, Universidad Politecnica de Catalunya.
Elisa Valero Ramos. (2004 ) La Materia Intangible, Reflexiones sobre la Luz en el

Proyecto de Arquitectura. Ediciones Generales de la Construccion.
85

List of figures
86

Fig. 01. Wiston House Design By Don Metz
Fig. 02. 1520 representation of the Dantean Hell
Fig. 03. Alberto Giacometti: Portrait
Fig. 04. Mark Rothko contemplating painting No. 25. Kay Bell Reynal Photographs
Fig. 05. Mark Rothko: Portrait
Fig. 08. Rachel Whiteread: Portrait
Fig. 09. Franklin Park Theater, “Rashomon” 1950, Boston, 2015
Fig. 10. Palace Theater, “Snow White” 1937, Gary, 2015
Fig.11. Everett Square Theater, “Mujo” 1970, Boston, 201
Fig. 12. Hiroshi Sugimoto: Portrait
Fig. 13. Alberto Burri, Big Cretto de Gibellina, 1981. Javier Callejas Photographs
Fig. 14. Alberto Burri: Portrait
Fig. 16. Peter Zumthor, views of the exterior under construction and the interior of the Bruder
Klaus chapel
Fig. 17. Peter Zumthor: Portrait
Fig. 18. Marce Meili Portrait
Fig, 29. Painting by K.Malevich “Black Square” 1915
Fig, 30. Plan of excavated Matmata haush, Tunisia. (From Paul Oliver “Dwellings”)
Fig. 31. Black Space, Shinohara’s proposal at Odakyu Exhibition (1964)Shinohara.
Fig. 32. Unfolded House of Earth [AD]
Fig. 33. Barcelona’s Surface Fig.
34. Barcelona’s Subsurface
Fig. 35. Marcel Duchamp Portrait
Fig. 36. pantheon Rome
Fig. 37. House in Itoshima (1976), designed by SHINOHARA, Kazuo. Photo by TOTO Publishers.
Fig. 38. Collage Interior Avinguda de la Llum by author
Fig. 39. Baumschulenweg Crematorium, Shultes Frank Architeckten, Mattias Hamren Photography
Fig. 40. Photographs Javier Callejas , Alberto Campo Baeza
Fig. 41. Pearling Site, 2019, Valerio Olgiati
Fig. 42. Church of the Light,1999, Tadao Ando, Photographs: Naoya Fujii, Antje Verena
Fig. 43. Collage Portugal Pavilion Expo'98 / Alvaro Siza by author
Fig. 44. Ca’n Terra, 2018, Ensamble Studio
Fig. 45. Collapse of part of the Canteras Caves in Puerto de Sta Maria (Cadiz). Photo: Xurxo Gago
Fig. 46. Bodegas Bell-lloc, 2007, RCR Arquitectes, Interior space
Fig. 47. Bodegas Bell-lloc, 2007, RCR Arquitectes, plants
Fig. 48. bagsvaerd church, 1968, Jhon Utzon
Fig. 49. House N - Sou Fujimoto.
Fig. 50. House N - Sou Fujimoto.plan
Fig. 51. House N - Sou Fujimoto. plan
Fig. 52. Campo Baeza Portrait
87

88

YONATAN LEANDRO SARMIENTO SOLER
UPC
ETSAB
MBArch
Contemporary Project
Barcelona (2019-2020)
Tutor: Marta Domenech
89

OCTOBER 2020
90

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An Underground Cultural Space

YONATAN LEANDRO SARMIENTO SOLER

The Contemporary Project

The Contemporary Project

Josep Maria Fort. Quaderns.

Fig. 01. Wiston House Design By Don Metz.

The Contemporary Project

The Contemporary Project

TALKING HIDDEN LIGHT.

THE LIGHT ENTERING THE SUBSOIL

The Contemporary Project

The Contemporary Project

The light goes up to underground, to this hidden part of the

Currently, the subsoil is a space of transition, of connection

Weave the subsoil with the city is a very effective way to

The Contemporary Project

The Contemporary Project

Although today the subsoil has an integrating role in the

The Contemporary Project

The Contemporary Project

"Literature and architecture when it comes to wanting to

The Contemporary Project

The Contemporary Project

The Contemporary Project

The Contemporary Project

Fig. 03. Alberto Giacometti: Portrait

The Contemporary Project

The Contemporary Project

"I wanted to paint my own size, I wanted to rec-

The Contemporary Project

Fig. 07. Rachel Whiteread, House, 1993. John Davies Photographs

The Contemporary Project

"on some occasion the artist, trying to define

The Contemporary Project

Fig. 10. Palace Theater, “Snow White” 1937, Gary, 2015

The Contemporary Project

Fig.11. Everett Square Theater, “Mujo” 1970, Boston, 2015

The mysterious target of the photographs in Hiroshi sugimoto's Cinemas

"By photographing different films, different in-

The Contemporary Project

The Contemporary Project

The Contemporary Project

The Contemporary Project

"I was watching for five minutes what happened

The Contemporary Project

The Contemporary Project

Fig. 18. Marce Meili Portrait

The Contemporary Project

Kahun city, Egipt

Valley of the Kings in Egypt

Fig. 20, Abhaneri Cistern (Vvaa, 2006) 1500 A.

This example is an unprecedented case

It is an example that, like the adalaj stair-

Abhaneri Cistern. India A.C

Fig. 22, Deinkuyu, Kaymali, Özkonak, Cardak and

in the case of Matmata, the basic structure

Fig. 25, Athenaeum Drainage System

in Athens a network of canals collected the

The Contemporary Project

Fig. 27, cuniculi. Etruscans. 700 A.C

The Contemporary Project