Coreografía del habitar. Variaciones del montaje escenográfico a partir de la reinterpretación de fernando martínez sanabria

Abstract

This study reconceptualizes vertical circulation as a choreographic apparatus of dwelling, as an element that organizes space far beyond its circulatory function. The research examines three houses by Fernando Martínez Sanabria—Casa Zalamea, Casa Martínez, and Casa Calderón—and analyzes them using variables rarely considered together: travel time, privacy gradient, visual intensity, pause, and relationship with natural light. Richard Serra's Torqued Ellipses series is included, not as a quotation or model, but as a set of spatial operations—compression, distortion, fissure, rhythmic repetition—that can be mapped onto metric and geometric guidelines useful for architectural design. This is an intentional translation, transposing the sculptural experience into parameters of extension, angle, and void that inform the project's choices. According to this system, by definition, the publication elaborates a cultural installation in the Las Aguas area of Bogotá. The design expresses the topography, regulations, and program under a system whose organizing axis is ascent. These operations derived from the analysis are transferred to an urban and collective perspective, in which vertical circulation functions as a structure that produces form, use, and experience. In a choreographic sense, vertical circulation is no longer a subordinate component, but rather a way of conveying the logic of a project: it expresses territory, program, and architecture through the act of spatial encounter constructed by sequencing and gradation.