The contents of these items, including the whole of the photographs, are integrated subject of the audiovisual work and book of the solar recorded by the author with the same title: Solar of Audiovisual Art and Memory. (Solar de Arte y Memoria Audiovisual)
The solar is now constituted by a main building and a secondary one which are separated by a courtyard.
From the old building from the beginnings of the 20th century, it was possible to rescue part of the floor, old walls of 30 cm, vaults and the elderly vegetable garden that has been converted into Botanical Garden. It is located in the posterior part that adjoins the block’s lung
The solar solar (in its deep meaning: from Latin solaris. adj. Belonging to the Sun) located in San Lorenzo Street, 150 metres away from the main square in the area of General San Martín, 10 km away from the Autonomous City of Buenos Aires, represents a part from the most extensive land that in 1919 belonged to Federico and Indalecia Guido y Sagastume, Adela Carosini y Guido, and Dora Coloma Carosini y Guido. In the West, it used to run adjacent to the Patricio Lynch Pueyrredón’s property, in the South, to Joaquín Sardañons Costa and Petrona Castro de Lynch’s and, in the East, to Juan Gamba’s succession.
On August 20th from that same year, the whole land was acquired by Said Farjat and, subsequently, subdivided and inherited by his children.
Nowadays, only this solar, a place with a wide area at the back, belongs to the author descendant of that family who, in accordance with his aesthetic principles, was able to produce in that same place of origin, all the subsequent transformations.
It indexes historical of the place center of the population establishment of the town: old cadastral plane of the year 1857 (by Archivo General de la Nación) of the Land of the Chapel and those that surrounded it, where Loving Jesus’ church was located. In this place there were also the old Franciscan Chapel and a group of farmhouses of the Order. The current unit of the Lot of Art and Audiovisual Memory corresponded to one of those surroundings, being then situated at 150 metros of the church of Loving Jesus of that, the one that was later on converted into the Cathedral of San Martin y demolished finally.
As regards space design, the purpose was to integrate the architecture with the vegetal natural landscape. It has been possible to carry out a fusion of elements belonging to different classical and architectural trends, prior to last century, constituting, in this way, an eclectic style.
The meaning of the Solar is linked to the philosophical grounds presented below by the author and also to the subject matter of audiovisual art. There, a set of small libraries and an archive of image and sound documents have been brought together.
There are representative elements and projections referred to the History of Audiovisual Media, specifying the origins of Audiovisuals at the end of the 19th century and the beginnings of the 20th century as the panorama technique, which evolved towards the so-called pandiorama or diorama. Such technique became a fundamental milestone in the start of this media, prior to the cinema.
Together with its audiovisual work and based on the theory referred to this one, the solar is the material expression that the author has used in order to expand to the architectural field the set of philosophical notions that feed all his creation. At the same time, all these subjects are expressed in his literary works.
Therefore, each and everyone of the aesthetic aspects of architecture are in deep connection with the audiovisual and aesthetic fact. At the same time, both of them are interwoven with that philosophical nature, acquiring visibility in the case of the solar from the visit itinerary.
As regards the concept of the audiovisual theory, this language that consists in the montage of static images (photographies) with sound and which is also screened on the same basis of the cinema, presents its own idiosyncrasy.
From this interpretation, two key issues arise, outlining in full the aesthetic condition in the prologue of audiovisual expresion and work: on the one hand, evocation of the painting in the image in accordance with the guidelines set by that art, and on the other, harmonious consistency with the ethereal musical world thus united conforming a whole. (From Prologue of Audiovisual Work. Iconographic Selection).
“This static condition of the image is the one that directly connects the audiovisual to the painting and, therefore, prime condition of the plastic contemplation in times of a different psychological nature.” (From Audiovisual Theory).
What within the audiovisual media is referred to the static image of plastic nature in this way screened, backdrop after backdrop, obtains its physical and living replacement in the architectural contemplation corresponding to each and every one of the places referred to in an itinerary: the different connected architectural rooms. This is also due to the action, development and ending principle, according to an expression of time equally united in both the audiovisual and the cinema.
Similarly to vital modules that are constantly united in the audiovisual, although not as memories condensation but in a present aesthetic time, pursuing the same unique and joint aim, “…then appear as successive shines in the darkness, as ‘If a spectator wandered unrestingly through the halls of a vast museum or great art gallery, at the dead of night, with a single small lamp in one hand, each of the natural objects, the pictured scenes, the status, the portraits, would be illumined by that lamp in succession for a single moment, while all the rest were in darkness, and after that single moment would fall into darkness again’ (*). The representation of audiovisuals, under these aesthetic conditions, is the addition of experiences in a line or succession aimed at attaining and individuality, as yet another stream of change within the “invariable intelligence of the absolute”. (From Audiovisual Work. Iconographic Selection).
In an architectural sense, all sets and subsets of the have been created by the author within the context of a progressive distribution of the external natural and luminous load, so that “The progressive enlargement, from the darkening to the appearance of defined light contours, first as thinly shaped zenithal rays, widening and expanding in oblique and perpendicular rises, elements which are aligned and stand out in such a way that inside semi-interiors one can easily perceive, the abundant light that first became evident outside on the surface, from above.
These are rays of light attempting to grow in between clouds and only managing to expand horizontally in the first place, to be finally flattened and reflect dim and flat opacities on the objects focused in the surrounding area, that later, all of a sudden inverted, will show their strongly defined contours…” (The Audiovisual Art. On the elements of intrinsic visual montage)
“…From the source of light discovered on site and only found in Nature: the rising chromatism in a union from the claroscuro to the sucesión of elements for the creation and multiplication of the space ad finitum. Thus, there arises the search for streams of light and flan beams, grooves of shadows and lighting whose source of light comes physically solely from the exterior, because it is evoked through objects and subjects, in such a way that it grows as always escaping inside out, expressing a magnitude, thus radiated, from the deep.” (The Audiovisual Art. On the elements of intrinsic visual montage)
“This deep self and continuity overlap in the study of evolutionary phenomena whose speed and directionality are of interest to us, and this evolution, which is the immigration of consciousness in those other stages of the ascending spiral, signifies change and an acute transformation in order to assure survival within the fabric of universal connections. (From Migrations and Survival)
Therefore, the subject of the levels of consciousness and the constant expansion has represented the heart of the solar architectural design, an old soil, coarse matter converted in the same way as when “Adding fuel to the fire the food is cooked. Through softness they become sharpen and clearer for both the ear and the eye. The softness sets off and goes up”.
“…Within the Identity of that heart, so old and also so developed, forged inside, Echoes and Lights of Accords, underlying.
Consequently, in black and silent, first in soft cadence and then in a vigorous explosion of extrinsic shapes, a beam announces the passage towards a new state.
Great Voices, intrinsically gauged, become features of the expansive conversion and with explosive and inestimable energy they develop centrifugal light.” (From Quotations and Testimonies.Audiovisuals as an Art)
(*) Das, Bhagavan. The Science of Pace. Quoted by Edward Carpenter in The Drama of Love and Death.A study of Human Evolution and Transfiguration
Música: Ralph Vaughan-Williams (1872-1958)