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El espacio publico urbano se ha ido transformando, desde finales del siglo XIX en un escenario, en el que el vidrio y la electricidad se alian para comunicar mensajes (informativos, publicitarios, decorativos o artisticos), construyendo lo que hemos denominado el espacio urbano fulgurante. En los espacios sagrados de la arquitectura bizantina y gotica, el vidrio tambien tuvo un papel determinante en la comunicacion de informacion con fines anagogicos, en mosaicos y vidrieras. Nuestra epoca ha encontrado un arquetipo arquitectonico capaz de albergar a las multitudes que son objetivo de los mensajes de la “nueva religion” de la sociedad capitalista y de consumo. La solucion ha sido convertir el propio espacio urbano en el nuevo “templo”. En el, las fachadas de los edificios existentes, se inundan de carteleria y pantallas de todo tipo, que lanzan incesantes mensajes sobre esos espacios, donde se congregan las masas de “nuevos fieles”. Nacen asi lugares como Times Square. En el articulo se narra el origen y la historia de este enclave neoyorkino y la importancia que tuvieron personajes como S. L. Rothafel “Roxy” y D. Leigh en la definicion de esta epica urbana del fulgor. Se analiza tambien su paralelismo con las arquitecturas sacras bizantina y gotica. El articulo concluye, instando a una reflexion critica sobre las implicaciones que conllevan estos espacios, que estan afectando al modo en que se viven las ciudades y al modo de hacer arquitectura. PALABRAS CLAVE: Times Square, Pantallas, Vidrio, Luz, Anagogia. Urban public space has been transformed, since the end of the 19th century, into a stage where glass and electricity are allied to communicate messages (whether informative, advertising, decorative or artistic), building what we have called the flashing urban space. In the sacred spaces of Byzantine and Gothic architecture, glass had also a decisive role in the communication of information with anagogical purposes, in mosaics and stained glass. Our age has found an architectural archetype capable of harboring the multitudes that are the target of the messages of the “new religion” of capitalist society and consumption. The solution has been to convert the urban space itself into the new “temple”. In it, the existing buildings’ facades are flooded with signs and screens of all kinds, which release ceaseless messages on those spaces where the masses of the “new faithful” congregate. Then, places like Times Square are born. The article narrates the origin and history of this New Yorker enclave. The importance of characters, such as S. L. Rothafel “Roxy” and D. Leigh, in the definition of this flashing urban epic is also explainded, and its parallelisms with the Byzantine and Gothic sacral architectures are also analyzed. The article concludes urging to a critical reflection on the implications of this kind of urban space, which is affecting the way cities are lived, and the way architecture is made. KEYWORDS: Times Square, Screens, Glass, Light, Anagogy.

El espacio urbano fulgurante. Anagogía laica en Times Square | The Flashing Urban Space. Laic Anagogy in Times Square