{"id":19344,"date":"2015-04-13T06:05:17","date_gmt":"2015-04-13T04:05:17","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=19344"},"modified":"2019-12-03T19:40:34","modified_gmt":"2019-12-03T18:40:34","slug":"transparentar-el-pasado-inigo-garcia-odiaga","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/transparentar-el-pasado-inigo-garcia-odiaga\/","title":{"rendered":"Transparentar el pasado | \u00cd\u00f1igo Garc\u00eda OdiagaTransparentar o pasado | \u00cd\u00f1igo Garc\u00eda OdiagaRevealing the past | \u00cd\u00f1igo Garc\u00eda Odiaga"},"content":{"rendered":"

\"\"<\/a>
Garden House, de Ryue Nishizawa\u00a0| Fotograf\u00eda: Iwan Baan<\/span><\/figcaption><\/figure><\/p>\n

Dec\u00eda Paul Scheebart en 1914 en el texto Glasarchitektur que la arquitectura deb\u00eda cambiar y evolucionar adoptando el vidrio como paradigma de la modernidad y de una sociedad m\u00e1s elevada culturalmente. Las construcciones de muros de carga con peque\u00f1as ventanas deb\u00edan transformarse en edificaciones abiertas que introdujesen la luz del sol, de la luna y de las estrellas en los espacios del habitar. Scheebart en definitiva propugnaba una arquitectura que permitiese la relaci\u00f3n de un nuevo hombre, del hombre moderno con la naturaleza y con el entorno. La arquitectura del movimiento moderno se hizo caso de relaci\u00f3n entre transparencia y modernidad. Al fin y al cabo la ventana es un elemento comunicativo de la arquitectura, un elemento que relaciona el interior con el exterior, sin la cual la arquitectura ser\u00eda mera construcci\u00f3n. El muro de carga se convert\u00eda en cristal y no \u00fanicamente el entorno pasaba a formar parte del espacio de la vivienda sino que la propia arquitectura se diluye en el espacio natural.<\/p>\n

\"\"<\/a>
Garden House, de Ryue Nishizawa | Fotograf\u00eda: Iwan Baan<\/span><\/figcaption><\/figure>\n

Un ejemplo paradigm\u00e1tico de la historia de la arquitectura es el de la casa Farnsworth construida por Mies Van der Rohe en 1949, en una magn\u00edfica parcela junto al r\u00edo Fox. La temible \u00e9poca de crecidas del r\u00edo inundaba parcialmente la parcela de forma c\u00edclica, lo que hizo necesario que la vivienda se separase f\u00edsicamente del terreno sobre el que se implantaba, levant\u00e1ndose sobre un basamento ligero de metro y medio de altura. El proyecto mantuvo los \u00e1rboles de la parcela, situando la casa cuidadosamente entre los impresionantes arces centenarios que ocupaban el solar. Los cantos blancos de los forjados del suelo y de la cubierta delimitan un espacio horizontal cerrado por planos de vidrio que se abren de manera ilimitada integrando la naturaleza en la vivienda.<\/p>\n

Sesenta a\u00f1os despu\u00e9s los proyectos de viviendas unifamiliares de Sou Fujimoto y Ryue Nisihizawa reinterpretan este concepto de transparencia pero en un contexto similar el del paisaje urbano. Nisihizawa acaba de inaugurar una peque\u00f1a vivienda de cuatro plantas en un estrecho solar para dar respuesta al deseo de sus clientes, un publicista y una escritora que quer\u00edan vivir en el centro de la ciudad y cerca de su \u00e1mbito de actividad profesional. Entre dos altos edificios, el solar se abre a trav\u00e9s de una escueta fachada a la concurrida calle principal del barrio, por lo que el proyecto sirve de soporte a plantas y flores que construyen una suerte de jard\u00edn vertical para apoyar la privacidad de la vivienda.<\/p>\n

\"\"<\/a>
Garden House, de Ryue Nishizawa | Fotograf\u00eda: Iwan Baan<\/span><\/figcaption><\/figure>\n

La casa no posee algo que pueda denominarse fachada, el edificio podr\u00eda m\u00e1s bien calificarse de estructura, de una sucesi\u00f3n de plantas que dan cabida como un botellero a los diferentes usos que requiere la vivienda. El estar y la cocina ocupan la planta baja, una primera habitaci\u00f3n se encuentra en la planta superior seguida de un ba\u00f1o y la lavander\u00eda. La segunda planta alberga otra habitaci\u00f3n que conduce a la terraza de la cubierta, ocupada tambi\u00e9n por un peque\u00f1o habit\u00e1culo que puede ser usado como estudio o como habitaci\u00f3n para invitados.<\/p>\n

Todos los paramentos son de vidrio, fijos o m\u00f3viles, matizados con cortinas y con vegetaci\u00f3n, la casa se convierte en un soporte que diluye los l\u00edmites entre interior y exterior, un espacio continuo carente de cierres f\u00edsicos. \u00danicamente la naturaleza artificial creada por la vegetaci\u00f3n de las terrazas se configura como un l\u00edmite espacial.<\/p>\n

En este espacio \u00fanico de planta libre incluso el detalle constructivo de las escaleras expresan esta idea de ligereza y fluidez. El interior se define sobre todo por la sombra de los planos superpuestos, y los cerramientos acristalados. El tema de la casa es por lo tanto el de un espacio que fluye y la naturaleza a la que es devuelto el hombre, de forma completa no asil\u00e1ndolo de ella.<\/p>\n

Por el contrario este tipo de arquitectura presenta una contradicci\u00f3n en s\u00ed misma. La arquitectura tiene en su origen una idea intr\u00ednseca de protecci\u00f3n frente al medio, una idea de seguridad y tambi\u00e9n de privacidad.<\/p>\n

Cuentan que la se\u00f1ora Farnsworth abandon\u00f3 la casa construida por Mies en cierto modo obsesionada por que los arboles la observaban, v\u00edctima de la excesiva exposici\u00f3n de su persona al entorno natural. Puede que el paisaje de la ciudad de Tokio no contenga arboles, pero por el contrario posee cientos de miradas que peinaran la casa dise\u00f1ada por Nisihizawa. Sin duda un buen reto que comprobar\u00e1 si el proyecto desarrollado por el arquitecto japon\u00e9s ha encontrado al hombre que seis d\u00e9cadas antes Mies no tuvo la suerte de tener como cliente.<\/p>\n

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

Publicado en ZAZPIKA\u00a017.01.2012<\/em><\/span>

\"\"<\/a>
Garden House, de Ryue Nishizawa | Photography: Iwan Baan
<\/span><\/figcaption><\/figure><\/p>\n

Paul Scheebart was saying in 1914 in the text Glasarchitektur that the architecture had to change and evolve adopting the glass as paradigm of the modernity and of a company more raised culturally. The constructions of walls of load with small windows had to transform in opened buildings that were introducing the light of the Sun, of the moon and of the stars in the spaces of to live. Scheebart definitively was supporting an architecture that was allowing the relation of a new man, of the modern man with the nature and with the environment. The architecture of the modern movement was noticed of relation between transparency and modernity. In the end the window is a communicative element of the architecture, an element that relates the interior to the exterior, without which the architecture would be a mere construction. The wall of load was turning into crystal and not only the environment was happening to form a part of the space of the housing but the own architecture is diluted in the natural space.<\/p>\n

\"\"<\/a>
Garden House, de Ryue Nishizawa | Photography: Iwan Baan<\/span><\/figcaption><\/figure>\n

A paradigmatic example of the history of the architecture is that of the house Farnsworth constructed by Mies Van der Rohe in 1949, in a magnificent plot close to the river Fox. The fearsome epoch of rises of the river was flooding partially the plot of cyclical form, which made necessary that the housing was separating physically of the area on the one that was implanted, getting up on a light basement of meter and a half of height. The project supported the trees of the plot, placing the house carefully between the impressive centenary maples that were occupying the lot. The white singings of forged of the soil and of the cover delimit a horizontal space closed by glass planes that are opened in an unlimited way integrating the nature in the housing.<\/p>\n

Sixty years later the projects of one-family housings of Sou Fujimoto and Ryue Nisihizawa reinterpret this concept of transparency but in a similar context that of the urban landscape. Nisihizawa has just inaugurated a small housing of four plants in a solar strait to give response to the desire of his clients, a publicist and a writer that they wanted to live in the downtown and near his area of professional activity. Between two high buildings, the lot is opened across a succinct front for the crowded principal street of the neighborhood, for what the project uses as support to plants and flowers that construct a luck of vertical garden to support the privacy of the housing.<\/p>\n

\"\"<\/a>
Garden House, de Ryue Nishizawa | Photography: Iwan Baan
<\/span><\/figcaption><\/figure>\n

The house does not possess anything that could be named a front, the building might be qualified rather of structure, of a succession of plants that give content as a bottle rack to the different uses that the housing needs. To be and the kitchen they occupy the ground floor, the first room is in the top floor followed by a bath and the laundry. The second plant shelters another room that he leads to the terrace of the cover, occupied also by a small cockpit that can be used as study or as room for guests.<\/p>\n

All the paraments are of glass, fixed or mobile, tinted with curtains and with vegetation, the house turns into a support that dilutes the limits between interior and exterior, a constant space lacking in physical closings. Only the artificial nature created by the vegetation of the terraces is formed as a spatial limit.<\/p>\n

In this only space of free plant even the constructive detail of the stairs they express this idea of lightness and fluency. The interior is defined especially by the shade of the superposed planes, and the glazed closings. The topic of the house is therefore that of a space that flows and the nature to which the man is returned, of complete form not sheltering it of her.<\/p>\n

On the contrary this type of architecture presents a contradiction in yes same. The architecture has in his origin an intrinsic idea of protection opposite to the way, a safety idea and also of privacy.<\/p>\n

They tell that the lady Farnsworth left the house constructed by Grain in certain way obsessed with that the trees were observing, victim of the excessive exhibition of his person to the natural environment. It is possible that the landscape of the city of Tokyo does not contain trees, but on the contrary it possesses hundreds of looks that were brushing the house designed by Nisihizawa. Undoubtedly a good challenge that he will verify if the project developed by the Japanese architect has found the man that six decades before Grain was not lucky to have as client.<\/p>\n

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

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

It\u00b4s published in ZAZPIKA 17.01.2012<\/em><\/span><\/p>\n

\"\"<\/a>
Garden House, de Ryue Nishizawa | Fotograf\u00eda: Iwan Baan<\/span><\/figcaption><\/figure><\/p>\n

Dic\u00eda Paul Scheebart en 1914 no texto Glasarchitektur que a arquitectura deb\u00eda cambiar e evolucionar adoptando o vidro como paradigma da modernidad e dunha sociedade m\u00e1is elevada culturalmente. As construci\u00f3ns de muros de carga con pequenas fiestras deb\u00edan transformarse en edificaciones abertas que introducisen a luz do sol, da l\u00faa e das estrelas nos espazos do habitar. Scheebart en definitiva propugnaba unha arquitectura que permitise a relaci\u00f3n dun novo home, do home moderno coa natureza e coa contorna. A arquitectura do movemento moderno f\u00edxose caso de relaci\u00f3n entre transparencia e modernidad. \u00c1 fin e ao cabo a fiestra \u00e9 un elemento comunicativo da arquitectura, un elemento que relaciona o interior co exterior, sen a cal a arquitectura ser\u00eda mera construci\u00f3n. O muro de carga convert\u00edase en cristal e non \u00fanicamente a contorna pasaba a formar parte do espazo da vivenda sen\u00f3n que a propia arquitectura dil\u00faese no espazo natural.<\/p>\n

\"\"<\/a>
Garden House, de Ryue Nishizawa | Fotograf\u00eda: Iwan Baan<\/span><\/figcaption><\/figure>\n

Un exemplo paradigm\u00e1tico da historia da arquitectura \u00e9 o da casa Farnsworth constru\u00edda por Mies Van der Rohe en 1949, nunha magn\u00edfica parcela xunto ao r\u00edo Fox. A temible \u00e9poca de crecidas do r\u00edo inundaba parcialmente a parcela de forma c\u00edclica, o que fixo necesario que a vivenda separ\u00e1sese f\u00edsicamente do terreo sobre o que se implantaba, levant\u00e1ndose sobre un basamento lixeiro de metro e medio de altura. O proxecto mantivo as \u00e1rbores da parcela, situando a casa cuidadosamente entre os impresionantes arces centenarios que ocupaban o solar. Os cantos brancos dos forxados do chan e da cuberta delimitan un espazo horizontal pechado por planos de vidro que se abren de xeito ilimitada integrando a natureza na vivenda.<\/p>\n

Sesenta anos despois os proxectos de vivendas unifamiliares de Sou Fujimoto e Ryue Nisihizawa reinterpretan este concepto de transparencia pero nun contexto similar o da paisaxe urbana. Nisihizawa acaba de inaugurar unha pequena vivenda de catro plantas nun estreito solar para dar resposta ao desexo dos seus clientes, un publicista e unha escritora que quer\u00edan vivir no centro da cidade e preto do seu \u00e1mbito de actividade profesional. Entre dous altos edificios, o soar \u00e1brese a trav\u00e9s dunha concisa fachada \u00e1 concorrida r\u00faa principal do barrio, polo que o proxecto serve de soporte a plantas e flores que constr\u00faen unha sorte de xard\u00edn vertical para apoiar a privacidade da vivenda.<\/p>\n

\"\"<\/a>
Garden House, de Ryue Nishizawa | Fotograf\u00eda: Iwan Baan<\/span><\/figcaption><\/figure>\n

A casa non pos\u00fae algo que poida denominarse fachada, o edificio poder\u00eda m\u00e1is ben cualificarse de estrutura, dunha sucesi\u00f3n de plantas que dan cabida como un botelleiro aos diferentes usos que require a vivenda. O estar e a coci\u00f1a ocupan a planta baixa, un primeiro cuarto enc\u00f3ntrase na planta superior seguida dun ba\u00f1o e a lavandar\u00eda. A segunda planta alberga outro cuarto que conduce \u00e1 terraza da cuberta, ocupada tam\u00e9n por un pequeno habit\u00e1culo que pode ser usado como estudo ou como cuarto para convidados.<\/p>\n

Todos os paramentos son de vidro, fixos ou m\u00f3biles, matizados con cortinas e con vexetaci\u00f3n, a casa conv\u00e9rtese nun soporte que dil\u00fae os l\u00edmites entre interior e exterior, un espazo continuo carente de peches f\u00edsicos. Unicamente a natureza artificial creada pola vexetaci\u00f3n das terrazas se configura como un l\u00edmite espacial.<\/p>\n

Neste espazo \u00fanico de planta libre mesmo o detalle construtivo das escaleiras expresan esta idea de lixeireza e fluidez. O interior def\u00ednese sobre todo pola sombra dos planos superpostos, e os cerramentos acritalar. O tema da casa \u00e9 polo tanto o dun espazo que fl\u00fae e a natureza \u00e1 que \u00e9 devolto o home, de forma completa non asil\u00e1ndoo dela.<\/p>\n

Pola contra este tipo de arquitectura presenta unha contradici\u00f3n en si mesma. A arquitectura ten na s\u00faa orixe unha idea intr\u00ednseca de protecci\u00f3n fronte ao medio, unha idea de seguridade e tam\u00e9n de privacidade.<\/p>\n

Contan que a se\u00f1ora Farnsworth abandonou a casa constru\u00edda por Cereal en certo modo obsesionado por que os arbores observ\u00e1bana, v\u00edtima da excesiva exposici\u00f3n da s\u00faa persoa ao \u00e1mbito natural. Pode que a paisaxe da cidade de Tokyo non conte\u00f1a arbores, pero pola contra pos\u00fae centos de miradas que peiteasen a casa dese\u00f1ada por Nisihizawa. Sen d\u00fabida un bo reto que comprobar\u00e1 se o proxecto desenvolvido polo arquitecto xapon\u00e9s encontrou o home que seis d\u00e9cadas antes Mies non tivo a sorte de ter como cliente.<\/p>\n

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

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

Publicado en ZAZPIKA 17.01.2012<\/em><\/span><\/p>\n

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

Dec\u00eda Paul Scheebart en 1914 en el texto Glasarchitektur que la arquitectura deb\u00eda cambiar y evolucionar adoptando el vidrio como paradigma de la modernidad y de una sociedad m\u00e1s elevada culturalmente. Las construcciones de muros de carga con peque\u00f1as ventanas deb\u00edan transformarse en edificaciones abiertas que introdujesen la luz del sol, de la luna y […]<\/p>\n","protected":false},"author":31,"featured_media":54588,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[3657,147,319,4285,815,865,878,898,920,977,978,1719,11814,2690,2570,2677,12454,12455],"class_list":["post-19344","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-arquitectura-japonesa","tag-arquitectura-moderna","tag-ciudad-contemporanea","tag-inigo-garcia-odiaga","tag-maestro","tag-mies-van-der-rohe","tag-modernidad","tag-movimiento-moderno","tag-naturaleza","tag-paisaje","tag-paisaje-urbano","tag-paisaje-urbano-americano","tag-paul-scheebart","tag-ryue-nishizawa","tag-sou-fujimoto","tag-tokio","tag-vivienda-colectiva","tag-vivienda-unifamiliar"],"yoast_head":"\nTransparentar el pasado | \u00cd\u00f1igo Garc\u00eda Odiaga<\/title>\n<meta name=\"description\" content=\"Transparentar el 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