Architecture from a Sculptural Perspective: The Work of Jaime Andrade Heymann on the Ecuadorian Stage

The current research arises from the dilemma between sculptural form and architectural utility, and how it is possible to link both disciplines by considering the boundaries between each. Contemporary artistic movements propose the immersion of the viewer in the artworks, generating habitable sculptures in contrast to contemplative architecture. Subsequently, this motivates the search for criteria for the integration of sculptural narrative into the architectural object, based on a theoretical foundation, a pragmatic analysis of the works, and the career of a reference with extensive experience in sculpture and architecture. The methodology included interviews with this reference, as well as the comparison of the information gathered in two building projects, verifying the integration of sculptural and architectural principles in specific elements. The research is qualitative in nature, and to ensure the reliability of the conclusions, a theoretical framework structured in three phases is proposed. In the macro phase, the main definitions of sculpture and architecture are compiled, along with the initial reflections of great masters on the interplay between the two. In the meso phase, we delve into artists whose sculptural work has integrated architectural concepts. In the micro phase, we analyzed the work of the renowned Ecuadorian architect and sculptor Jaime Andrade Heymann, and that of his father, the sculptor and muralist Jaime Andrade Moscoso. Timelines are created to structure the evolution of both professionals, their most relevant works for the research are analyzed, and the work is complemented with interviews with the architect. Finally, we analyzed two projects developed by Workshop four (Taller 4), being an architectural studio of which Jaime Andrade Heymann was a fundamental part, the Guápulo Habitat in Quito and the Former Central Bank of Riobamba. The visual resources in these artworks allowed us to propose three levels of sculptural integration within architectural elements, with the aim of fostering a critical appreciation between superficial aestheticism and proposals with conceptual and cultural foundations. Hereby, empty formalisms were avoided, promoting dialogue between work, context, and society.