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Desde el descubrimiento de la «camara lucida», la utilizacion de la fotografia como soporte narrativo para la arquitectura se ha mostrado cada vez mas inevitable, aunque no por ello exenta de controversia. Y a pesar de que a menudo se destacan las limitaciones de las imagenes para representar una experiencia espacial, en toda su complejidad, sin embargo no se reconoce la capacidad proyectiva del arquitecto investigador para atenuar estas importantes carencias, ni se profundiza sobre este aspecto. El proposito del articulo es mostrar la utilidad del registro visual para reconstruir la experiencia espacial y emocional que en su dia pudo generar una obra de arquitectura. Y para ello utiliza el ejemplo de la Casa Gili del arquitecto Jose Antonio Coderch, una arquitectura que ha sufrido una modificacion tan drastica que puede considerarse desaparecida. La coleccion de imagenes que documenta el estado inicial de esta casa sirve como soporte de un analisis en el que la mirada sensible y sistematica del investigador permite abordar un analisis fenomenologico con el fin de desentranar las emociones esteticas que en otro tiempo pudo haber generado su observacion, su vivencia y/o su habitar. PALABRAS CLAVE: Fenomenologia, narrativa visual, emociones esteticas, registro fotografico, arqueologia de la arquitectura. Since the discovery of the “camera lucida”, the use of photography as a narrative support for architecture has become more and more inevitable, although not without its controversy. And despite that the limitations of the images in representing a spatial experience, in all its complexity, have often been highlighted, it is usually not recognised that the architect, as a researcher and designer at the same time, has the capacity to overcome these important shortcomings, nor has been this topic examined in depth. The purpose of this article is to demonstrate the usefulness of the visual record in reconstructing the spatial and emotional experience that a work of architecture could generate in its day. To this aim, the example of Gili House, by the Architect Jose Antonio Coderch, is examined. This architecture has undergone such a drastic modification that it can almost be considered missing. The collection of images that document the initial state of the house serves as the support of an analysis in which the researcher’s sensitive and systematic gaze allows a phenomenological analysis to be dealt with, in order to unravel the aesthetic emotions that, in another time, could have been brought about through its observation, its experience and/or its habitation. KEYWORDS: Phenomenology, visual narrative, aesthetic emotions, photographic archive, archaeology of architecture.

Emociones capturadas. La Casa Gili de Coderch a través de su registro fotográfico