{"id":15029,"date":"2011-07-05T09:06:10","date_gmt":"2011-07-05T09:06:10","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=15029"},"modified":"2020-11-25T14:28:16","modified_gmt":"2020-11-25T13:28:16","slug":"arquitecturas-del-punto-de-vista-inigo-garcia-odiaga","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/arquitecturas-del-punto-de-vista-inigo-garcia-odiaga\/","title":{"rendered":"Arquitecturas del punto de vista | \u00cd\u00f1igo Garc\u00eda OdiagaArquitecturas do punto de vista | \u00cd\u00f1igo Garc\u00eda OdiagaArchitectures of the point of view | \u00cd\u00f1igo Garc\u00eda Odiaga"},"content":{"rendered":"

\"\"<\/a>
Museo de Nanjing, China | Steven Holl<\/span><\/figcaption><\/figure><\/p>\n

Cuando se habla de la relaci\u00f3n entre la arquitectura y el paisaje, se suele valorar la relaci\u00f3n del volumen con el entorno, la relaci\u00f3n de su materialidad con la naturaleza del contexto, fondo y forma, o incluso las relaciones de escala que se generan. En pocas ocasiones se suelen valorar los nuevos puntos de vista, en cuanto nuevas lecturas que permitir\u00e1n entender el paisaje, que las arquitecturas generan. Se suele hablar de las vistas, pero no del concepto de visi\u00f3n, de nueva sensaci\u00f3n que determinados emplazamientos pueden ofrecer.<\/p>\n

El estudio de Steven Holl<\/a> ha finalizado la compleja construcci\u00f3n de un nuevo equipamiento cultural en Nanjing, cerca de Shangai en China. El Museo de Nanjing dedicado al arte y la arquitectura esta considerado como la puerta de entrada a un nuevo modelo cultural todav\u00eda en desarrollo en China, el que liga turismo y arte.<\/p>\n

\"\"<\/a>
Museo de Nanjing, China | Steven Holl<\/span><\/figcaption><\/figure>\n

Desde este punto de vista el edificio del museo deb\u00eda ser en s\u00ed mismo un reclamo tur\u00edstico y dotarse de cierta espectacularidad para atraer a los turistas, m\u00e1s all\u00e1 del valor de sus colecciones o exposiciones.<\/p>\n

El museo transformado en s\u00ed mismo en un objeto escult\u00f3rico explora los puntos de vista cambiantes, las visuales sobre los paisajes que rodean su ubicaci\u00f3n intentando recuperar las sensaciones de las composiciones espaciales que se pueden ver en las pinturas tradicionales Chinas mostradas en las galer\u00edas del propio museo. Su planteamiento formal persigue el de una atalaya que se eleva en las orillas del lago.<\/p>\n

El edificio se divide en dos piezas una inferior, a ras de suelo construida con muros de hormig\u00f3n negro encofrados con ca\u00f1as de bamb\u00fa de la regi\u00f3n, lo que otorga a este volumen una textura que conecta perfectamente con el imaginario del paisaje rural de Nanjing. Sobre este z\u00f3calo oscuro se levanta en el aire una pieza blanca y horizontal que apoyada en dos grandes n\u00facleos de comunicaci\u00f3n caracteriza la imagen del edificio, adem\u00e1s de dotarlo de esa pretendida espectacularidad.<\/p>\n

\"\"<\/a>
Museo de Nanjing, China | Steven Holl<\/span><\/figcaption><\/figure>\n

Una escalera exterior met\u00e1lica cruza el vac\u00edo entre estos dos espacios para permitir al visitante acceder al volumen superior e iniciar un recorrido por esas salas que le permitir\u00e1 m\u00faltiples y cambiantes visiones sobre los bosques, el lago y la niebla que cubre la regi\u00f3n, hasta finalizar su recorrido en una sala cuyo inmenso ventanal se abre sobre la visi\u00f3n lejana de la ciudad de Nanjing, antigua capital de la dinast\u00eda Ming y centro del arte Chino.<\/p>\n

Un ejemplo m\u00e1s cercano es el del Centro KREA de Vitoria, obra del estudio de Roberto Ercilla<\/a> y Miguel Angel Campo. Si en el caso de Holl el paisaje a interpretar es el natural del entorno, en el caso del KREA se transforma en el paisaje edificado.<\/p>\n

\"\"<\/a>
Centro KREA de Vitoria, obra del estudio de Roberto Ercilla y Miguel Angel Campo<\/span><\/figcaption><\/figure>\n

En un \u00e1rea en expansi\u00f3n de la ciudad nace este complejo conformado por un antiguo convento neog\u00f3tico y una nueva estructura construida en acero y vidrio. La obra se articula en el di\u00e1logo entre el antiguo Convento y la nueva edificaci\u00f3n, que serpentea junto al viejo edificio, se eleva por encima de \u00e9l para acabar pos\u00e1ndose en el claustro. Este complemento est\u00e1 concebido como un icono, con una imagen formal rotunda y a la vez sencilla y reconocible, que act\u00faa de contrapunto al antiguo convento transformado hoy en centro de arte.<\/p>\n

Los dos edificios tienen una lectura independiente y se confrontan entre si, pero sin establecer competencias formales dada su distancia hist\u00f3rica, material y volum\u00e9trica. El nuevo edificio revaloriza la arquitectura preexistente, y su fachada compuesta por varias capas de diferentes vidrios acent\u00faa el contraste entre ambos y a su vez el cerramiento elegido permite una lectura limpia de la forma y de la estructura. Es por este motivo por el que la rotundidad formal de la nueva edificaci\u00f3n permite una manipulaci\u00f3n cambiante sin que por ello pierda su identidad y al mismo tiempo refuerza la imagen representativa del centro de arte.<\/p>\n

\"\"<\/a>
Centro KREA de Vitoria, obra del estudio de Roberto Ercilla y Miguel Angel Campo<\/span><\/figcaption><\/figure>\n

Los espacios amplios y di\u00e1fanos de la arquitectura contempor\u00e1nea contrastan con los espacios propios de la arquitectura tradicional, generando de nuevo por oposici\u00f3n un di\u00e1logo entre ambas edificaciones. Pero tal vez uno de los puntos m\u00e1s interesantes del nuevo elemento es que su recorrido permite novedosos puntos de vista sobre el convento y los nuevos espacios generados entre ellos. Permite ver las cornisas o los detalles del viejo edificio a la altura de los ojos, o incluso desde arriba, es decir provocando nuevas lecturas sobre un antiguo edificio ya consolidado en la trama de la ciudad.<\/p>\n

En una \u00e9poca en la que la visi\u00f3n est\u00e1 sobrevalorada respecto cualquier otro de los sentidos, la arquitectura no tiene porqu\u00e9 limitarse a lecturas hechas desde el exterior, desde la contemplaci\u00f3n de su volumen o fachadas, sino que por s\u00ed misma puede generar nuevas im\u00e1genes, nuevas realidades vistas desde otros puntos de vista.<\/p>\n

\"\"<\/a>
Centro KREA de Vitoria, obra del estudio de Roberto Ercilla y Miguel Angel Campo<\/span><\/figcaption><\/figure>\n

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

Publicado en ZAZPIKA 03.07.2011<\/span><\/em><\/p>\n

\"\"<\/a>
Nanjing Museum, China | Steven Holl<\/span><\/figcaption><\/figure><\/p>\n

When one speaks about the relation between the architecture and the landscape, one is in the habit of valuing the relation of the volume with the environment, the relation of his materiality with the nature of the context, bottom and form, or even the relations on a large scale that are generated. For few occasions the new points of view are in the habit of being valued, for new readings that will allow to understand the landscape, which the architectures generate. It is in the habit of speaking about the sights, but not about the concept of vision, of new sensation that certain emplacements can offer.<\/p>\n

Steven Holl Studyl<\/a> has finished the complex construction of a new cultural equipment in Nanjing, near Shangai in China. Nanjing’s Museum dedicated to the art and the this architecture considered as the door of entry to a new cultural model still in development in China, which ties tourism and art.<\/p>\n

\"\"<\/a>
Nanjing Museum, China | Steven Holl<\/span><\/figcaption><\/figure>\n

From this point of view the building of the museum had to be in yes the same tourist claim and to be provided with certain showiness to attract the tourists, beyond the value of his collections or exhibitions.<\/p>\n

The museum transformed in yes same in a sculptural object explores the changeable points of view, the visual ones on the landscapes that surround his location trying to recover the sensations of the spatial compositions that can see in the traditional paintings Small stones showed in the galleries of the own museum. His formal exposition chases that of a watchtower that rises in the shores of the lake.<\/p>\n

The building divides in two pieces the low one, to evenness of soil constructed with walls of black concrete encofrados with canes of bamboo of the region, which grants to this volume a texture that connects perfectly with the imaginary one of Nanjing’s rural landscape. On this dark socle there gets up in the air a white and horizontal piece that rested on two big cores of communication characterizes the image of the building, beside providing it with this claimed showiness.<\/p>\n

\"\"<\/a>
Nanjing Museum, China | Steven Holl<\/span><\/figcaption><\/figure>\n

An exterior metallic stairs crosses the emptiness between these two spaces to allow to the visitor to accede to the top volume and to initiate a tour for these rooms that it will allow him multiple and changeable visions on the forests, the lake and the fog that covers the region, up to finishing his tour in a room which immense large window is opened on the distant vision of Nanjing’s city, the former capital of the dynasty Ming and center of the Chinese art.<\/p>\n

A more nearby example is that of the Center KREA of Vitoria, work of the study of\u00a0Roberto Ercilla<\/a> and Miguel Angel Campo. If in case of Holl the landscape to interpreting is the native of the environment, in case of the KREA it transforms in the built-up landscape.<\/p>\n

\"\"<\/a>
KREA Center in Vitoria, work of the study of Roberto Ercilla and Miguel Angel Campo<\/span><\/figcaption><\/figure>\n

In an area in expansion of the city there is born this complex shaped by a former Neogothic convent and a new structure constructed in steel and glass. The work is articulated in the dialog between the former Convent and the new building, which winds close to the old building, rises over him to finish settling in the cloister. This complement is conceived as an icon, with a formal round image and simultaneously simple and recognizable, that acts of dispute to the former convent transformed today into center of art.<\/p>\n

Both buildings have an independent reading and confront between if, but without formal competitions establish given his historical, material and volumetric distance. The new building revalues the preexisting architecture, and his front composed by several caps of different glasses accentuates the contrast between both and in turn the chosen closing allows a clean reading of the form and of the structure. It is for this motive for which the formal rotundity of the new building allows a changeable manipulation without for it it loses his identity and at the same time it reinforces the representative image of the center of art.<\/p>\n

\"\"<\/a>
KREA Center in Vitoria, work of the study of Roberto Ercilla and Miguel Angel Campo<\/span><\/figcaption><\/figure>\n

The wide and diaphanous spaces of the contemporary architecture contrast with the own spaces of the traditional architecture, generating again for opposition a dialog between both buildings. But maybe one of the most interesting points of the new element is that his tour allows new points of view on the convent and the new spaces generated between them. It allows to see the cornices or the details of the old building at a height of the eyes, or even from it arrives, that is to say provoking new readings on a former building already consolidated in the plot of the city.<\/p>\n

In an epoch in which the vision is overvalued respect any other one of the senses, the architecture does not have porqu\u00e9 limit to readings done from the exterior, from the contemplation of his volume or fronts, but for yes same it can generate new images, new realities dress from other points of view.<\/p>\n

\"\"<\/a>
KREA Center in Vitoria, work of the study of Roberto Ercilla and Miguel Angel Campo<\/span><\/figcaption><\/figure>\n

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

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

It\u00b4s published in ZAZPIKA 03.07.2011<\/span><\/em><\/p>\n

\"\"<\/a>
Museo de Nanjing, China | Steven Holl<\/span><\/figcaption><\/figure><\/p>\n

Cando se fala da relaci\u00f3n entre a arquitectura e a paisaxe, ad\u00f3itase valorar a relaci\u00f3n do volume coa contorna, a relaci\u00f3n da s\u00faa materialidad coa natureza do contexto, fondo e forma, ou mesmo as relaci\u00f3ns de escala que se xeran. En poucas ocasi\u00f3ns ad\u00f3itanse valorar os novos puntos de vista, en canto novas lecturas que permitir\u00e1n entender a paisaxe, que as arquitecturas xeran. Ad\u00f3itase falar das vistas, pero non do concepto de visi\u00f3n, de nova sensaci\u00f3n que determinados emprazamentos poden ofrecer<\/p>\n

O estudio de Steven Holl<\/a> finalizou a complexa construci\u00f3n dun novo equipamento cultural en Nanjing, preto de Xangai en China. O Museo de Nanjing dedicado \u00e1 arte e a arquitectura esta considerado como a porta de entrada a un novo modelo cultural a\u00ednda en desenvolvemento en China, o que liga turismo e arte.<\/p>\n

\"\"<\/a>
Museo de Nanjing, China | Steven Holl<\/span><\/figcaption><\/figure>\n

Dende este punto de vista o edificio do museo deb\u00eda ser en si mesmo un reclamo tur\u00edstico e dotarse de certa espectacularidade para atraer aos turistas, m\u00e1is al\u00f3 do valor das s\u00faas colecci\u00f3ns ou exposici\u00f3ns.<\/p>\n

O museo transformado en si mesmo nun obxecto escult\u00f3rico explora os puntos de vista cambiantes, as visuais sobre as paisaxes que rodean a s\u00faa localizaci\u00f3n tentando recuperar as sensaci\u00f3ns das composici\u00f3ns espaciais que se poden ver nas pinturas tradicionais Chinesas mostradas nas galer\u00edas do propio museo. A s\u00faa formulaci\u00f3n formal persegue o dunha atalaia que se eleva nas beiras do lago.<\/p>\n

O edificio div\u00eddese en d\u00faas pezas unha inferior, a rentes de chan constru\u00edda con muros de formig\u00f3n negro encofrados con canas de bamb\u00fa da rexi\u00f3n, o que outorga a este volume unha textura que conecta perfectamente co imaxinario da paisaxe rural de Nanjing. Sobre este z\u00f3colo escuro lev\u00e1ntase no aire unha peza branca e horizontal que apoiada en dous grandes n\u00facleos de comunicaci\u00f3n caracteriza a imaxe do edificio, ademais de dotalo desa pretendida espectacularidade.<\/p>\n

\"\"<\/a>
Museo de Nanjing, China | Steven Holl<\/span><\/figcaption><\/figure>\n

Unha escaleira exterior met\u00e1lica cruza o baleiro entre estes dous espazos para permitir ao visitante acceder ao volume superior e iniciar un percorrido por esas salas que lle permitir\u00e1 m\u00faltiples e cambiantes visi\u00f3ns sobre os bosques, o lago e a n\u00e9boa que cobre a rexi\u00f3n, ata finalizar o seu percorrido nunha sala cuxo inmenso ventanal se abre sobre a visi\u00f3n afastada da cidade de Nanjing, antiga capital da dinast\u00eda Ming e centro da arte Chinesa.<\/p>\n

Un exemplo m\u00e1is pr\u00f3ximo \u00e9 o do Centro KREA de Vitoria, obra do estudo de\u00a0Roberto Ercilla<\/a> e Miguel Angel Campo. Se no caso de Holl a paisaxe a interpretar \u00e9 o natural do \u00e1mbito, no caso do KREA transf\u00f3rmase na paisaxe edificada.<\/p>\n

\"\"<\/a>
Centro KREA de Vitoria, obra do estudio de Roberto Ercilla e Miguel Angel Campo<\/span><\/figcaption><\/figure>\n

Nunha \u00e1rea en expansi\u00f3n da cidade nace este complexo conformado por un antigo convento neog\u00f3tico e unha nova estrutura constru\u00edda en aceiro e vidro. A obra artic\u00falase no di\u00e1logo entre o antigo Convento e a nova edificaci\u00f3n, que serpea xunto ao vello edificio, el\u00e9vase por enriba del para acabar pous\u00e1ndose no claustro. Este complemento est\u00e1 concibido como unha icona, cunha imaxe formal rotunda e \u00e1 vez sinxela e reco\u00f1ecible, que act\u00faa de contrapunto ao antigo convento transformado hoxe en centro de arte.<\/p>\n

Os dous edificios te\u00f1en unha lectura independente e confr\u00f3ntanse entre se, pero sen establecer competencias formais dada a s\u00faa distancia hist\u00f3rica, material e volum\u00e9trica. O novo edificio revaloriza a arquitectura preexistente, e a s\u00faa fachada composta por varias capas de diferentes vidros acent\u00faa o contraste entre ambos os dous e \u00e1 s\u00faa vez o cerramento elixido permite unha lectura limpa da forma e da estrutura. \u00c9 por este motivo polo que a rotundidade formal da nova edificaci\u00f3n permite unha manipulaci\u00f3n cambiante sen que por iso perda a s\u00faa identidade e ao mesmo tempo reforza a imaxe representativa do centro de arte.<\/p>\n

\"\"<\/a>
Centro KREA de Vitoria, obra do estudio de Roberto Ercilla e Miguel Angel Campo<\/span><\/figcaption><\/figure>\n

Os espazos amplos e di\u00e1fanos da arquitectura contempor\u00e1nea contrastan cos espazos propios da arquitectura tradicional, xerando de novo por oposici\u00f3n un di\u00e1logo entre ambas as d\u00faas edificaci\u00f3ns. Pero talvez un dos puntos m\u00e1is interesantes do novo elemento \u00e9 que o seu percorrido permite novidosos puntos de vista sobre o convento e os novos espazos xerados entre eles. Permite ver as cornixas ou os detalles do vello edificio \u00e1 altura dos ollos, ou mesmo dende arriba, \u00e9 dicir provocando novas lecturas sobre un antigo edificio xa consolidado na trama da cidade.<\/p>\n

Nunha \u00e9poca na que a visi\u00f3n est\u00e1 sobrevalorada respecto calquera outro dos sentidos, a arquitectura non ten porqu\u00e9 limitarse a lecturas feitas dende o exterior, dende a contemplaci\u00f3n do seu volume ou fachadas, sen\u00f3n que por si mesma pode xerar novas imaxes, novas realidades vistas dende outros puntos de vista.<\/p>\n

\"\"<\/a>
Centro KREA de Vitoria, obra do estudio de Roberto Ercilla e Miguel Angel Campo<\/span><\/figcaption><\/figure>\n

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

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

Publicado en ZAZPIKA 03.07.2011<\/span><\/em><\/p>\n

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

Cuando se habla de la relaci\u00f3n entre la arquitectura y el paisaje, se suele valorar la relaci\u00f3n del volumen con el entorno, la relaci\u00f3n de su materialidad con la naturaleza del contexto, fondo y forma, o incluso las relaciones de escala que se generan. En pocas ocasiones se suelen valorar los nuevos puntos de vista, […]<\/p>\n","protected":false},"author":31,"featured_media":41423,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[2631,12456,4285,5932,12453,5931,2200],"class_list":["post-15029","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","tag-arquitectura-espanola","tag-equipamiento-cultural","tag-inigo-garcia-odiaga","tag-miguel-angel-campo","tag-museo-arquitectura-arquitectura","tag-roberto-ercilla","tag-steven-holl"],"yoast_head":"\nArquitecturas del punto de vista | \u00cd\u00f1igo Garc\u00eda Odiaga<\/title>\n<meta name=\"description\" content=\"Toda la informaci\u00f3n sobre: Arquitecturas del punto de vista | \u00cd\u00f1igo Garc\u00eda OdiagaArquitecturas do punto de vista | \u00cd\u00f1igo Garc\u00eda OdiagaArchitectures of the point of view | \u00cd\u00f1igo Garc\u00eda 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