Reciprocal Figures

mesura, resources: Reciprocal Figures (Fig. 3) — (Fig. 3)
Dennis Oppenheim, Transfer Drawing, 1971.

mesura, resources: Reciprocal Figures (Fig. 4) — (Fig. 4)
Marina Abramović & Ulay, Rest Energy, 1980, performance for video, 4 minutes, ROSC’ 80, Dublin 1980.

mesura, resources: Reciprocal Figures (Fig. 5) — (Fig. 5)
Bernard Gunther, Energy Ecstasy and Your Seven Vital Chakras, 1983.

mesura, resources: Reciprocal Figures (Fig. 6) — (Fig. 6)
Giovanni Battista Nolli, Nuova Pianta di Roma, 1748.

mesura, resources: Reciprocal Figures (Fig. 7) — (Fig. 7)
Allan Wexler, Wall (I Want to Become Architecture), 2002. From Absurd Thinking, Between Art and Design, Lars Müller Publishers.

mesura, resources: Reciprocal Figures (Fig. 8) — (Fig. 8)
José-Manuel Benito, Lost Wax Casting, A rubber mold of the original wax model of an apple and its cast, in this case from plaster, 2006.

mesura, resources: Reciprocal Figures (Fig. 9) — (Fig. 9)
Mold, unknown source.

mesura, resources: Reciprocal Figures (Fig. 10) — (Fig. 10)
Rachel Whiteread, Ghost, 1990.

mesura, resources: Reciprocal Figures (Fig. 11) — (Fig. 11)
Jorge Oteiza, Apertura Lenta, 1958-72.

mesura, resources: Reciprocal Figures (Fig. 12) — (Fig. 12)
François Azambourg, The Douglas Vase: The Embrace of Wood, 2009.

mesura, resources: Reciprocal Figures (Fig. 13) — (Fig. 13)
Peter Zumthor, Section drawing of Bruder Klaus Field Chapel, 2007, Mechernich, Germany.

mesura, resources: Reciprocal Figures (Fig. 14) — (Fig. 14)
Peter Zumthor, interior of Bruder Klaus Field Chapel, 2007.

(Fig. 1)

Frank Lloyd Wright explaining a project with his hands, from the Future of Architecture, 1970.

(Fig. 2)

Kandinsky, Dance Curves: On the Dances of Palucca, 1926. Photo by Charlotte Rudolph.

(Fig. 3)

Dennis Oppenheim, Transfer Drawing, 1971.

(Fig. 4)

Marina Abramović & Ulay, Rest Energy, 1980, performance for video, 4 minutes, ROSC’ 80, Dublin 1980.

(Fig. 5)

Bernard Gunther, Energy Ecstasy and Your Seven Vital Chakras, 1983.

(Fig. 6)

Giovanni Battista Nolli, Nuova Pianta di Roma, 1748.

(Fig. 7)

Allan Wexler, Wall (I Want to Become Architecture), 2002. From Absurd Thinking, Between Art and Design, Lars Müller Publishers.

(Fig. 8)

José-Manuel Benito, Lost Wax Casting, A rubber mold of the original wax model of an apple and its cast, in this case from plaster, 2006.

(Fig. 9)

Mold, unknown source.

(Fig. 10)

Rachel Whiteread, Ghost, 1990.

(Fig. 11)

Jorge Oteiza, Apertura Lenta, 1958-72.

(Fig. 12)

François Azambourg, The Douglas Vase: The Embrace of Wood, 2009.

(Fig. 13)

Peter Zumthor, Section drawing of Bruder Klaus Field Chapel, 2007, Mechernich, Germany.

(Fig. 14)

Peter Zumthor, interior of Bruder Klaus Field Chapel, 2007.

(Fig. 15)

Tezontle, founded by Mexican architects Carlos H. Matos and Lucas Cantú, was chosen by the curators of the Wifredo Lam Contemporary Art Center, in Cuba, to be part of the artists who participated in the thirteenth edition of the Havana Biennial in 2019. Tenaza was the result of this invitation.

(Fig. 16)

Tezontle (Carlos H. Matos y Lucas Cantú), Tenaza, Bienal de La Habana, 2019.

Examining the dynamic relationships between pairs—be it individuals, entities, objects, or architectural forms. The interplay of connection, contrast, and interdependence that defines these relationships, revealing how one element influences and is influenced by the other. From the dialogue between two people to the structural balance of buildings in harmony with their surroundings. This research is part of the Atelier LC project.

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Reciprocal Figures

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