1. The idea. Analyzing the project

Thinking the stated that gives title to this proposal, virtual temple. the paradigm of a new building, the first image that was drawn in my mind was evoking a design created by Herbert Bayer in 1924. Era of a full creative effervescence in the german Bauhaus, where he exercised. Designated Advertising luminous sphere, that turns on his shaft, provided of electric light bulbs, this project introduces unpublished visual components regulated for some lighting utensils that in that moment had acquired large progress relinquishing their physical capacities to the welfare state, or approaching -as in this case- the field of the artistic creation and more concretely of the architectural design branch. The purpose of this great bulbs structure was residing in detailing various typographical characters through a punctually controlled lighting, to be converted in a voluminous advertisement that was employing at technical level the basic principle of graphic transmission of the monitors based on the codified luminosity of the pixels on the screen.

Certainly, this work, assault within architectural creative hemisphere of an instructed Bayer, constitute one of the first advertising transfer data systems in the one which mediate in a way direct electrical agents. Reasoning that channels in good manner the experimental proposal developed in the present study, and that without more delay we outline from following paragraph.

Separated or leant to specific enclaves of the building, sculptures as well as paintings have acquired some particular inhabitability or ubiquity levels, that appeal to functional or decorative reasons. Or, as in the case of the altar palas, attending to both reasons, since his arrangement round to the interior perimeter of the semicircle that form the altar auspicious his aesthetics contemplation in addition to an immaterial attraction of these by the spectator, participating of such way as spiritual setting tools.

Also, the iconographic interpretation of gods/God, vírgins/Virgin, saints, and other mandatory of the celestial orb, attends to a similarity of techniques that produce an equivalent mark in all and each one of the works accomplished with that devout assignment. Saving aspects of compositive character, such as the appropriateness of the figures and architectural elements to the perspective order, the artistic visual requirements have delimited a homogeneous visual framework in the experimental sequence that concretizes the evolution of this symbolic gender in the different eras of the history of art. A representative standards succession (paintings, drawings, engravings, sculptures, etc.) guaranteed today -in temples and museums- with the models forged during centuries of religious artistic experiment in those which Renaissance and Baroque were determining the principal standards of creation.

Would it be possible to conceive of a religious temple in which the carved figures or the paintings would be substituted or complemented with devices that issue that same visual message to a spectator made aware of the modern deployment of digital means presented in the public scene? Imbued in a era of evident technological progress, which relapses on most of the industrial and social areas increasing their productive and ideological plans, a sanctuary would merge architectural components with digital components while displacing the old by remote, not by obsolete, priorities. This could take issue with the arrangement and structure of the plant to be limited primarily to the appropriateness of the technical resources that differentiate this proposal in respect to the existing. Technological goods of expositive nature, installed in concrete spaces and based on visualization mechanisms such as the electronic supports imposed at present. In fact, a temple in which the abundances and aesthetic ornaments are supplied by minimalist flat surfaces, by platonic volumes that give way to the electronic goods, converted here in real protagonists of the architectural compositive and communicative summary.

Insisting on semiologic aspects, the adherent to a religion must recognize an only god in anyone of the material forms -of figurative type- that be represented this divinity, without this creative impersonation could derive to ideological confusion states in the own devout. Thus, should not to surprise us the expressionist Crucifixion by Rico Lebrun, inspired in the Altarpiece of Isenheim accomplished by Matthias Grünewald. Both creations separated in the time as well as in the form, though of stylistic purity -of apparent nonchalance with respect to the "beauty" classic- and simbology agreed with the christian aesthetics and philosophy.

Centering us in this work accomplished by Grünewald, in wich are represented several passages of the passion of Christ, we can establish a new creative paradigm -limited to the physical space of the outlined temple- that describe an altarpiece constituted by infographic identity elements. As in the original, each box is converted of this manner in a support with full physical and semantic autonomy, remaining evident the global message that transcribe of isolated way the images as of the arrangement adopted by the set of these. On the other hand, the free mobility that confer these frames (now electronic supports) permits to exchange the images deployment devices toward annexes zones always within of the scenic plan.

To greater scale, the traditional construction system of the popular sacred gender images will be seen renewed with the application, for example, of 3D vectorial modeling procedures, being generated synthetic stages that collect all the graph information previously represented in heterogeneous supports on those which technical subtleties as the representation of perspective effects were remaining to the protection of the own skill of the artist. Of equal manner, to annotate as the obtainment of assorted pictorial physiognomies that resemble oil or tempera outlines -remembering the classics vestiges- will not represent problem some; of this purely plastic management are taken charge the infographics applications that simulate the different relief effects or path adopted by the paintbrush on the pictorial flat base.