{"id":16146,"date":"2011-09-01T07:30:13","date_gmt":"2011-09-01T07:30:13","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=16146"},"modified":"2019-12-31T09:23:20","modified_gmt":"2019-12-31T08:23:20","slug":"el-arte-en-la-fachada-inigo-garcia-odiaga","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/el-arte-en-la-fachada-inigo-garcia-odiaga\/","title":{"rendered":"El arte en la fachada | \u00cd\u00f1igo Garc\u00eda OdiagaA arte na fachada | \u00cd\u00f1igo Garc\u00eda OdiagaThe art in the front | \u00cd\u00f1igo Garc\u00eda Odiaga"},"content":{"rendered":"

\"\"<\/a>
Auditorio y Centro de Convenciones Harpa\u00a0| Henning Larsen Architects\u00a0<\/span><\/figcaption><\/figure><\/p>\n

Si la sociedad en general es v\u00edctima de una cultura de la imagen, la arquitectura no es ajena a este fen\u00f3meno. Mucho podr\u00eda hablarse de la fotograf\u00eda de la arquitectura como paradigma de esa tendencia, pero sin salirnos de los elementos propios del mundo edificado, es la fachada la que asume ese papel visual. Dentro de esta din\u00e1mica, muchos son los arquitectos que recurren a colaboraciones con artistas para tratar de amplificar la carga expresiva y conceptual de las fachadas de sus edificios.<\/p>\n

Durante este mes de agosto se ha inaugurado el Auditorio y Centro de Convenciones Harpa en la capital islandesa, Reykjavik.<\/p>\n

El proyecto de regeneraci\u00f3n urbana y ampliaci\u00f3n del \u00e1rea este del puerto de Reykjavik presentaba como su principal elemento tractor e ic\u00f3nico este nuevo centro de congresos. La desastrosa situaci\u00f3n econ\u00f3mica de Islandia y su posterior bancarrota en 2008 hizo que la gesti\u00f3n del proyecto pasase de manos privadas a manos de la administraci\u00f3n p\u00fablica, lo que oblig\u00f3 al equipo de arquitectura dan\u00e9s Henning Larsen Architects a colaborar con profesionales locales entre los que destaca el artista dan\u00e9s-island\u00e9s Olafur Eliasson.<\/p>\n

\"\"<\/a>
Auditorio y Centro de Convenciones Harpa | Henning Larsen Architects\u00a0<\/span><\/figcaption><\/figure>\n

La intenci\u00f3n general del plan urbano era la de transformar esa zona de la ciudad, y convertirla en nuevo centro capaz de revitalizar la econom\u00eda. La construcci\u00f3n de una gran plaza rodeada de zonas comerciales y de oficinas, edificios residenciales e instituciones educativas, generar\u00eda un nuevo barrio din\u00e1mico y joven abierto a los negocios. El nuevo Auditorio Harpa, se convertir\u00eda as\u00ed en el referente urbano ya que su impresionante situaci\u00f3n en el l\u00edmite costero junto con su poderosa silueta modificar\u00edan la imagen urbana del \u00e1mbito.<\/p>\n

Henning Larsen recurri\u00f3 al dialogo con la naturaleza del lugar para establecer las ideas principales del proyecto, as\u00ed las cuatro salas del edificio se organizan en vol\u00famenes cerrados cuyas formas recuerdan las monta\u00f1as volc\u00e1nicas que rodean la ciudad y que configuran el imaginario colectivo de los habitantes de Reykjavik.<\/p>\n

Las tres salas menores se abren hacia el lado sur del edificio, mientras que en el lado norte se sit\u00faan los servicios complementarios, tales como oficinas, salas de ensayo y vestuarios y las zonas de carga y descarga. En el centro de estas dos \u00e1reas se encuentra la sala de conciertos principal con una capacidad de 1.800 butacas. Las salas hacen referencia a elementos \u00fanicos de la naturaleza islandesa, as\u00ed si la sala de conciertos con su color rojo intenso se relaciona con los cr\u00e1teres volc\u00e1nicos de la isla, la geometr\u00eda de otra de las salas reproduce la del cristal silfburger, un cristal transparente de calcita que \u00fanicamente puede encontrarse en Islandia.<\/p>\n

En un pa\u00eds como Islandia la naturaleza no es \u00fanicamente un valor ecol\u00f3gico o medioambiental, sino que posee una componente equivalente al patrimonio cultural de pa\u00edses como Grecia o Italia. Por este motivo la luz polar del norte, el oc\u00e9ano, los volcanes y la lava o el resplandor del cielo fueron tra\u00eddos como motivos de integraci\u00f3n por el artista Olafur Eliasson a la fachada del Harpa. Las complejas geometr\u00edas vidriadas del edificio multiplican con sus angulaciones los reflejos generando una expresi\u00f3n cambiante seg\u00fan el \u00e1ngulo visual, lo que proporciona infinidad de percepciones.<\/p>\n

Construidas con diferentes tipos de vidrios y acero, a partir de un sistema modular de poliedros de doce lados inspirado en las formaciones de rocas bas\u00e1lticas de la isla, componen un juego caleidosc\u00f3pico de colores. En el sur, una composici\u00f3n de m\u00e1s de 1.000 m\u00f3dulos captura y refleja la luz natural, cambiando dr\u00e1sticamente la transparencia, la capacidad de reflexi\u00f3n y el color de la fachada a medida que cambian las estaciones. En el resto de los lados, el sistema tridimensional se simplifica, lo que da lugar a fachadas planas de pol\u00edgonos de cinco o seis lados, que juegan con los reflejos del agua, las plazas de acceso o los barcos de los muelles cercanos.<\/p>\n

\"\"<\/a>
Auditorio y Centro de Convenciones Harpa | Henning Larsen Architects<\/span><\/figcaption><\/figure>\n

Se hace as\u00ed realidad la idea de Eliasson, de desmaterializar el edificio como entidad est\u00e1tica y dotarlo de vida, para responder al colorido cambiante propio de la latitudes del norte en la que la luz rasante se carga de colores azules o rojizos en funci\u00f3n de la hora y la \u00e9poca del a\u00f1o.<\/p>\n

Este nuevo centro de conferencias que busca simbolizar el renovado dinamismo de Islandia, presenta sin embargo una contradicci\u00f3n como m\u00ednimo llamativa. La planta y la geometr\u00eda interior del edificio, as\u00ed como la de las salas podr\u00eda calificarse de correcta, incluso de cl\u00e1sica, lo que contrasta con la elaborada fachada. Parecer\u00eda que a un esquema funcional est\u00e1ndar, adaptado correctamente por la oficina de Larsen a los condicionantes concretos del lugar Olafur Eliasson le hubiese a\u00f1adido un vestido de gala, un rostro que pretende sorprender.<\/p>\n

La intervenci\u00f3n del Eliasson podr\u00eda considerarse en este caso cosm\u00e9tica, aunque en un edificio pretendidamente innovador la fachada es el \u00fanico elemento que responde a esta cuesti\u00f3n, dejando todo la carga expresiva y conceptual a este elemento.<\/p>\n

Si la cara es el reflejo del alma, la fachada deber\u00eda serlo del edificio, aunque en tal vez demasiadas ocasiones parece que toda la arquitectura se esta reduciendo a una cuesti\u00f3n epid\u00e9rmica y superficial, reduciendo a una imagen toda la esencia de la obra construida.<\/p>\n

\"\"<\/a>
Auditorio y Centro de Convenciones Harpa | Henning Larsen Architects<\/span><\/figcaption><\/figure>\n

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

Art\u00edculo publicado en ZAZPIKA\u00a028.08.2011 <\/em><\/span><\/p>\n

\"\"<\/a>
Audience and Center of Conventions Harpa\u00a0| Henning Larsen Architects <\/span><\/figcaption><\/figure><\/p>\n

If the company in general is a victim of a culture of the image, the architecture is not foreign to this phenomenon. Much might be spoken about the photography of the architecture as paradigm of this trend, but without leaving of the own elements of the built-up world, it is the front the one that assumes this visual paper. Inside this dynamics, many they are the architects who resort to collaborations with artists to try to amplify the expressive and conceptual load of the fronts of his buildings.<\/p>\n

During this August the Audience and Center of Conventions has inaugurated Harpa in the Icelandic capital, Reykjavik.<\/p>\n

The project of urban regeneration and extension of the area this one of the port of Reykjavik was presenting as his principal element tractor and ic\u00f3nico this new center of congresses. The disastrous economic situation of Iceland and his later bankruptcy in 2008 did that the management of the project was happening from hands deprived to hands of the public administration, what Danish Henning Larsen Architects forced the equipment of architecture to collaborate with local professionals between whom the artist stands out Danish – Icelander Olafur Eliasson.<\/p>\n

\"\"<\/a>
Audience and Center of Conventions Harpa\u00a0| Henning Larsen Architects <\/span><\/figcaption><\/figure>\n

The general intention of the urban plan was it of transforming this zone of the city, and to turn her into new center capable of revitalizing the economy. The construction of a great square surrounded with commercial districts and with offices, residential buildings and educational institutions, there would generate a new dynamic neighborhood and young person opened for the business. The new Audience Harp, it would turn this way into the urban modal since his impressive situation in the coastal limit together with his powerful silhouette they would modify the urban image of the area.<\/p>\n

Henning Larsen resorted to the dialog with the local nature to establish the principal ideas of the project, this way four rooms of the building are organized in closed volumes which forms remember the volcanic mountains that surround the city and that form the imaginary group of the inhabitants of Reykjavik.<\/p>\n

Three minor rooms are opened towards the south side of the building, whereas in the north side there place the complementary, such services as offices, rooms of test and wardrobes and the zones of load and unload. In the center of these two areas one finds the principal room of concerts with a capacity of 1.800 armchairs. The rooms refer to the only elements of the Icelandic, like that nature if the room of concerts with his red intense color relates to the volcanic craters of the island, the geometry of other one of the rooms reproduces that of the crystal silfburger, a transparent crystal of calcita that only can be in Iceland.<\/p>\n

In a country like Iceland the nature is not only an ecological or environmental value, but one possesses component equivalent to the cultural heritage of countries as Greece or Italy. For this motive the polar light of the north, the ocean, the volcanoes and the lava or the radiance of the sky were brought as motives of integration by the artist Olafur Eliasson to the front of the Harp. The complex glazed geometries of the building multiply with his angulaciones the reflections generating a changeable expression according to the visual angle, which provides infinity of perceptions.<\/p>\n

Constructed with different types of glasses and steel, from a modular system of polyhedrons of twelve sides inspired by the formations of basaltic rocks of the island, they compose a kaleidoscopic game of colors. In the south, a composition of more than 1.000 modules captures and reflects the natural light, changing drastically the transparency, the capacity of reflection and the color of the front as they change the stations. In the rest of the sides, the three-dimensional system simplifies, which gives place to flat fronts of polygons of five or six sides, which play with the reflections of the water, the squares of access or the ships of the nearby wharves.<\/p>\n

\"\"<\/a>
Audience and Center of Conventions Harpa\u00a0| Henning Larsen Architects<\/span><\/figcaption><\/figure>\n

Reality like that makes Eliasson’s idea to itself, of desmaterializar the building as static entity and provide it with life, to answer to the changeable own color of the latitudes of the north in which the low light is loaded with blue or reddish colors depending on the hour and the epoch of the year.<\/p>\n

This new center of conferences that seeks to symbolize the renewed dynamism of Iceland, presents nevertheless a contradiction as minimum showy. The plant and the interior geometry of the building, as well as that of the rooms might qualify of correct, even of classic, which contrasts with the elaborated front. It would seem that to a functional standard scheme, adapted correctly by Larsen’s office to the determining local concrete ones Olafur Eliasson had added a garment of show, a face that it tries to surprise.<\/p>\n

The intervention of the Eliasson might be considered in this case cosmetics, though in a building allegedly innovative the front is the only element that answers to this question, leaving quite the expressive and conceptual load to this element.<\/p>\n

If the face is the reflection of the soul, the front it should be of the building, though in maybe too many occasions it seems that the whole architecture diminishing to an epidermal and superficial question, reducing to an image the whole essence of the constructed work.<\/p>\n

\"\"<\/a>
Audience and Center of Conventions Harpa\u00a0| Henning Larsen Architects<\/span><\/figcaption><\/figure>\n

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

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

Article is <\/em><\/span> published in ZAZPIKA 28.08.2011 <\/em><\/span><\/p>\n

\"\"<\/a>
Auditorio y Centro de Convenciones Harpa | Henning Larsen Architects <\/span><\/figcaption><\/figure><\/p>\n

Se a sociedade en xeral \u00e9 v\u00edtima dunha cultura da imaxe, a arquitectura non \u00e9 allea a este fen\u00f3meno. Moito poder\u00eda falarse da fotograf\u00eda da arquitectura como paradigma desa tendencia, pero sen sa\u00edrnos dos elementos propios do mundo edificado, \u00e9 a fachada a que asume ese papel visual. Dentro desta din\u00e1mica, moitos son os arquitectos que recorren a colaboraci\u00f3ns con artistas para tratar de amplificar a carga expresiva e conceptual das fachadas dos seus edificios.<\/p>\n

Durante este mes de agosto inaugurouse o Auditorio e Centro de Convenci\u00f3ns Harpa na capital islandesa, Reykjavik.<\/p>\n

O proxecto de rexeneraci\u00f3n urbana e ampliaci\u00f3n da \u00e1rea este de o porto de Reykjavik presentaba como o seu principal elemento tractor e ic\u00f3nico este novo centro de congresos. A desastrosa situaci\u00f3n econ\u00f3mica de Islandia e a s\u00faa posterior bancarrota en 2008 fixo que a xesti\u00f3n do proxecto pasase de mans privadas a mans da administraci\u00f3n p\u00fablica, o que obrigou ao equipo de arquitectura dan\u00e9s Henning Larsen Architects a colaborar con profesionais locais entre os que destaca o artista dan\u00e9s-island\u00e9s Olafur Eliasson.<\/p>\n

\"\"<\/a>
Auditorio e Centro de Convencions Harpa\u00a0| Henning Larsen Architects <\/span><\/figcaption><\/figure>\n

A intenci\u00f3n xeral do plan urbano era a de transformar esa zona da cidade, e convertela en novo centro capaz de revitalizar a econom\u00eda. A construci\u00f3n dunha gran praza rodeada de zonas comerciais e de oficinas, edificios residenciais e instituci\u00f3ns educativas, xerar\u00eda un novo barrio din\u00e1mico e novo aberto aos negocios. O novo Auditorio Harpa, converter\u00edase as\u00ed no referente urbano xa que a s\u00faa impresionante situaci\u00f3n no l\u00edmite costeiro xunto coa s\u00faa poderosa silueta modificar\u00edan a imaxe urbana do \u00e1mbito.<\/p>\n

Henning Larsen recorreu ao dialogo coa natureza do lugar para establecer as ideas principais do proxecto, as\u00ed as catro salas do edificio organ\u00edzanse en volumes pechados cuxas formas recordan as monta\u00f1as volc\u00e1nicas que rodean a cidade e que configuran o imaxinario colectivo dos habitantes de Reykjavik.<\/p>\n

As tres salas menores \u00e1brense cara ao lado sur do edificio, mentres que no lado norte se sit\u00faan os servizos complementarios, tales como oficinas, salas de ensaio e vestiarios e as zonas de carga e descarga. No centro destas d\u00faas \u00e1reas enc\u00f3ntrase a sala de concertos principal cunha capacidade de 1.800 butacas. As salas fan referencia a elementos \u00fanicos da natureza islandesa, as\u00ed se a sala de concertos coa s\u00faa cor vermella intensa se relaciona cos cr\u00e1teres volc\u00e1nicos da illa, a xeometr\u00eda doutra das salas reproduce a do cristal silfburger, un cristal transparente de calcita que unicamente pode encontrarse en Islandia.<\/p>\n

Nun pa\u00eds como Islandia a natureza non \u00e9 unicamente un valor ecol\u00f3xico ou ambiental, sen\u00f3n que pos\u00fae unha compo\u00f1ente equivalente ao patrimonio cultural de pa\u00edses como Grecia ou Italia. Por este motivo a luz polar do norte, o oc\u00e9ano, os volc\u00e1ns e a lava ou o resplandor do ceo foron tra\u00eddos como motivos de integraci\u00f3n polo artista Olafur Eliasson \u00e1 fachada do Harpa. As complexas xeometr\u00edas vidrar do edificio multiplican cos seus angulaciones os reflexos xerando unha expresi\u00f3n cambiante segundo o \u00e1ngulo visual, o que proporciona infinidade de percepci\u00f3ns.<\/p>\n

Constru\u00eddas con diferentes tipos de vidros e aceiro, a partir dun sistema modular de poliedros de doce lados inspirado nas formaci\u00f3ns de rochas bas\u00e1lticas da illa, compo\u00f1en un xogo caleidosc\u00f3pico de cores. No sur, unha composici\u00f3n de m\u00e1is de 1.000 m\u00f3dulos captura e reflicte a luz natural, cambiando drasticamente a transparencia, a capacidade de reflexi\u00f3n e a cor da fachada a medida que cambian as estaci\u00f3ns. No resto dos lados, o sistema tridimensional simplif\u00edcase, o que d\u00e1 lugar a fachadas planas de pol\u00edgonos de cinco ou seis lados, que xogan cos reflexos da auga, as prazas de acceso ou os barcos dos peiraos pr\u00f3ximos.<\/p>\n

\"\"<\/a>
Auditorio e Centro de Convencions Harpa\u00a0| Henning Larsen Architects<\/span><\/figcaption><\/figure>\n

Faise as\u00ed realidade a idea de Eliasson, de desmaterializar o edificio como entidade est\u00e1tica e dotalo de vida, para responder ao colorido cambiante propio da latitudes do norte na que a luz rasante se carga de cores azuis ou avermelladas en funci\u00f3n da hora e a \u00e9poca do ano.<\/p>\n

Este novo centro de conferencias que busca simbolizar o renovado dinamismo de Islandia, presenta non obstante unha contradici\u00f3n como m\u00ednimo rechamante. A planta e a xeometr\u00eda interior do edificio, as\u00ed como a das salas poder\u00eda cualificarse de correcta, mesmo de cl\u00e1sica, o que contrasta coa elaborada fachada. Parecer\u00eda que a un esquema funcional est\u00e1ndar, adaptado correctamente pola oficina de Larsen aos condicionantes concretos do lugar Olafur Eliasson ter\u00edalle engadido un vestido de gala, un rostro que pretende sorprender.<\/p>\n

A intervenci\u00f3n do Eliasson poder\u00eda considerarse neste caso cosm\u00e9tica, a\u00ednda que nun edificio pretendidamente innovador a fachada \u00e9 o \u00fanico elemento que responde a esta cuesti\u00f3n, deixando todo a carga expresiva e conceptual a este elemento.<\/p>\n

Se a cara \u00e9 o reflexo da alma, a fachada deber\u00eda selo do edificio, a\u00ednda que en talvez demasiadas ocasi\u00f3ns parece que toda a arquitectura se esta reducindo unha cuesti\u00f3n epid\u00e9rmica e superficial, reducindo a unha imaxe toda a esencia da obra constru\u00edda.<\/p>\n

\"\"<\/a>
Auditorio e Centro de Convencions Harpa\u00a0| Henning Larsen Architects<\/span><\/figcaption><\/figure>\n

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

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

Artigo publicado en ZAZPIKA 28.08.2011 <\/em><\/span><\/p>\n

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

Si la sociedad en general es v\u00edctima de una cultura de la imagen, la arquitectura no es ajena a este fen\u00f3meno. Mucho podr\u00eda hablarse de la fotograf\u00eda de la arquitectura como paradigma de esa tendencia, pero sin salirnos de los elementos propios del mundo edificado, es la fachada la que asume ese papel visual. Dentro […]<\/p>\n","protected":false},"author":31,"featured_media":46095,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[12449,399,431,12456,1787,12460,10602,6909,1873,4285,2087,5594,1156,10601,6910],"class_list":["post-16146","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-arte","tag-cultura","tag-diseno-industrial","tag-equipamiento-cultural","tag-europa","tag-fotografia","tag-henning-larsen","tag-henning-larsen-architects","tag-imagen","tag-inigo-garcia-odiaga","tag-islandia","tag-olafur-eliasson","tag-regeneracion-urbana","tag-reykjavik","tag-studio-olafur-eliasson"],"yoast_head":"\nEl arte en la fachada | \u00cd\u00f1igo Garc\u00eda Odiaga<\/title>\n<meta name=\"description\" content=\"El arte en la fachada\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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