We are going to report, in a few words, so brief that almost we do not use any more than the own ones asked his architect, Pablo Tomé, the quality and the architectural experience of the work of the gallery of contemporary art Trinta in rúa Virxe da Cerca 24, Santiago de Compostela.
We only want to recount with a few brief notes the attitude of the author of the work, an architect of clear silent vocation, who decided many years ago not to want to be seen. We contradict, in this exposition of public does with words the value of his work, the Tome´s attitude of not wanting to be and to appear, and we do it because for enough time we follow him (and some few ones more) to admit that this way of acting is partly the argument that stimulates us to continue doing architecture daily.
Pablo Tomé is undoubtedly, we might say, one of the most important Bartlebys of the architectural Galician panorama, since it does already almost twenty years, it decided to be employed veladamente at dozens of projects of rehabilitation and adequacy of the city of Santiago de Compostela, from the technical office of the Consortium of the Historical City, without track left … This way of not wanting to be, this attitude of the watched, took place always without having for aim seek for refuge in the tranquility of not to be seen, but on the contrary, risking and fighting for the almost invisible thing in projects of minor appearance for the recovery of commercial spaces of level zero and of clear semipublic entail.
Pablo Tomé´s Paradox Chestertoniana, who at the same time as his modesty and modesty prevent him from worrying for his personal projection, does not move backward an instant in the continuous demand of the importance of the others, that they are the citizenship, the owners of these architectures and the daily visitors of these spaces. Always it has obsessed him, only it is necessary to revise his notebooks of drawing exposed in innumerable occasions, his videoes and exhibitions on the city, the nature of what was happening with and in these trades, restaurants, handcrafted workshops and galleries in that the connection between the level zero of the buildings and the public immediate space was the “place” of another people, the citizens, who were not him. A worry for these semipublic spaces that the sharp look of a Lars Arrhenius has to bring and to reveal to public the importance of the interior of the locked up space of the street that they are the business premises of the city, a few eyes that cross the walls of the front to obtain the same respect for the architecture inside these places that for the immediate urban scene of a city heritage of the humanity.
Of his work of 1999 for the Gallery Trinta, as we were saying, it is not necessary to report much any more than what he counts in his succinct memory, but also at all less, to finish, that this constructive, clean and sincere attitude, it activated and introduced in the Galicia of that moment, it forms a of understanding the explanatory spaces deprived of the galleries, which a balanced radicalidad was demonstrating and a neutrality tightens, of an importance and architectural meaning similar to the one that a few years before Tony Fretton had raised with the works of the Lisson Gallery in London, obtaining of circumstances and scenes very slightly favorable cultural appliances of great wealth. The above-mentioned memory of the project says that:
“The works to which there refers this process (B00-375) are projected in the business premises situated in the ground floor of the number 24 of the Rúa Virxe da Cerca, Town hall of Santiago de Compostela; the above mentioned place is at this moment without activity and it will be destined to gallery of art.
MARCEL DUCHAMP is the beginning of the contemporary art. The moment in which we are.
The time begins to form a part of the art. The plastic arts already have more dimensions that three.
Consciously there are used materials that before were not in use. Materials on which the time acts. Organic materials as the fat, or not visual materials like the smells and sounds or the music.
Minerals, vegetables, animals, or someone departs from these, they are seen by another brain by the contemporary artist.
To design a gallery for this world forces us to check, also, the contemporary architecture, which born at the beginning of century, is kept alive.
THE NEW GALLERY
The gallery, object of this project, places in under of n º 24 of theRúa Virxe da Cerca. Se compone de un pequeño local, al que se accede directamente desde la calle y de un semisótano. It consists of a small place, to which one accedes directly from the street and of a semibasement. Small under of 30m2 that is 50cm over the level of the street has a window. The rest of the place is a semibasement of 170 m2 with window to the back front.
The principal space of the new gallery is the room of exhibitions that occupies the space of entry and great part of the semibasement. This plane, 2,50m below the entry, communicates with the plane of access for a stairs of a section and broad.
In this level there place the office, the trade, the bathroom and the department store.
It will be the first use of this part of the building, which constructed at the beginning of century, was produced 13 years ago of radical form it demolishing everything except the front.
The structure is of props and girders of reinforced concrete.
The formal concept of the gallery is of minimal intervention and maximum economy. The cement pavement, forged of the ceiling, the structure and the electrical seen facilities.”
We end up by looking for the rueiros of this city for a Paul Tomé to whom the only thing that matters for him in the scene that it composes the architecture, is it of the way of the sandwich, the inhabitants, the monkeys, which would say a good teacher of Analysis of Forms of a school of architecture…., those things, animals and citizens who give scale and sense to the sketches, to the architecture and to the life. It is there where they say that it travels daily portraying with his pencil, the tractors, the children, the cows, the elders and the beings in general that illustrate his look and that live a few projects that he constructs without being seen
Luis Gil Pita. architect
santiago de compostela. january 2014
Arquitecto por la ETSA de A Coruña en 1997, desde ese año colabora en el estudio de Manuel Gallego Jorreto hasta 1999. Becado de investigación en Holanda en 2000-1, con un estudio sobre lo fronterizo y liminar en arquitectura, por la Diputación de A Coruña, fue posteriormente Profesor invitado en el área de proyectos de la Facultad de Arquitectura de Guimaráes, Universidade do Minho, del 2001 hasta el 2007. Desde el inicio de su carrera ha publicado asíduamente artículos y ha participado como editor en diferentes publicaciones alrededor de la arquitectura.