ABSTRACT
The penumbra inhabits the poetic and shadowy limit region and is revealed in that floating sign between the known and the arcane referred to by Trías. It is in this interstitial, enigmatic and inspiring region where we find all the poetic and seductive condition of the imprecise thickness of the penumbra, patent in the works and ambits/contexts that we refer to: the penumbra's metaphor in Pollock’s painting, the conceptual penumbra in Libeskind's Migromegas, the poetic imprecision of the penumbra described by Tanizaki in traditional Japanese architecture and Zumpthor's ThermalBaths, the drawing's place of dreams and shadows by Seguí, the poetic journey to the place of night in Sambrano's poetry, the uncertain area of penumbra between the knowledge and the unconceivable referred to by Morin or the experience of the limit of the creative or passionate possession described by Trías. This in-between place with undefined limits is the poetic place of penumbra that is common to all of them in their artistic, architectural, or philosophic expression. It is a creative in-between space that is liable to be generated/manifested and experienced/lived through the mind, emotions, and body in both art and architecture. There where, in a permanent state of recreation, spaces become spatialities, identity gives way to relationality and autonomy to interstitiality. It is the enigmatic and poetic dynamic of penumbra that inhabits that floating ambit between certainty-uncertainty, contemplation-imagination, ontological-topological.
