{"id":23465,"date":"2012-07-01T07:18:50","date_gmt":"2012-07-01T07:18:50","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=23465"},"modified":"2020-01-18T15:11:30","modified_gmt":"2020-01-18T14:11:30","slug":"retorno-al-paraiso-inigo-garcia-odiaga","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/retorno-al-paraiso-inigo-garcia-odiaga\/","title":{"rendered":"Retorno al para\u00edso | \u00cd\u00f1igo Garc\u00eda OdiagaRetorno o para\u00edso | \u00cd\u00f1igo Garc\u00eda OdiagaCome back to the paradise | \u00cd\u00f1igo Garc\u00eda Odiaga"},"content":{"rendered":"

\"\"<\/a>
Naturaleza artificial en la zona de embarque del aeropuerto de Schiphol, Amnsterdam<\/span><\/figcaption><\/figure><\/p>\n

Los or\u00edgenes de la arquitectura est\u00e1n ligados a lo natural, si se quiere a lo salvaje. La naturaleza era al mismo tiempo el medio hostil del que protegerse y el para\u00edso que suministraba todo lo necesario para procurarse la subsistencia. Las oquedades de las rocas, las piedras, los arboles ca\u00eddos o las ramas se convirtieron en materiales de construcci\u00f3n. Con el paso de los a\u00f1os y de la historia, la arquitectura prehist\u00f3rica, aquella que los te\u00f3ricos dibujaron para ilustrar la caba\u00f1a primitiva, la casa de Ad\u00e1n y Eva en el para\u00edso b\u00edblico fue olvidando la naturaleza y acerc\u00e1ndose a un nuevo concepto, el de urbe.<\/p>\n

La ciudad, su construcci\u00f3n y su arquitectura han centrado los esfuerzos de gran parte de los \u00faltimos siglos, depurando su modelo y adecuando su estructura y funcionamiento a su imparable crecimiento, ligado al \u00e9xodo de poblaci\u00f3n del campo a la ciudad.<\/p>\n

Este proceso de multiplicaci\u00f3n de la ciudad, olvid\u00e1ndose del entorno natural ha tocado techo hace apenas unas d\u00e9cadas colocando a ciudades como Shangai, Tokyo o Nueva York como los paradigmas de la obra construida por el hombre.<\/p>\n

Bien por hast\u00edo, o bien simplemente, por a ver entrado en raz\u00f3n, el ser humano esta cuestion\u00e1ndose este modelo basado en lo urbano, de modo que en un lento pero imparable proceso se esta volviendo a recuperar la naturaleza como espacio de vida, incluso en el interior de la ciudad.<\/p>\n

\"\"<\/a>
Santos Brega\u00f1a, de la oficina de dise\u00f1o donostiarra Atelier Laia<\/span><\/figcaption><\/figure>\n

Es llamativo pensar como por ejemplo el coche, antes icono de la construcci\u00f3n de la ciudad, se publicita ahora como la tecnolog\u00eda capaz de dotar al hombre de la independencia suficiente como para capturar la naturaleza y sus paisajes.<\/p>\n

Los jardines o las intervenciones paisaj\u00edsticas han abandonado las geometr\u00edas estrictas o las composiciones artificiales para mostrarse lo mas salvajes posible, pero no de forma aleatoria, sino bajo el caos que producen las leyes de la naturaleza. Muchas veces se ha pensado en lo natural, en lo no controlado por el hombre como en el lugar de lo salvaje, como en el lugar de incultura, o si se prefiere como en un lugar sin ley, pero tal vez no exista una afirmaci\u00f3n m\u00e1s contradictoria. Es cierto que el espacio natural no esta reglado por el hombre, pero eso no implica ausencia de ley sino supeditaci\u00f3n a los equilibrios de la naturaleza a los que incluso el ser humano esta supeditado por mucho que se refugie en la creaci\u00f3n de su ciudad.<\/p>\n

Este proceso no ha sido ajeno a la arquitectura o el dise\u00f1o y ha facilitado la construcci\u00f3n de un nuevo ideario y de nuevos productos que tratan de apoyar esta vuelta a lo natural. El dise\u00f1ador Santos Brega\u00f1a, de la oficina de dise\u00f1o donostiarra Atelier Laia<\/a>, ha resuelto la identidad gr\u00e1fica de la empresa de reciente creaci\u00f3n Silversii<\/a>. Esta empresa que toma su nombre de un juego de palabras propuesto a partir de la manzana prohibida del Ed\u00e9n, la Malus Sieversii<\/a>, <\/em>pretende re-introducir la naturaleza en el \u00e1mbito urbano, y reconectar a la sociedad con los ciclos naturales de las \u00e9pocas y las estaciones y, en definitiva, con la idea de \u00abvolver al para\u00edso\u00bb.<\/p>\n

Fruto de este objetivo, nacen sus servicios de dise\u00f1o e instalaci\u00f3n de Jardines Verticales o Huertos urbanos, as\u00ed como su gama de productos Ventra, una soluci\u00f3n innovadora que permite disponer de una gran variedad de especies poco frecuentes en la jardiner\u00eda domestica, para su uso cotidiano en la cocina.<\/p>\n

\"\"<\/a>
Jardines Verticalesen un \u00e1tico de Donostia<\/span><\/figcaption><\/figure>\n

Uno de sus primeros trabajos ha sido la construcci\u00f3n de un jard\u00edn vertical en un \u00e1tico de Donostia. En plena parte vieja donostiarra, en el interior de la \u00faltima planta de un edificio del siglo XIX, renovado por dentro y decorado con estilo contempor\u00e1neo, se sit\u00faa una pared que ha sido devuelta a la naturaleza. El antiguo tabique separador entre la cocina y el sal\u00f3n, es ahora gracias a su orientaci\u00f3n oeste que recibe todo el sol de la tarde un jard\u00edn vertical.<\/p>\n

A un par de manzanas del edificio se encuentra el monte Urgull, resguardando los edificios del mar. Y debido a lo evocadores y frondosos que son sus caminos surgi\u00f3 la idea de trasladar esa vegetaci\u00f3n desde la subida al monte, hasta el interior de la casa colindante.<\/p>\n

El jard\u00edn se ha resuelto con especies que soportan la dureza del clima del mar. Por lo que las plantas aut\u00f3ctonas que se han utilizado forman un jard\u00edn muy denso y viril. R\u00e1pidamente se han asentado en su nuevo h\u00e1bitat y no est\u00e1n dudando en seguir abriendose camino por la casa. No deja de ser un espect\u00e1culo contemplar como el c\u00f3digo gen\u00e9tico de la naturaleza esta perfeccionado para abrirse paso, para sobrevivir en cualquier situaci\u00f3n.<\/p>\n

\"\"<\/a>
Ventra<\/span><\/figcaption><\/figure>\n

Ventra es un sobre que fue dise\u00f1ado para almacenar cafe, pero al abrirlo se transforma en recipiente, semillero y maceta de las semillas que contiene, de forma que su presencia en la cocina de nuestro hogar significa que al menos en una peque\u00f1a porci\u00f3n \u00e9sta ha sido de nuevo conquistada por las leyes de la naturaleza. Por esta serie de razones estas bolsas hacen posible que cualquier casa vuelva a ser un vergel, cultivando en ella una extensa variedad de plantas, tanto arom\u00e1ticas, como medicinales, hortalizas y flores.<\/p>\n

\u00ed\u00f1igo garc\u00eda odiaga . arquitecto
\nsan sebasti\u00e1n. julio 2012<\/p>\n

Publicado en ZAZPIKA\u00a0 2012.07.01<\/em><\/span><\/p>\n

\n

\"\"<\/a>
Artificial nature in the zone of loading of the airport of Schiphol, Amnsterdam<\/figcaption><\/figure><\/p>\n

The origins of the architecture are tied to the natural thing, if it is wanted to the wild thing. The nature was at the same time the hostile way of which to be protected and the paradise that was supplying everything necessary of the subsistence being tried. The hollows of the rocks, the stones, the fallen trees or the branches turned into materials of construction. As the years went by and of the history, the prehistoric architecture, that one that the theoretical ones drew to illustrate the primitive cabin, the house of Adam and Eve in the Biblical paradise forgot the nature and approaching a new concept, that of city.<\/p>\n

The city, his construction and his architecture have centred the efforts of great part of last centuries, purifying his model and adapting his structure and functioning to his unstoppable growth tied to the exodus of population of the field to the city.<\/p>\n

This process of multiplication of the city, forgetting the natural environment it has touched ceiling only a few decades ago placing cities like Shangai, Tokyo or New York as the paradigms of the work constructed by the man.<\/p>\n

Well for tedium, or simply, for to seeing entered reason, the being I humanize this one questioning this model based on the urban thing, so that in a slow but unstoppable process returning to recover the nature as space of life, enclosed inside the city.<\/p>\n

\"\"<\/a>
Santos Brega\u00f1a, of the office of design native of San Sebastian Atelier Laia<\/span><\/figcaption><\/figure>\n

It is showy to think as for example the car, before icon of the construction of the city, is publicized now as the technology capable of endowing the man of the sufficient independence as to capture the nature and his landscapes.<\/p>\n

The gardens or the landscape interventions have left the strict geometries or the artificial compositions to appear wild mas possibly, but not of random form, but under the chaos that the laws of the nature produce. Often it has been thought about the natural thing, about not controlled by the man as about the place of the wild thing, since about the place of lack of refinement, or if it is preferred like in a place without law, but maybe a more contradictory affirmation does not exist. It is true that the natural space not this one ruled by the man, but it does not imply absence of law but subjection to the balances of the nature to which even the human being this one subordinated by much that shelters in the creation of his city.<\/p>\n

This process has not been foreign to the architecture or the design and has facilitated the construction of a new ideology and of new products that try to support this return the natural thing. The designer Santos Brega\u00f1a, of the office of design native of San Sebastian Atelier Laia<\/a>, has solved the graphical identity of the company of recent creation Silversii<\/a>. This company that takes his name of a play on words proposed from the apple prohibited of the Eden, the Malus Sieversii<\/a><\/em>, tries to re-introduce the nature in the urban area, and to reconnect to the company with the natural cycles of the epochs and the stations and, definitively, with the idea of \u00bb returning to the paradise \u00ab.<\/p>\n

Fruit of this aim, there are born his services of design and installation of Vertical Gardens or urban Gardens, as well as his range of products Ventra, an innovative solution that it allows to arrange of a great variety of slightly frequent species in the domestic gardening, for his daily use in the kitchen.<\/p>\n

\"\"<\/a>
Gardens Verticalesen Donostia’s attic<\/span><\/figcaption><\/figure>\n

First one of his works has been the construction of a vertical garden in Donostia’s attic. In full old part native of San Sebastian, inside the last plant of a building of the 19th century, renewed within and set with contemporary style, places a wall that has been returned to the nature. The former separating partition between the kitchen and the lounge, is now thanks to his orientation west that receives all the Sun of the evening a vertical garden.<\/p>\n

To a couple of apples of the building one finds the mount Urgull, protecting the buildings of the sea. And due to it evocative and leafy that are his ways there arose the idea of moving this vegetation from the raise to the mount, up to the interior of the adjacent house.<\/p>\n

The garden has solved with species that they support the hardness of the climate of the sea. For what the autochthonous plants that have been in use form a very dense and virile garden. Rapidly they have settled themselves in his new habitat and are not hesitating to continue way being opened by the house. It does not stop being a spectacle to meditate as the genetic code of the this nature perfected way to be made, to survive in any situation.<\/p>\n

\"\"<\/a>
Ventra<\/span><\/figcaption><\/figure>\n

Ventra is one on which it was designed to store coffee, but on having opened it transforms in container, seedbed and handle of the seeds that it contains, so that his presence in the kitchen of our home means that at least in a small portion this one has been conquered again by the laws of the nature. For this series of reasons these bags make possible that any house turns to be a vergel, cultivating in her an extensive variety of plants, so much aromatic, since medicinal, vegetables and flowers.<\/p>\n

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

san sebasti\u00e1n. july 2012<\/p>\n

It\u00b4s published in ZAZPIKA 2012.07.01<\/em><\/span><\/p>\n

\"\"<\/a>
Natureza artificial na zona de embarque do aeroporto de Schiphol, Amnsterdam<\/span><\/figcaption><\/figure><\/p>\n

As orixes da arquitectura est\u00e1n ligados ao natural, si qu\u00e9rese ao salvaxe. A natureza era ao mesmo tempo o medio hostil do que protexerse e o para\u00edso que fornec\u00eda todo o necesario para procurarse a subsistencia. As oquedades das rocas, as pedras, os arboles ca\u00eddos ou as ramas convert\u00e9ronse en materiais de construci\u00f3n. Co paso dos anos e da historia, a arquitectura prehist\u00f3rica, aquela que os te\u00f3ricos debuxaron para ilustrar a cabana primitiva, a casa de Ad\u00e1n e Eva no para\u00edso b\u00edblico foi esquecendo a natureza e acheg\u00e1ndose a un novo concepto, o de urbe.<\/p>\n

A cidade, a s\u00faa construci\u00f3n e a s\u00faa arquitectura centraron os esforzos de gran parte dos \u00faltimos s\u00e9culos, depurando o seu modelo e adecuando a s\u00faa estrutura e funcionamento ao seu imparable crecemento, ligado ao \u00e9xodo de poboaci\u00f3n do campo \u00e1 cidade.<\/p>\n

Este proceso de multiplicaci\u00f3n da cidade, esquec\u00e9ndoselle o \u00e1mbito natural tocou teito fai apenas unhas d\u00e9cadas colocando cidades como Shangai, Tokyo ou Nova York como os paradigmas da obra constru\u00edda polo home.<\/p>\n

Ben por fast\u00edo, ou ben simplemente, pola ver entrado en raz\u00f3n, o ser humano esta cuestion\u00e1ndose este modelo baseado no urbano, de modo que nun lento pero imparable proceso se esta volvendo recuperar a natureza como espazo de vida, mesmo no interior da cidade.<\/p>\n

\"\"<\/a>
Santos Brega\u00f1a, da oficina de dise\u00f1o donostiarra Atelier Laia<\/span><\/figcaption><\/figure>\n

\u00c9 rechamante pensar como por exemplo o coche, antes icona da construci\u00f3n da cidade, se publicita agora como a tecnolox\u00eda capaz de dotar o home da independencia suficiente como para capturar a natureza e as s\u00faas paisaxes.<\/p>\n

Os xard\u00edns ou as intervenci\u00f3ns paisax\u00edsticas abandonaron as xeometr\u00edas estritas ou as composici\u00f3ns artificiais para mostrarse o mais salvaxes posible, pero non de forma aleatoria, sen\u00f3n baixo o caos que producen as leis da natureza. Moitas veces pensouse no natural, no non controlado polo home como no lugar do salvaxe, como no lugar de incultura, ou se se prefire como nun lugar sen lei, pero talvez non exista unha afirmaci\u00f3n m\u00e1is contraditoria. \u00c9 certo que o espazo natural non esta regulado polo home, pero iso non implica ausencia de lei sen\u00f3n supeditaci\u00f3n aos equilibrios da natureza aos que mesmo o ser humano esta supeditado por moito que se refuxie na creaci\u00f3n da s\u00faa cidade.<\/p>\n

Este proceso non foi alleo \u00e1 arquitectura ou o dese\u00f1o e facilitou a construci\u00f3n dun novo ideario e de novos produtos que tratan de apoiar esta volta ao natural. O dese\u00f1ador Santos Brega\u00f1a, da oficina de dese\u00f1o donostiarra\u00a0Atelier Laia<\/a>, resolveu a identidade gr\u00e1fica da empresa de recente creaci\u00f3n Silversii<\/a>.. Esta empresa que toma o seu nome dun xogo de palabras proposto a partir da maz\u00e1 prohibida do Ed\u00e9n, a\u00a0Malus Sieversii<\/a>,<\/em> pretende re-introducir a natureza no \u00e1mbito urbano, e reconectar a sociedade cos ciclos naturais das \u00e9pocas e as estaci\u00f3ns e, en definitiva, coa idea de \u00abvolver ao para\u00edso\u00bb.<\/p>\n

Froito deste obxectivo, nacen os seus servizos de dese\u00f1o e instalaci\u00f3n de Xard\u00edns Verticais ou Hortos urbanos, as\u00ed como a s\u00faa gama de produtos Ventra, unha soluci\u00f3n innovadora que permite dispo\u00f1er dunha gran variedade de especies pouco frecuentes na xardinar\u00eda domestica, para o seu uso coti\u00e1n na coci\u00f1a.<\/p>\n

\"\"<\/a>
Xardines Verticais nun \u00e1tico de Donostia<\/span><\/figcaption><\/figure>\n

Un dos seus primeiros traballos foi a construci\u00f3n dun xard\u00edn vertical nun \u00e1tico de Donostia. En plena parte vella donostiarra, no interior da \u00faltima planta dun edificio do s\u00e9culo XIX, renovado por dentro e decorado con estilo contempor\u00e1neo, sit\u00faase unha parede que foi devolta \u00e1 natureza. O antigo tabique separador entre a coci\u00f1a e o sal\u00f3n, \u00e9 agora grazas \u00e1 s\u00faa orientaci\u00f3n oeste que recibe todo o sol da tarde un xard\u00edn vertical.<\/p>\n

A un par de maz\u00e1s do edificio enc\u00f3ntrase o monte Urgull, resgardando os edificios do mar. E debido ao evocadores e frondosos que son os seus cami\u00f1os xurdiu a idea de trasladar esa vexetaci\u00f3n dende a suba ao monte, ata o interior da casa lindante.<\/p>\n

O xard\u00edn resolveuse con especies que soportan a dureza do clima do mar. Polo que as plantas aut\u00f3ctonas que se utilizaron forman un xard\u00edn moi denso e viril. Rapidamente asent\u00e1ronse no seu novo h\u00e1bitat e non est\u00e1n a dubidar en seguir abriendose cami\u00f1o pola casa. Non deixa de ser un espect\u00e1culo contemplar como o c\u00f3digo xen\u00e9tico da natureza esta perfeccionado para abrirse paso, para sobrevivir en calquera situaci\u00f3n.<\/p>\n

\"\"<\/a>
Ventra<\/span><\/figcaption><\/figure>\n

Ventra \u00e9 un sobre que foi dese\u00f1ado para almacenar cafe, pero ao abrilo transf\u00f3rmase en recipiente, viveiro e maceta das sementes que cont\u00e9n, de forma que a s\u00faa presenza na coci\u00f1a do noso fogar significa que polo menos nunha pequena porci\u00f3n esta foi de novo conquistada polas leis da natureza. Por esta serie de raz\u00f3ns estas bolsas fan posible que calquera casa volva ser un verxel, cultivando nela unha extensa variedade de plantas, tanto arom\u00e1ticas, coma medicinais, hortalizas e flores.<\/p>\n

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

san sebasti\u00e1n. xullo 2012<\/p>\n

Publicado en ZAZPIKA 2012.07.01<\/em><\/span><\/p>\n

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

Los or\u00edgenes de la arquitectura est\u00e1n ligados a lo natural, si se quiere a lo salvaje. La naturaleza era al mismo tiempo el medio hostil del que protegerse y el para\u00edso que suministraba todo lo necesario para procurarse la subsistencia. Las oquedades de las rocas, las piedras, los arboles ca\u00eddos o las ramas se convirtieron […]<\/p>\n","protected":false},"author":31,"featured_media":41330,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[7101,10185,318,365,432,2305,4285,10184,920,12472,8083,12454],"class_list":["post-23465","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-arquitectura-vasca","tag-atelier-laia","tag-ciudad","tag-construccion","tag-diseno-interiores","tag-huertos-urbanos","tag-inigo-garcia-odiaga","tag-malus-sieversii","tag-naturaleza","tag-reforma-interior","tag-santos-bregana","tag-vivienda-colectiva"],"yoast_head":"\nRetorno al para\u00edso | \u00cd\u00f1igo Garc\u00eda Odiaga<\/title>\n<meta name=\"description\" content=\"Toda la informaci\u00f3n sobre: Retorno al para\u00edso | \u00cd\u00f1igo Garc\u00eda 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