{"id":14329,"date":"2011-06-05T08:42:41","date_gmt":"2011-06-05T08:42:41","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=14329"},"modified":"2019-12-03T18:58:53","modified_gmt":"2019-12-03T17:58:53","slug":"el-jardin-de-las-contemplaciones-inigo-garcia-odiaga","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/el-jardin-de-las-contemplaciones-inigo-garcia-odiaga\/","title":{"rendered":"El jard\u00edn de las contemplaciones | \u00cd\u00f1igo Garc\u00eda OdiagaO xard\u00edn das contemplaci\u00f3ns | \u00cd\u00f1igo Garc\u00eda OdiagaThe garden of the contemplations | \u00cd\u00f1igo Garc\u00eda Odiaga"},"content":{"rendered":"

\"\"<\/a>
Serpentine Gallery Pavilion | Peter Zumthor<\/span><\/figcaption><\/figure><\/p>\n

La arquitectura de los pabellones, de las peque\u00f1as instalaciones suele producir resultados muy extremos, o generan proyectos de incalculable valor sobre los que se debatir\u00e1 durante a\u00f1os o por el contrario presentan estrepitosos fracasos.<\/p>\n

Lo ef\u00edmero de estas construcciones, su valor simb\u00f3lico y la falta de usos espec\u00edficos a albergar, aportan a los arquitectos un marco nuevo, en el que la reflexi\u00f3n y las ideas no encuentran los l\u00edmites del ejercicio diario de la profesi\u00f3n y se acercan m\u00e1s que nunca a la propuesta art\u00edstica.<\/p>\n

La Serpentine Gallery es una galer\u00eda londinense dedicada al arte contempor\u00e1neo, que todos los a\u00f1os desde el 2000 encarga a un arquitecto de prestigio la construcci\u00f3n de un peque\u00f1o pabell\u00f3n en el jard\u00edn de la instituci\u00f3n. Esta construcci\u00f3n destinada a proporcionar un \u00e1rea de estancia a los visitantes del centro durante los meses de verano, es de car\u00e1cter ef\u00edmero y se desmonta con la llegada del invierno. La directora de la galer\u00eda Julia Peyton-Jones ha convertido esta cita anual en un espacio internacional para la experimentaci\u00f3n arquitect\u00f3nica y tras una d\u00e9cada de pabellones realizados por algunos de los arquitectos m\u00e1s importantes del mundo la repercusi\u00f3n de estas obras genera grandes debates.<\/p>\n

\"\"<\/a>
Serpentine Gallery Pavilion | Peter Zumthor<\/span><\/figcaption><\/figure>\n

El arquitecto nacido en Basilea Peter Zumthor, galardonado con el prestigioso premio Pritzker en 2009, ser\u00e1 el encargado de coger el testigo de Jean Nouvel, Sanaa, Rem Koolhaas o Frank Gehry entre otros.<\/p>\n

Para el arquitecto suizo ser\u00e1 el primer edificio construido por su oficina en el Reino Unido e incluir\u00e1 un jard\u00edn creado especialmente por el influyente dise\u00f1ador holand\u00e9s Piet Oudolf.<\/p>\n

La idea del pabell\u00f3n de este a\u00f1o es la de generar un hortus conclusus contempor\u00e1neo, una sala cerrada, abierta al cielo, dedicada a la contemplaci\u00f3n, un jard\u00edn interior dentro de los jardines de Kensington en los que se sit\u00faa la Serpentine Gallery. El edificio actuar\u00e1 de escenario, ser\u00e1 como el tel\u00f3n de fondo de un jard\u00edn interior de flores y luz. El hortus conclusus es la forma t\u00edpica del jard\u00edn medieval, ligado sobre todo a los monasterios y conventos. Una zona verde, generalmente de peque\u00f1as dimensiones y circundada por altos muros, donde los monjes cultivaban esencialmente plantas alimenticias y medicinales alrededor de los cuales se generaba el claustro dedicado a la meditaci\u00f3n y la contemplaci\u00f3n.<\/p>\n

\"\"<\/a>
Serpentine Gallery Pavilion | Peter Zumthor<\/span><\/figcaption><\/figure>\n

Los visitantes llegar\u00e1n al jard\u00edn atravesando un t\u00fanel angosto y oscuro, una soluci\u00f3n efectista para ampliar el efecto acogedor y espiritual del espacio central lleno de luz, un lugar abstra\u00eddo del mundo y del ruido del tr\u00e1fico y los olores de Londres.<\/p>\n

Como el propio Zumthor ha declarado el edificio \u00abtiene como objetivo ayudar a los visitantes a tomarse el tiempo para relajarse, observar y, a continuaci\u00f3n, tal vez, empezar a hablar de nuevo.\u00bb<\/p>\n

El proyecto pone de relieve el papel que los sentidos y las emociones juegan en la experiencia de la arquitectura perseguida por Peter Zumthor. Sus espacios contemplativos que evocan la dimensi\u00f3n espiritual del entorno f\u00edsico, conectan esta obra con otras realizadas por su estudio durante estos a\u00f1os como los ba\u00f1os termales de Vals, en Suiza, o la Capilla Bruder Klaus en Mechernich, Alemania, ambas obras de referencia durante la \u00faltima d\u00e9cada.<\/p>\n

\"\"<\/a>
High Line en New York, de Piet Oudolf<\/span><\/figcaption><\/figure>\n

Piet Oudolf es la otra parte importante de esta obra, destacado dise\u00f1ador de jardines y cabeza visible del movimiento Perennes, complementar\u00e1 el dise\u00f1o del edificio de Zumthor con un jard\u00edn lleno de color y profusamente plantado basado en la ideolog\u00eda que defiende. Oudolf utiliza la arquitectura natural de las plantas, como la expresividad de las gram\u00edneas y de las herb\u00e1ceas perennes, o incluso malas hierbas para crear jardines que evolucionan en forma y color a lo largo de la vida de las plantas. Sus planteamientos reflejados en obras como el High Line neoyorkino, la reconversi\u00f3n peatonal de una antigua l\u00ednea de metro elevada en la ciudad de los rascacielos, han colocado esta suerte de jardines de evoluci\u00f3n natural como la nueva v\u00eda para relacionar arquitectura y naturalezas construidas.<\/p>\n

\"\"<\/a>
High Line en New York, de Piet Oudolf<\/span><\/figcaption><\/figure>\n

Peter Zumthor que dado lo asc\u00e9tico, riguroso y contenido de su arquitectura ha defendido incluso en sus escritos la creaci\u00f3n de nuevas atm\u00f3sferas para la vida, recrear\u00e1 gracias a Piet Oudolf un espacio intenso, esencial y memorable.<\/p>\n

En definitiva un jard\u00edn monacal para aquel que en m\u00faltiples ocasiones ha sido calificado como un monje de la arquitectura, una nueva cita a a\u00f1adir al recorrido por Londres durante este verano.<\/p>\n

\u00ed\u00f1igo garc\u00eda odiaga. arquitecto
\nsan sebasti\u00e1n. junio 2011<\/p>\n

Art\u00edculo publicado en ZAZPIKA 05\/06\/2o11<\/span><\/em><\/p>\n

\"\"<\/a>
Serpentine Gallery Pavilion | Peter Zumthor<\/span><\/figcaption><\/figure><\/p>\n

The architecture of the pavilions, of the small facilities is in the habit of producing very extreme results, or they generate projects of incalculable value on those who will be debated for years or on the contrary they present noisy failures.<\/p>\n

\u00a0The ephemeral of these constructions, his symbolic value and the lack of specific uses to sheltering, contribute to the architects a new frame, in which the reflection and the ideas do not find the limits of the daily exercise of the profession and approach more than never to the artistic offer.<\/p>\n

The \u00a0Serpentine Gallery\u00a0is a London gallery dedicated to the contemporary art, that every year from 2000 entrust to an architect of prestige the construction of a small pavilion in the garden of the institution. This construction destined to provide an area of stay to the visitors of the center during the summers months, is of ephemeral character and dismounts with the winter arrival. The director of the gallery Julia Peyton-Jones has turned this annual appointment into an international space for the architectural experimentation and after a decade of pavilions realized by some of the most important architects of the world the repercussion of these works generates big debates.<\/p>\n

\"\"<\/a>
Serpentine Gallery Pavilion | Peter Zumthor<\/span><\/figcaption><\/figure>\n

The architect born in Basle Peter Zumthor rewarded with the prestigious prize Pritzker in 2009, will be the manager of the witness of Jean Nouvel takes, Sanaa, Rem Koolhaas or Frank Gehry between others.<\/p>\n

For the Swiss architect it will be the first building constructed by his office in the United Kingdom and will include a garden created specially by the influential Dutch designer\u00a0Piet Oudolf.<\/p>\n

The idea of the pavilion of this year is it of generating a contemporary hortus conclusus, a closed room opened for the sky, dedicated to the contemplation, an interior garden inside Kensington’s gardens in which the Serpentine Gallery places. The building will act of scene, will be like the backdrop of an interior garden of flowers and light. The hortus conclusus is the typical form of the medieval garden, tied especially to the monasteries and convents. A green space, generally of small dimensions and surrounded by high walls, where the monks were cultivating essentially food and medicinal plants about which there was generated the cloister dedicated to the meditation and the contemplation.<\/p>\n

\"\"<\/a>
Serpentine Gallery Pavilion | Peter Zumthor<\/span><\/figcaption><\/figure>\n

The visitors will come to the garden crossing a narrow and dark tunnel, a theatrical solution to extend the cozy and spiritual effect of the central space full of light, an absent-minded place of the world and of the noise of the traffic and the smells of London.<\/p>\n

Since the own Zumthor has declared the building \u00abhas as aim help the visitors to think the time to relax, to observe and, later, maybe, to start speaking again.\u00bb<\/p>\n

The project emphasizes the paper that the senses and the emotions play in the experience of the architecture chased by Peter Zumthor. His contemplative spaces that evoke the spiritual dimension of the physical environment, connect this work with others realized by his study during these years as the thermal baths of Waltz, in Switzerland, or the Chapel Bruder Klaus in Mechernich, Germany, both works of reference during the last decade.<\/p>\n

\"\"<\/a>
High Line in New York, by Piet Oudolf<\/span><\/figcaption><\/figure>\n

Piet Oudolf is another important part of this work, out-standing designer of gardens and visible head of the movement Everlasting, it will complement the design of Zumthor’s building with a garden full of color and profusely planted based on the ideology that defends. Oudolf uses the natural architecture of the plants, as the expressiveness of the gram\u00edneas and of the herbaceous everlasting ones, or even bad grasses to create gardens that they evolve in form and color along the life of the plants. His expositions reflected in works as the High Line neoyorkino, the pedestrian restructuring of a former line of meter raised in the city of the skyscrapers, have placed this luck of gardens of natural evolution as the new route to relate architecture and constructed natures.<\/p>\n

\"\"<\/a>
High Line in New York, by Piet Oudolf<\/span><\/figcaption><\/figure>\n

Peter Zumthor who in view of the ascetic, rigorous thing and content of his architecture has defended even in his writings the creation of new atmospheres for the life, will recreate thanks to Piet Oudolf an intense, essential and memorable space.<\/p>\n

Definitively a monastic garden for that one that in multiple occasions has been qualified as a monk of the architecture, a new appointment to adding to the tour for London during this summer.<\/p>\n

\u00ed\u00f1igo garc\u00eda odiaga. architect<\/p>\n

san sebasti\u00e1n. juny 2011<\/p>\n

Article is published in ZAZPIKA 05\/06\/2o11<\/span><\/em><\/p>\n

\"\"<\/a>
Serpentine Gallery Pavilion | Peter Zumthor<\/span><\/figcaption><\/figure><\/p>\n

A arquitectura dos pavill\u00f3ns, das pequenas instalaci\u00f3ns adoita producir resultados moi extremos, ou xeran proxectos de incalculable valor sobre os que se debater\u00e1 durante anos ou pola contra presentan estrepitosos fracasos.<\/p>\n

O ef\u00e9mero destas construci\u00f3ns, o seu valor simb\u00f3lico e a falta de usos espec\u00edficos a albergar, achegan aos arquitectos un marco novo, no que a reflexi\u00f3n e as ideas non atopan os l\u00edmites do exercicio diario da profesi\u00f3n e ach\u00e9ganse m\u00e1is que nunca \u00e1 proposta art\u00edstica.<\/p>\n

A Serpentine Gallery\u00a0\u00e9 unha galer\u00eda londiniense dedicada \u00e1 arte contempor\u00e1nea, que todos os anos desde o 2000 encarga a un arquitecto de prestixio a construci\u00f3n dun pequeno pavill\u00f3n no xard\u00edn da instituci\u00f3n. Esta construci\u00f3n destinada a proporcionar unha \u00e1rea de estancia aos visitantes do centro durante os meses de ver\u00e1n, \u00e9 de car\u00e1cter ef\u00e9mero e desm\u00f3ntase coa chegada do inverno. A directora da galer\u00eda Julia Peyton-Jones converteu esta cita anual nun espazo internacional para a experimentaci\u00f3n arquitect\u00f3nica e tras unha d\u00e9cada de pavill\u00f3ns realizados por alg\u00fans dos arquitectos m\u00e1is importantes do mundo a repercusi\u00f3n destas obras xera grandes debates.<\/p>\n

\"\"<\/a>
Serpentine Gallery Pavilion | Peter Zumthor<\/span><\/figcaption><\/figure>\n

O arquitecto nacido en Basilea Peter Zumthor, galardoado co prestixioso premio Pritzker en 2009, ser\u00e1 o encargado de coller a testemu\u00f1a de Jean Nouvel, Sanaa, Rem Koolhaas ou Frank Gehry entre outros.<\/p>\n

Para o arquitecto su\u00edzo ser\u00e1 o primeiro edificio constru\u00eddo pola s\u00faa oficina no Reino Unido e incluir\u00e1 un xard\u00edn creado especialmente polo influente dese\u00f1ador holand\u00e9s\u00a0Piet Oudolf.<\/p>\n

A idea do pavill\u00f3n deste ano \u00e9 a de xerar un hortus conclusus contempor\u00e1neo, unha sala pechada, aberta ao ceo, dedicada \u00e1 contemplaci\u00f3n, un xard\u00edn interior dentro dos xard\u00edns de Kensington nos que se sit\u00faa a Serpentine Gallery. O edificio actuar\u00e1 de escenario, ser\u00e1 como o pano de fondo dun xard\u00edn interior de flores e luz. O hortus conclusus \u00e9 a forma t\u00edpica do xard\u00edn medieval, ligado sobre todo aos mosteiros e conventos. Unha zona verde, xeralmente de pequenas dimensi\u00f3ns e circundada por altos muros, onde os monxes cultivaban esencialmente plantas alimenticias e medicinais arredor dos cales se xeraba o claustro dedicado \u00e1 meditaci\u00f3n e a contemplaci\u00f3n.<\/p>\n

\"\"<\/a>
Serpentine Gallery Pavilion | Peter Zumthor<\/span><\/figcaption><\/figure>\n

Os visitantes chegar\u00e1n ao xard\u00edn atravesando un t\u00fanel angosto e escuro, unha soluci\u00f3n efectista para ampliar o efecto acolledor e espiritual do espazo central cheo de luz, un lugar abstra\u00eddo do mundo e do ru\u00eddo do tr\u00e1fico e os olores de Londres.<\/p>\n

Como o propio Zumthor declarou o edificio \u00abten como obxectivo axudar aos visitantes a tomarse o tempo para relaxarse, observar e, a continuaci\u00f3n, talvez, empezar a falar de novo.\u00bb<\/p>\n

O proxecto pon de relevo o papel que os sentidos e as emoci\u00f3ns xogan na experiencia da arquitectura perseguida por Peter Zumthor. Os seus espazos contemplativos que evocan a dimensi\u00f3n espiritual do \u00e1mbito f\u00edsico, conectan esta obra con outras realizadas polo seu estudo durante estes anos como os ba\u00f1os termais de Vals, en Su\u00edza, ou a Capela Bruder Klaus en Mechernich, Alema\u00f1a, ambas as d\u00faas obras de referencia durante a \u00faltima d\u00e9cada.<\/p>\n

\"\"<\/a>
High Line en New York, de Piet Oudolf<\/span><\/figcaption><\/figure>\n

Piet Oudolf \u00e9 a outra parte importante desta obra, destacado dese\u00f1ador de xard\u00edns e cabeza visible do movemento Perennes, complementar\u00e1 o dese\u00f1o do edificio de Zumthor cun xard\u00edn cheo de cor e profusamente plantado baseado na ideolox\u00eda que defende. Oudolf utiliza a arquitectura natural das plantas, como a expresividade das gram\u00edneas e das herb\u00e1ceas perennes, ou mesmo malas herbas para crear xard\u00edns que evolucionan en forma e cor ao longo da vida das plantas. As s\u00faas formulaci\u00f3ns reflectidas en obras como o High Line neoyorkino, a reconversi\u00f3n peonil dunha antiga li\u00f1a de metro elevada na cidade dos ra\u00f1aceos, colocaron esta sorte de xard\u00edns de evoluci\u00f3n natural como a nova v\u00eda para relacionar arquitectura e naturezas constru\u00eddas.<\/p>\n

\"\"<\/a>
High Line en New York, de Piet Oudolf<\/span><\/figcaption><\/figure>\n

Peter Zumthor que dado o asc\u00e9tico, rigoroso e contido da s\u00faa arquitectura defendeu mesmo nos seus escritos a creaci\u00f3n de novas atmosferas para a vida, recrear\u00e1 grazas a Piet Oudolf un espazo intenso, esencial e memorable.<\/p>\n

En definitiva un xard\u00edn monacal para aquel que en m\u00faltiples ocasi\u00f3ns foi cualificado como un monxe da arquitectura, unha nova cita a engadir o percorrido por Londres durante este ver\u00e1n.<\/p>\n

\u00ed\u00f1igo garc\u00eda odiaga. arquitecto<\/p>\n

san sebasti\u00e1n. xu\u00f1o 2011<\/p>\n

Artigo publicado en ZAZPIKA 05\/06\/2o11<\/span><\/em><\/p>\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

La arquitectura de los pabellones, de las peque\u00f1as instalaciones suele producir resultados muy extremos, o generan proyectos de incalculable valor sobre los que se debatir\u00e1 durante a\u00f1os o por el contrario presentan estrepitosos fracasos. Lo ef\u00edmero de estas construcciones, su valor simb\u00f3lico y la falta de usos espec\u00edficos a albergar, aportan a los arquitectos un […]<\/p>\n","protected":false},"author":31,"featured_media":46290,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[45,155,424,3487,4285,3356,751,1579,972,977,980,1726,10203,1096,1865,2173,1206,1253],"class_list":["post-14329","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-arquitectura-efimera","tag-arte-contemporaneo","tag-dibujo","tag-frank-gehry","tag-inigo-garcia-odiaga","tag-intervencion-efimera","tag-jean-nouvel","tag-limite","tag-pabellon","tag-paisaje","tag-paisajismo","tag-peter-zumthor","tag-piet-oudolf","tag-premio-pritzker","tag-reflexion","tag-rem-koolhaas","tag-sanaa","tag-star-system"],"yoast_head":"\nEl jard\u00edn de las contemplaciones | 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