{"id":16992,"date":"2011-10-09T06:26:53","date_gmt":"2011-10-09T06:26:53","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=16992"},"modified":"2024-04-19T20:09:17","modified_gmt":"2024-04-19T18:09:17","slug":"espacio-publico-rehabilitado-inigo-garcia-odiaga","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/espacio-publico-rehabilitado-inigo-garcia-odiaga\/","title":{"rendered":"[:es]Espacio p\u00fablico rehabilitado | \u00cd\u00f1igo Garc\u00eda Odiaga[:gl]Espazo p\u00fablico rehabilitado | \u00cd\u00f1igo Garc\u00eda Odiaga[:en]Public rehabilitated space | \u00cd\u00f1igo Garc\u00eda Odiaga[:]"},"content":{"rendered":"

[:es]

\"Espacio<\/a>
High Line, New York | James Conor, Diller Scofidio+Renfro y Piet Oudolf<\/span><\/figcaption><\/figure><\/p>\n

El crecimiento normal de las ciudades a menudo se produce de forma conc\u00e9ntrica, desde el centro hacia la periferia<\/a>. En este lento pero continuo movimiento de expansi\u00f3n la actividad m\u00e1s urbana del centro va absorbiendo la periferia de la ciudad. Va transformando sus usos caracter\u00edsticos, como el industrial o el de infraestructuras de comunicaciones en otros m\u00e1s propios del centro ciudad como el terciario o el residencial.<\/p>\n

Hace escasamente dos a\u00f1os, antes de la aparici\u00f3n de la tan comentada crisis econ\u00f3mica, la actitud de todos los planes urban\u00edsticos pasaba por la \u00abtabula rasa\u00bb, es decir por el derribo de todos los elementos preexistentes hasta generar un espacio vac\u00edo que volver a ocupar. Esta metodolog\u00eda adem\u00e1s de econ\u00f3micamente insostenible, ya que no intenta aprovechar ni las virtudes de las estructuras existentes, borra todo vestigio de identidad, memoria o historia que el lugar, una f\u00e1brica o cualquier otro espacio previo hallan podido acumular con el paso del tiempo. Esta actitud basada en el valor de lo nuevo por encima de cualquier otra caracter\u00edstica puede calificarse hoy de obsoleta y agotada.<\/p>\n

\"Jardines<\/a>
Jardines de las fundici\u00f3n en Nantes, Francia, de Alexandre Chemetoff<\/span><\/figcaption><\/figure>\n

Una propuesta urban\u00edstica que pone de forma rotunda en cuesti\u00f3n este modelo es la de los llamados \u00abJardines de las Fundici\u00f3n\u00bb ubicados en Nantes y considerado uno de los proyectos urbanos en construcci\u00f3n m\u00e1s grandes de Francia. El desarrollo se extiende en la longitud de una isla fluvial generada por el r\u00edo Loira a su paso por el centro urbano de Nantes. Dirigido por Alexandre Chemetoff<\/a> desde 1990, el proyecto consiste en la transformaci\u00f3n de una f\u00e1brica de fundici\u00f3n y del distrito de almacenes fluviales levantados durante d\u00e9cadas a su alrededor en un barrio de viviendas de 350 hect\u00e1reas. El proyecto urban\u00edstico desarrollado se basa en dos ideas fundamentales, sacar el m\u00e1ximo provecho de las estructuras existentes sin necesidad de demoler ning\u00fan edificio y en tener en cuenta la historia y la geograf\u00eda del lugar, y por lo tanto su entorno social.<\/p>\n

Mantener la estructura de la f\u00e1brica que dio origen y en la que trabajaron centenares de habitantes de Nantes era adem\u00e1s de una ventaja econ\u00f3mica dado que sus espacios pod\u00edan reaprovecharse, un reto social, en el que lo que estaba en juego era la identidad y la memoria de todas esas personas cuya vida estaba ligada a esas estructuras.<\/p>\n

El proyecto propuso mantener la estructura met\u00e1lica de la fundici\u00f3n y aprovechar su gran cubierta para crear un jard\u00edn bajo el mismo techo de la vieja f\u00e1brica. En definitiva generar un espacio p\u00fablico cubierto para el uso diario que permita espacios de juego para los ni\u00f1os y el desarrollo de eventos sociales como cenas, exposiciones o conciertos. Con un coste m\u00ednimo de intervenci\u00f3n como fue la limpieza y el repitando y reparaci\u00f3n puntual de la estructura existente de la f\u00e1brica, la actividad industrial anterior se recupera, no s\u00f3lo como un objeto de museo, sino tambi\u00e9n como el legado de un lugar donde muchos ciudadanos locales fueron empleados y trabajaron duro, por lo que de alguna manera la conservaci\u00f3n de la historia del lugar es un emotivo homenaje al pasado industrial de la ciudad y su vida laboral.<\/p>\n

\"Jardines<\/a>
Jardines de las fundici\u00f3n en Nantes, Francia, de Alexandre Chemetoff<\/span><\/figcaption><\/figure>\n

La cubierta, el techo y los edificios que la rodean, protegen el lugar del viento y permite que la temperatura en el jard\u00edn sea 3 o 4 grados m\u00e1s alta que en el exterior, lo que junto con el sistema de recuperaci\u00f3n de agua de lluvia instalado en la cubierta y que aprovecha los viejos tanques de agua de la fundici\u00f3n, permiti\u00f3 plantar un jard\u00edn ex\u00f3tico y exuberante.<\/p>\n

\"Espacio<\/a>
Jardines de las fundici\u00f3n en Nantes, Francia, de Alexandre Chemetoff<\/span><\/figcaption><\/figure>\n

Otro buen ejemplo de este tipo de reutilizaci\u00f3n de antiguos elementos industriales para la generaci\u00f3n de espacios para la colectividad es el desarrollado por James Conor, Diller Scofidio+Renfro<\/a> y Piet Oudolf<\/a> en la reconversi\u00f3n del High Line neoyorquino.<\/p>\n

\"Espacio<\/a>
High Line, New York | James Conor, Diller Scofidio+Renfro y Piet Oudolf<\/span><\/figcaption><\/figure>\n

El High Line<\/a> fue construido en la d\u00e9cada de 1930, como parte de un proyecto de infraestructura masiva p\u00fablico-privada denominada mejoramiento del West Side. La infraestructura levant\u00f3 el tr\u00e1fico de carga nueve metros sobre la calle, construyendo una l\u00ednea ferroviaria a\u00e9rea eliminado los trenes peligrosos de las calles de los distritos industriales m\u00e1s habitados de Manhattan. Cuando la estructura hist\u00f3rica fue amenazada con la demolici\u00f3n surgi\u00f3 un colectivo denominado Amigos del High Line<\/a> que como un agente social trabaj\u00f3 en colaboraci\u00f3n con la municipalidad de Nueva York para preservar y mantener la estructura como un parque p\u00fablico elevado.<\/p>\n

Los autores del proyecto mantuvieron la idea que socialmente mediante un proceso de participaci\u00f3n se hab\u00eda impuesto, el concepto \u201cKeep It\u201d, en definitiva el de conservar la l\u00ednea bajo la premisa de mantenerla de forma simple, salvaje, tranquila y lenta. Adem\u00e1s la normativa urban\u00edstica del \u00e1rea fue modificada para que la antigua v\u00eda ferroviaria pasara ahora a tener car\u00e1cter de calle o parque urbano y por lo tanto las alturas de los edificios colindantes modificaran el car\u00e1cter cerrado de sus fachadas.<\/p>\n

\"High
High Line, New York | James Conor, Diller Scofidio+Renfro y Piet Oudolf<\/figcaption><\/figure>\n

Este proyecto construido en dos fases completa un parque lineal de casi cuatro kil\u00f3metros siguiendo los ra\u00edles elevados del tren, y m\u00e1s all\u00e1 de la atractiva est\u00e9tica de sus parques e instalaciones cobra mayor inter\u00e9s al ver el proceso participativo que lo ha generado. Si el movimiento social logr\u00f3 salvar la infraestructura del derribo, tambi\u00e9n consigui\u00f3 mediante donaciones financiar parte de su construcci\u00f3n y de su mantenimiento posterior costeado a medias junto con los servicios municipales.<\/p>\n

\"High<\/a>
High Line, New York | James Conor, Diller Scofidio+Renfro y Piet Oudolf<\/span><\/figcaption><\/figure>\n

Esta iniciativa pone de manifiesto el valor de mantener la identidad y la memoria colectiva de dos generaciones de neoyorquinos que hab\u00edan crecido bajo los puentes negros del ferrocarril elevado, frente a los desarrollos de una econom\u00eda enriquecida que olvida tal vez lo m\u00e1s importante de cualquier espacio p\u00fablico, a sus usuarios.<\/p>\n

\"High<\/a>
High Line, New York\u00a0| James Conor, Diller Scofidio+Renfro y Piet Oudolf<\/span><\/figcaption><\/figure>\n

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

Publicado en ZAZPIKA 09.10.2011<\/span><\/em><\/p>\n

[:en]

\"\"<\/a>
High Line, New York | James Conor, Diller Scofidio+Renfro and Piet Oudolf<\/span><\/figcaption><\/figure><\/p>\n

The normal growth of the cities often takes place of concentric form, from the center towards the periphery. In this slow but continuous movement of expansion the most urban activity of the center is absorbing the periphery of the city. It is transforming his typical uses, as the manufacturer or that of infrastructures of communications in more own others of the center city as the tertiary one or the residential one.<\/p>\n

Scantily two years ago, before the appearance of such a commented economic crisis, the attitude of all the urban development plans was happening for it \u00bb it tabulates levels \u00ab, that is to say for the demolition of all the preexisting elements up to generating an empty space that to return to occupy. This methodology besides economically untenable, since it tries to take advantage of not even the virtues of the existing structures, erases any vestige of identity, memory or history that the place, a factory or any other previous space find could accumulate by the passage of time. This attitude based on the value of the new thing over any other characteristic can be qualified today of obsolete and exhausted.<\/p>\n

\"\"<\/a>
Gardens of the fundition in Nantes, France, by Alexandre Chemetoff<\/span><\/figcaption><\/figure>\n

An urban development offer that this model puts of round form in question is that of so called \u00abGardens of the Fundition \u00bb located in Nantes and considered one of the urban projects in construction bigger of France.\u00a0The development spreads in the length of a fluvial island generated by the river Loire to his step along the urban center of Nantes. Directed by Alexandre Chemetoff<\/a> since 1990, the project consists of the transformation of a factory of smelting and of the district of fluvial stores raised during decades around it of a neighborhood of housings of 350 hectares. The urban development developed project is based on two fundamental ideas, to extract the maximum profit of the existing structures without need to demolish no building and in bearing in mind the history and the local geography, and therefore his social environment.<\/p>\n

To support the structure of the factory that gave origin and at which there were employed hundreds of inhabitants of Nantes was besides an economic advantage provided that his spaces could reaprovecharse, a social challenge, in that what was in game was the identity and the memory of all these persons whose life was tied to these structures.<\/p>\n

The project proposed to support the metallic structure of the smelting and to take advantage of his great cover to create a garden under the same ceiling of the old factory. Definitively to generate a public space covered for the daily use that allows spaces of game for the children and the development of social events like dinners, exhibitions or concerts. With a minimal cost of intervention since it was the cleanliness and re-whistling and punctual repair of the existing structure of the factory, the previous industrial activity recovers, not only as an object of museum, but also as the legacy of a place where many local citizens were used and worked hard, for what somehow the conservation of the local history is an emotive honoring to the industrial past of the city and his labor life.<\/p>\n

\"\"<\/a>
Gardens of the fundition in Nantes, France, by Alexandre Chemetoff<\/span><\/figcaption><\/figure>\n

The cover, the ceiling and the buildings that surround it, protect the place of the wind and it is allowed that the temperature in the garden should be 3 or 4 degrees higher that in the exterior, what together with the system of water recovery of rain installed in the cover and that takes advantage of the old tanks of water of the smelting, it allowed to plant an exotic and exuberant garden.<\/p>\n

\"\"<\/a>
Gardens of the fundition in Nantes, France, by Alexandre Chemetoff<\/span><\/figcaption><\/figure>\n

Another good example of this type of reutilization of former industrial elements for the generation of spaces for the collectivity is the developed one by James Conor, Diller Scofidio+Renfro<\/a> and Piet Oudolf<\/a> in the restructuring of the High Line of New York.<\/p>\n

\"\"<\/a>
High Line, New York | James Conor, Diller Scofidio+Renfro and Piet Oudolf<\/span><\/figcaption><\/figure>\n

The High Line was constructed in the decade of 1930, as part of a project of massive infrastructure public – private road named improvement of the West Side. The infrastructure raised the traffic of load nine meters on the street, constructing a railway air line eliminated the dangerous trains of the streets of the most inhabited industrial districts of Manhattan. When the historical structure was threatened by the demolition there arose a group named Friends of the High Line that as a social agent was employed at collaboration with the municipality of New York to preserve and to support the structure as a public high park. The authors of the project supported the idea that socially by means of a process of participation had been imposed, the concept \u00abKeep It\u00bb, definitively of preserving the line under the premise of supporting it of simple, wild, calm and slow form. In addition the urban development regulation of the area was modified in order that the former railway route was happening to have now character of street or urban park and therefore the heights of the adjacent buildings were modifying the closed character of his fronts.<\/p>\n

\"\"<\/a>
High Line, New York | James Conor, Diller Scofidio+Renfro and Piet Oudolf<\/span><\/figcaption><\/figure>\n

This project constructed in two phases completes a linear park of almost four kilometres following the high rails of the train, and beyond the attractive aesthetics of his parks and facilities major cobra interest on having seen the participative process that has generated it. If the social movement managed to save the infrastructure of the demolition, also it managed by means of donations to finance part of his construction and of his later maintenance financed by half together with the municipal services.<\/p>\n

\"\"<\/a>
High Line, New York | James Conor, Diller Scofidio+Renfro and Piet Oudolf<\/span><\/figcaption><\/figure>\n

This initiative reveals the value to support the identity and the collective memory of two generations of New Yorkers who had grown under the black bridges of the high railroad, opposite to the developments of an enriched economy that there forgets maybe the most important of any public space, to his users.<\/p>\n

\"\"<\/a>
High Line, New York | James Conor, Diller Scofidio+Renfro and Piet Oudolf<\/span><\/figcaption><\/figure>\n

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

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

It\u00b4s published in ZAZPIKA 09.10.2011<\/span><\/em><\/p>\n

[:gl]

\"\"<\/a>
High Line, New York | James Conor, Diller Scofidio+Renfro e Piet Oudolf<\/span><\/figcaption><\/figure><\/p>\n

O crecemento normal das cidades a mi\u00fado prod\u00facese de forma conc\u00e9ntrica, desde o centro cara \u00e1 periferia. Neste lento pero continuo movemento de expansi\u00f3n a actividade m\u00e1is urbana do centro vai absorbendo a periferia da cidade. Vai transformando os seus usos caracter\u00edsticos, como o industrial ou o de infraestruturas de comunicaci\u00f3ns noutros m\u00e1is propios do centro cidade como o terciario ou o residencial.<\/p>\n

Hai escasamente dous anos, antes da aparici\u00f3n da tan comentada crise econ\u00f3mica, a actitude de todos os plans urban\u00edsticos pasaba pola \u00abtabula rasa\u00bb, \u00e9 dicir pola derriba de todos os elementos preexistentes ata xerar un espazo baleiro que volver ocupar. Esta metodolox\u00eda ademais de economicamente insustentable, xa que non tenta aproveitar nin as virtudes das estruturas existentes, borra todo vestixio de identidade, memoria ou historia que o lugar, unha f\u00e1brica ou calquera outro espazo previo achan podido acumular co paso do tempo. Esta actitude baseada no valor do novo por encima de calquera outra caracter\u00edstica pode cualificarse hoxe de obsoleta e esgotada.<\/p>\n

\"\"<\/a>
Xard\u00edns das fundici\u00f3n en Nantes, Francia, de Alexandre Chemetoff<\/span><\/figcaption><\/figure>\n

Unha proposta urban\u00edstica que pon de forma rotunda en cuesti\u00f3n este modelo \u00e9 a dos chamados \u00abXard\u00edns das Fundici\u00f3ns\u00bb situados en Nantes e considerado un dos proxectos urbanos en construci\u00f3n m\u00e1is grandes de Francia.\u00a0O desenvolvemento est\u00e9ndese na lonxitude dunha illa fluvial xerada polo r\u00edo Loira ao seu paso polo centro urbano de Nantes. Dirixido por Alexandre Chemetoff<\/a> dende 1990, o proxecto consiste na transformaci\u00f3n dunha f\u00e1brica de fundici\u00f3n e do distrito de almac\u00e9ns fluviais levantados durante d\u00e9cadas ao seu arredor nun barrio de vivendas de 350 hect\u00e1reas. O proxecto urban\u00edstico desenvolvido bas\u00e9ase en d\u00faas ideas fundamentais, sacar o m\u00e1ximo proveito das estruturas existentes sen necesidade de demoler ning\u00fan edificio e en ter en conta a historia e a xeograf\u00eda do lugar, e polo tanto o seu \u00e1mbito social.<\/p>\n

Manter a estrutura da f\u00e1brica que deu orixe e na que traballaron centenares de habitantes de Nantes era ademais dunha vantaxe econ\u00f3mica dado que os seus espazos pod\u00edan reaproveitarse, un reto social, no que o que estaba en xogo era a identidade e a memoria de todas esas persoas cuxa vida estaba ligada a esas estruturas.<\/p>\n

O proxecto propuxo manter a estrutura met\u00e1lica da fundici\u00f3n e aproveitar a s\u00faa gran cuberta para crear un xard\u00edn baixo o mesmo teito da vella f\u00e1brica. En definitiva xerar un espazo p\u00fablico cuberto para o uso diario que permita espazos de xogo para os nenos e o desenvolvemento de eventos sociais como ceas, exposici\u00f3ns ou concertos. Cun custo m\u00ednimo de intervenci\u00f3n como foi a limpeza e o repitando e reparaci\u00f3n puntual da estrutura existente da f\u00e1brica, a actividade industrial anterior recup\u00e9rase, non s\u00f3 como un obxecto de museo, sen\u00f3n tam\u00e9n como o legado dun lugar onde moitos cidad\u00e1ns locais foron empregados e traballaron duro, polo que dalg\u00fan xeito a conservaci\u00f3n da historia do lugar \u00e9 unha emotiva homenaxe ao pasado industrial da cidade e a s\u00faa vida laboral.<\/p>\n

\"\"<\/a>
Xard\u00edns das fundici\u00f3n en Nantes, Francia, de Alexandre Chemetoff<\/span><\/figcaption><\/figure>\n

A cuberta, o teito e os edificios que a rodean, protexen o lugar do vento e permite que a temperatura no xard\u00edn sexa 3 ou 4 graos m\u00e1is alta que no exterior, o que xunto co sistema de recuperaci\u00f3n de auga de chuvia instalado na cuberta e que aproveita os vellos tanques de auga da fundici\u00f3n, permitiu plantar un xard\u00edn ex\u00f3tico e exuberante.<\/p>\n

\"\"<\/a>
Xard\u00edns das\u00a0fundici\u00f3n en Nantes, Francia, de Alexandre Chemetoff<\/span><\/figcaption><\/figure>\n

Outro bo exemplo deste tipo de reutilizaci\u00f3n de antigos elementos industriais para a xeraci\u00f3n de espazos para a colectividade \u00e9 o desenvolvido por\u00a0James Conor, Diller Scofidio+Renfro<\/a> e Piet Oudolf<\/a> na reconversi\u00f3n do High Line neoiorquino.<\/p>\n

\"\"<\/a>
High Line, New York | James Conor, Diller Scofidio+Renfro e Piet Oudolf<\/span><\/figcaption><\/figure>\n

O High Line foi constru\u00eddo na d\u00e9cada de 1930, como parte dun proxecto de infraestrutura masiva p\u00fablico-privada denominada melloramento do West Side. A infraestrutura levantou o tr\u00e1fico de carga nove metros sobre a r\u00faa, constru\u00edndo unha li\u00f1a ferroviaria a\u00e9rea eliminado os trens perigosos das r\u00faas dos distritos industriais m\u00e1is habitados de Manhattan. Cando a estrutura hist\u00f3rica foi ameazada coa demolici\u00f3n xurdiu un colectivo denominado Amigos do High Line que como un axente social traballou en colaboraci\u00f3n coa municipalidade de Nova York para preservar e manter a estrutura como un parque p\u00fablico elevado. Os autores do proxecto mantiveron a idea que socialmente mediante un proceso de participaci\u00f3n se hab\u00eda imposto, o concepto \u00abKeep It\u00bb, en definitiva o de conservar a li\u00f1a baixo a premisa de mantela de forma simple, salvaxe, tranquila e lenta. Ademais a normativa urban\u00edstica da \u00e1rea foi modificada para que a antiga v\u00eda ferroviaria pasase agora a ter car\u00e1cter de r\u00faa ou parque urbano e polo tanto as alturas dos edificios lindantes modificasen o car\u00e1cter pechado das s\u00faas fachadas.<\/p>\n

\"\"<\/a>
High Line, New York | James Conor, Diller Scofidio+Renfro e Piet Oudolf<\/span><\/figcaption><\/figure>\n

Este proxecto constru\u00eddo en d\u00faas fases completa un parque lineal de case catro quil\u00f3metros seguindo os ra\u00eds elevados do tren, e m\u00e1is al\u00e1 da atractiva est\u00e9tica dos seus parques e instalaci\u00f3ns cobra maior interese ao ver o proceso participativo que o xerou. Se o movemento social logrou salvar a infraestrutura do derrubamento, tam\u00e9n conseguiu mediante doaz\u00f3ns financiar parte da s\u00faa construci\u00f3n e do seu mantemento posterior custeado a medias xunto cos servizos municipais.<\/p>\n

\"\"<\/a>
High Line, New York | James Conor, Diller Scofidio+Renfro e Piet Oudolf<\/span><\/figcaption><\/figure>\n

Esta iniciativa pon de manifesto o valor de manter a identidade e a memoria colectiva de d\u00faas xeraci\u00f3ns de neoiorquinos que creceran baixo as pontes negras do ferrocarril elevado, fronte aos desenvolvementos dunha econom\u00eda enriquecida que esquece talvez o m\u00e1is importante de calquera espazo p\u00fablico, aos seus usuarios.<\/p>\n

\"\"<\/a>
High Line, New York | James Conor, Diller Scofidio+Renfro e Piet Oudolf<\/span><\/figcaption><\/figure>\n

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

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

Publicado en ZAZPIKA 09.10.2011<\/span><\/em><\/p>\n

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

[:es] El crecimiento normal de las ciudades a menudo se produce de forma conc\u00e9ntrica, desde el centro hacia la periferia. En este lento pero continuo movimiento de expansi\u00f3n la actividad m\u00e1s urbana del centro va absorbiendo la periferia de la ciudad. Va transformando sus usos caracter\u00edsticos, como el industrial o el de infraestructuras de comunicaciones […]<\/p>\n","protected":false},"author":31,"featured_media":41473,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[290,318,392,5222,516,4285,10202,930,980,2787,1004,2639,10203,12464,6611,1241],"class_list":["post-16992","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-centro-historico","tag-ciudad","tag-crisis-economica","tag-diller-scofidio-renfro","tag-espacio-publico","tag-inigo-garcia-odiaga","tag-james-conor","tag-new-york","tag-paisajismo","tag-patrimonio-cultural","tag-patrimonio-historico","tag-periferia","tag-piet-oudolf","tag-rehabilitacion","tag-rehabilitacion-urbana","tag-sociedad"],"yoast_head":"\nEspacio p\u00fablico rehabilitado | \u00cd\u00f1igo Garc\u00eda Odiaga<\/title>\n<meta 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