Though it could look like a terrible contradiction, already from the 50s, architects like Michael Fisac have experimented with the liquid properties of the concrete. A like cement mass that acquires a stony condition after his plotted one, but that in origin is a fluid that allows to treat it as an effective form.
The concrete therefore adopts the form of the mold in the one that is spilt, but traditionally these forms were reproducing the geometries of the structures of wood, as if the evolution of the material had not supposed a material evolución. He will be Michael Fisac the one that wants to look somehow for the natural geometry that corresponds to him to the new material and one will raise questions as; when the concrete does not have anything that he cannot stand, what it forms it will take?. Managing to affirm:
“It is the material only one that one throws I swing in a mold. So that stays a bit the fingerprint of which that one has been soft.”
His works with encofrados elastic tapes constructed with frames of wood, cables and canvases propitiated walls of concrete which final materiality was making alike almohadillados, impossible textures for a stony element that supports his fluid memory.
Almost 60 years after the works carried out by Fisac, with certain experimental air, contemporary architects have taken again this expressive capacity of the concrete.
The architects Mierta and Kurt Lazzarini have just inaugurated a building of housings in the rural Swiss people of Samedan, which reinterprets these questions. The building places in the center of this urban core of mountain and uses his fragmented structure, his placement aterrazada and the expression of his walls of concrete to fuse with the environment.
In the bottom the volumetry of the building reinvents the typical forms of the rural Swiss houses, as well as his morphology generated by means of the addition of different pieces. This rereading of the classic model has generated a building with the geometry of the former constructions but with the rotundity that a certain minimalist contemporary air has granted him.
In the hanging fuerte they appear, three volumes that compose the building, with his plants lightly trapezoidal. The building of major height is placed in the highest end of the plot what accentuates his dominant characteristic respect of the people.
The stratification of the landscape aterrazado of the region, of the areas of culture and of the hillsides that surround the valley has removed to the front. The front reproduces the stratification of the landscape by means of the stratification of his own concretes. Caps of different concretes, realized with stones different from the region, are accumulating of sinuous form on the wall of the built-up volume. The walls offer a species of print, of landscape water-color of the environment, generating a harmonic integration in the landscape and also historical, since the stone is the typical matter of the zone, which offers a species of continuity of the local memory.
Another project that departs from similar premises is the realized one for the plastic artist Walter Jack, for the construction of a wall of containment in Cornwall’s region.
The work places in Heartlands, a real-estate promotion destined to promote the transformation of the soil of a few former mines of tin, in a new urban area, which will include cultural, commercial, residential and tourist equipments.
The wall wants to express the geological pressure that the mining industry had in the land during the height of the mining industry of tin in Cornwall, when the miners were striking the heart of the region to more than one kilometre of depth. A historical still visible recollection in many buildings and factories of the region and that Walter Jack, takes as an initial metaphor of his work. Since contains an area that has been liquefied by the man to extract his minerals?
By means of a technology of I mold realized with rubbers there is created a fluid and sensual effect on the mass of concrete. Walter and his equipment created a giant mold of rubber in which the concrete must penetrate for all the chinks, for what it was necessary to use extremely fluid, tremendously liquid concretes. Once finished, the filling of the mold, the final piece was cut in six sections that were transported to the work. Once there, specialists in assembly of prefabricated structures re-composed the initial piece to generate this unusual vision, that of a stone turned into liquid, or in a fabric wrinkled by the wind.
The expressiveness of the fabrics of Bernini’s baroque sculptures, this textile fluency carved in the marble for the Roman artist, is reached now by the maintenance of the liquid memory of the material. If the makes concrete in the end is to mass that allows to construct of artificial form to rock, something of his memory, of his origin or of his chemical composition it must remain latent in his expressiveness. The khan makes concrete now meets liberated of the geometry of his molds and his internal latir express, that of the fluency that created it.
íñigo garcía odiaga . architect
san sebastián. march 2012
It´s published in ZAZPIKA 25.03.2012