Abstract
The Garden of Earthly Delights (1490-1500) is a triptych with three panels depicting paradise and hell. These panels require the viewer to fold and close them to obtain a new perspective: the creation of the world. In this work, Bosch portrays small air pockets that suggest encapsulated architectures and introspective spaces, where conventional laws seem to have vanished. This essay highlights these tiny spaces inserted in the architectural environment. Triptychs, instead of being painted, have acquired a third dimension to form part of works such as Coderch’s Casa Ugalde (1953), Soane’s Casa-Museo (1820), and Gaudi’s Casa Vicens (1885). It is an architectural immersion in three living projects that enables us to compile catalogs of micrographs showcasing "architectural droplets": bubbles trapped within the stained-glass mass, revealing cartographies of an intangible and undiscovered space. Micrographs of intangible space suggest a change in scale, immersing the inhabitant in a micro-world searching for new expressions that enable them to conceive a more vivid and creative form of architecture.
Published Version
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