Stone, Glass and Body

mesura, resources: Stone, Glass and Body (Fig. 3) — (Fig. 3)
Claude Cahun, I Extend My Arms, 1932.

mesura, resources: Stone, Glass and Body (Fig. 4) — (Fig. 4)
Barbar and Batara, Anne Holtrop’s Immersive Models Take Over Solo Galerie. Photograph by Julia Andreoane and Solo Galerie.

mesura, resources: Stone, Glass and Body (Fig. 5) — (Fig. 5)
Alberto Burri, Cretto di Burri, 1968, Gibellina, Italy.

mesura, resources: Stone, Glass and Body (Fig. 6) — (Fig. 6)
Bottega Veneta, flagship store, Barcelona, 2022.

mesura, resources: Stone, Glass and Body (Fig. 7) — (Fig. 7)
Baldomer Gili Roig, La Sagrada Família, 1905. Modern print from the original glass negative.

mesura, resources: Stone, Glass and Body (Fig. 8) — (Fig. 8)
Antoni Gaudí, La Sagrada Família, 1882. Photography by Mesura.

mesura, resources: Stone, Glass and Body (Fig. 9) — (Fig. 9)
Sabine Marcelis, No Fear of Glass, 2021. Edited by Ippolito Pestellini Laparelli and Anna Puigjaner. Published by Fundació Mies van der Rohe.

mesura, resources: Stone, Glass and Body (Fig. 10) — (Fig. 10)
Sabine Marcelis, No Fear of Glass, 2021. Edited by Ippolito Pestellini Laparelli and Anna Puigjaner. Published by Fundació Mies van der Rohe.

mesura, resources: Stone, Glass and Body (Fig. 11) — (Fig. 11)
Sabine Marcelis, No Fear of Glass, 2021. Edited by Ippolito Pestellini Laparelli and Anna Puigjaner. Published by Fundació Mies van der Rohe.

(Fig. 1)

Stones for La Sagrada Família, Germans Balagué, Lleida. Site visit. Photography by Mesura.

(Fig. 2)

Sandstone quarry on Montjuïc Mountain, Barcelona. ICGC. Principal source of stone for much of the city’s architecture.

(Fig. 3)

Claude Cahun, I Extend My Arms, 1932.

(Fig. 4)

Barbar and Batara, Anne Holtrop’s Immersive Models Take Over Solo Galerie. Photograph by Julia Andreoane and Solo Galerie.

(Fig. 5)

Alberto Burri, Cretto di Burri, 1968, Gibellina, Italy.

(Fig. 6)

Bottega Veneta, flagship store, Barcelona, 2022.

(Fig. 7)

Baldomer Gili Roig, La Sagrada Família, 1905. Modern print from the original glass negative.

(Fig. 8)

Antoni Gaudí, La Sagrada Família, 1882. Photography by Mesura.

(Fig. 9)

Sabine Marcelis, No Fear of Glass, 2021. Edited by Ippolito Pestellini Laparelli and Anna Puigjaner. Published by Fundació Mies van der Rohe.

(Fig. 10)

Sabine Marcelis, No Fear of Glass, 2021. Edited by Ippolito Pestellini Laparelli and Anna Puigjaner. Published by Fundació Mies van der Rohe.

(Fig. 11)

Sabine Marcelis, No Fear of Glass, 2021. Edited by Ippolito Pestellini Laparelli and Anna Puigjaner. Published by Fundació Mies van der Rohe.

(Fig. 12)

Marta Armengol, The Melting Candle, 2020. Photography by Nacho Alegre.

(Fig. 13)

Antoni Gaudí, La Pedrera, decorative elements, 1906–1910.

Sculptural, geological, and architectural pieces. The opacity and hardness of the stone compared to the transparency and apparent fragility of glass. The enduring character of Montjuic stone merges harmoniously with modernism, new technologies, and the cult of the body. The organic nature of the material turns the space into a reflection of Barcelona's identity. This research is part of the Aesop Diagonal project.

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Stone, Glass and Body

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