{"id":24628,"date":"2014-08-08T07:09:43","date_gmt":"2014-08-08T07:09:43","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=24628"},"modified":"2019-12-31T09:25:04","modified_gmt":"2019-12-31T08:25:04","slug":"el-tercer-espacio-inigo-garcia-odiaga","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/el-tercer-espacio-inigo-garcia-odiaga\/","title":{"rendered":"El tercer espacio | \u00cd\u00f1igo Garc\u00eda OdiagaO terceiro espazo | \u00cd\u00f1igo Garc\u00eda OdiagaThe third space | \u00cd\u00f1igo Garc\u00eda Odiaga"},"content":{"rendered":"

\"\"<\/a>
Omotesando Station, \uff13\u4e01\u76ee-\uff16 Kitaaoyama, Minato, Tokio, Jap\u00f3n<\/span><\/figcaption><\/figure><\/p>\n

La ciudad es uno de los paradigmas de la actividad humana, y probablemente es imposible definirla sin aludir a la intensidad de las relaciones, los intercambios y las conexiones entre los ciudadanos, que es capaz de generar.<\/p>\n

Desde un punto de vista espacial, toda la legislaci\u00f3n y todas las normativas aluden \u00fanicamente a dos tipos de espacios, el espacio p\u00fablico y el espacio privado, pero ya abundan los textos que hablan de un tercer espacio, el espacio colectivo.<\/p>\n

Si el espacio privado es aquel que est\u00e1 definido porque su titularidad es privada y el p\u00fablico se define por su pertenencia a la colectividad, el espacio colectivo ser\u00eda aquel que a\u00fan siendo privada su propiedad, el uso en el desarrollado es claramente p\u00fablico.<\/p>\n

Si pensamos m\u00ednimamente en esta categor\u00eda, los bares, los restaurantes, los comercios, cines, centros comerciales o incluso algunos museos pertenecen a esta categor\u00eda. Muchos te\u00f3ricos como Jose Miguel Iribas, ya atribuyen a este espacio, el denominado espacio colectivo, el gran logro de mantener la calle activa, es decir la actividad urbana. Este concepto, dif\u00edcil de cuantificar que a menudo es resumido con expresiones que aluden a la vida del lugar, se tornan vitales a la hora de proyectar la ciudad, su urbanismo e incluso sus edificios. Est\u00e1 ya demostrado que los espacios p\u00fablicos requieren de estas actividades, de bares, comercios, cines u otros espacios colectivos para mantener la tensi\u00f3n urbana y generar actividad y por lo tanto capacidad para socializar e intercambiar y cumplir as\u00ed con una de las definiciones de ciudad a la que alud\u00edamos al principio.<\/p>\n

\"\"<\/a>
Omotesando Station, \uff13\u4e01\u76ee-\uff16 Kitaaoyama, Minato, Tokio, Jap\u00f3n<\/span><\/figcaption><\/figure>\n

En este sentido la mezcla de usos se torna, no ya una opci\u00f3n, sino una necesidad, para aumentar la complejidad y por ende la actividad y la vida del entorno urbano.<\/p>\n

Un edificio que resume bien este nuevo modelo es el levantado por el arquitecto japon\u00e9s Hiroshi Nakamura para el centro comercial Plaza Omotesando situado en uno de los cruces de caminos m\u00e1s concurridos del mundo en el distrito comercial de Harajuku, en Tokio.<\/p>\n

Esta zona de la capital nipona ofrece ya un alto grado de mestizaje, en una interesante combinaci\u00f3n \u00a0y superposici\u00f3n de los rituales tradicionales del antiguo imperio y de los delirios consumistas y tecnol\u00f3gicos del nuevo Jap\u00f3n. Puede resultar chocante e incluso dif\u00edcil de creer que la avenida Omotesando, llena de grandes tiendas de marcas de lujo dise\u00f1adas por Kengo Kuma, Toyo Ito, Tadao Ando, MVRDV o SANAA, sea al mismo tiempo el acceso procesional al templo sinto\u00edsta m\u00e1s antiguo y m\u00e1s grande de toda la ciudad.<\/p>\n

Esta mezcla es precisamente el punto de partida de la arquitectura de Nakamura, que reinterpreta la est\u00e9tica de las grandes cubiertas, a menudo el elemento m\u00e1s importante de los edificios tradicionales japoneses, para dise\u00f1ar un edificio comercial donde la clave est\u00e1 en la devoluci\u00f3n del espacio de la cubierta al ciudadano.<\/p>\n

La composici\u00f3n del edificio se divide claramente en dos partes, es ligero y transparente en la base, s\u00f3lido y opaco en la parte superior. Las tiendas de la parte inferior abren sus grandes ventanales a la avenida Omotesando, mientras que a los pisos superiores se accede por una escalera que es sin duda el elemento clave para trasladar a los transe\u00fantes a la cubierta- plaza que remata el edificio. En una de las ciudades m\u00e1s densamente pobladas del planeta, como Tokio, perder suelo para generar espacio p\u00fablico era un lujo que el proyecto no se pod\u00eda permitir, pero por contra s\u00ed que se pod\u00eda generar un espacio abierto al ciudadano en la cubierta, que complementase los usos y la actividad del centro comercial multiplicando las posibilidades de uso.\u00a0 De este modo, se plante\u00f3 la construcci\u00f3n de un jard\u00edn, de un nuevo paisaje en la azotea del edificio. Esta isla verde que concentra 34 \u00e1rboles y 50 tipos diferentes de plantas parece apartar moment\u00e1neamente al visitante del intenso ritmo de Tokio, olvidando por un momento la localizaci\u00f3n ultra-urbana en la que se encuentra en el edificio.<\/p>\n

\"\"<\/a>
Omotesando Station, \uff13\u4e01\u76ee-\uff16 Kitaaoyama, Minato, Tokio, Jap\u00f3n<\/span><\/figcaption><\/figure>\n

Este espacio de uso p\u00fablico pero de titularidad privada es la esencia del tercer espacio de la ciudad, un espacio que activa la vida urbana, que predispone al intercambio de informaci\u00f3n y de experiencias, en definitiva, que predispone a la socializaci\u00f3n. La plaza del centro comercial Omotesando, est\u00e1 en relaci\u00f3n directa con los espacios comerciales, pero tambi\u00e9n con la calle y con el espacio p\u00fablico de la ciudad. De alguna manera todos estos estratos se necesitan y complementan, haciendo dif\u00edcil que uno pueda subsistir sin el otro.<\/p>\n

La ciudad urbana actual necesita de este tipo de modelos para subsanar los errores de su urbanismo, evidentemente estos no se encuentran en los centros urbanos, all\u00ed donde la actividad es m\u00e1xima y la ciudad a\u00fan mantiene su pulso activo. La decadencia de la ciudad est\u00e1 en las periferias, en esos no lugares, espacios sin nombre, id\u00e9nticos en todas las grandes urbes, donde no existe la identidad y el espacio colectivo, el tercer espacio, no ha sido proyectado para complementar el uso p\u00fablico y la ciudad se encuentra muerta y reducida a ciudad dormitorio. Tal vez una soluci\u00f3n sea la de implantar, edificios, nodos de usos mixtos, donde el mestizaje produzca actividad y pueda ayudar a aumentar el p\u00e1lpito social de la ciudad.<\/p>\n

\"\"<\/a>
Omotesando Station, \uff13\u4e01\u76ee-\uff16 Kitaaoyama, Minato, Tokio, Jap\u00f3n<\/span><\/figcaption><\/figure>\n

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

Art\u00edculo publicado en ZAZPIKA 2012.09.09<\/em><\/span>

\"\"<\/a>
Omotesando Station, \uff13\u4e01\u76ee-\uff16 Kitaaoyama, Minato, Tokio, Jap\u00f3n<\/span><\/figcaption><\/figure><\/p>\n

The city is one of the paradigms of the human activity, and probably it is impossible to define it without alluding to the intensity of the relations, the exchanges and the connections between the citizens, that it is capable of generating.<\/p>\n

From a spatial point of view, all the legislation and all the regulations they allude only to two types of spaces, the public space and the private space, but already there abound the texts that they speak about the third space, the collective space.<\/p>\n

If the private space is that one that is defined because his ownership is deprived and the public is defined by his belonging to the collectivity, the collective space would be that one that still being deprived his property, the use in the developed one is clearly public.<\/p>\n

If we think minimally about this category, the bars, the restaurants, the trades, cinemas, commercial or enclosed center some museums belong to this category. Theoretical many as Jose Michael Iribas, already attribute to this space, the collective space called, the great achievement of the active street supports, that is to say the urban activity. This concept, difficult to quantify that often is summarized by expressions that allude to the local life, they become vital at the moment of projecting the city, his urbanism and even his buildings. It is already demonstrated that the public spaces need of these activities, of bars, trades, cinemas or other collective spaces to support the urban tension and to generate activity and therefore aptitude to socialize and exchange and to expire this way with one of the definitions of city to which we were alluding initially.<\/p>\n

\"\"<\/a>
Omotesando Station, \uff13\u4e01\u76ee-\uff16 Kitaaoyama, Minato, Tokio, Jap\u00f3n<\/span><\/figcaption><\/figure>\n

In this respect the mixture of uses returns, not already an option, but a need, to increase the complexity and for ende the activity and the life of the urban environment.<\/p>\n

A building that this new model summarizes well is raised by the Japanese architect Hiroshi Nakamura for the mall Plaza Omotesando placed in one of the crossings of more crowded ways of the world in Harajuku’s commercial district, in Tokyo.<\/p>\n

This zone of the Japanese capital offers already a high degree of miscegenation, in an interesting combination and overlapping of the traditional rituals of the former empire and of the consumer and technological deliriums of the new Japan. It can turn out to be shoking and even difficult to believe that the avenue Omotesando, flood of big shops of brands of luxury designed by Kengo Kuma, Toyo Ito, Tadao Ando, MVRDV or SANAA, is at the same time the access procesional to the temple sinto\u00edsta more ancient and bigger of the whole city.<\/p>\n

This mixture is precisely the point of item of Nakamura’s architecture, which reinterprets the aesthetics of the big covers, often the most important element of the traditional Japanese buildings, to design a commercial building where the key is in the return of the space of the cover to the citizen.<\/p>\n

The composition of the building divides clearly in two parts, is light and transparent in the base, solidly and opaque in the top part. The shops of the low part open his big large windows for the avenue Omotesando, whereas to the top floors one accedes for a stairs that is undoubtedly the element key to move the transients to the cover – square that finishes off the building. In one of the cities denser populated with the planet, as Tokyo, to lose soil to generate public space was a luxury that the project could not allow him, but for against yes that could generate a space opened the citizen in the cover, who was complementing the uses and the activity of the mall multiplying the possibilities of use. Thus, there appeared the construction of a garden, of a new landscape in the roof of the building. This green island that concentrates 34 trees and 50 types different from plants seems to separate momentarily the visitor of the intense pace of Tokyo, forgetting for a moment the ultra-urban location in the one that is in the building.<\/p>\n

\"\"<\/a>
Omotesando Station, \uff13\u4e01\u76ee-\uff16 Kitaaoyama, Minato, Tokio, Jap\u00f3n<\/span><\/figcaption><\/figure>\n

This space of public use but of private ownership is the essence of the third space of the city, a space that activates the urban life, which predisposes to the exchange of information and of experiences, definitively, that it predisposes to the socialization. The square of the mall Omotesando, it is in direct relation with the commercial spaces, but also with the street and with the public space of the city. Somehow all these strata need and complement, making difficult that one could survive without other one.<\/p>\n

The urban current city needs from this type of models to correct the mistakes of his urbanism, evidently these they are not in the urban centers, there where the activity is maximum and the city still supports his active pulse. The decadence of the city is in the peripheries, in this not places, spaces without name, identical in all the big cities, where there does not exist the identity and the collective space, the third space, has not been projected to complement the public use and the city one finds dead and reduced to city bedroom. Maybe a solution is it of implanting, buildings, nodes of mixed uses, where the miscegenation produces activity and could help to increase the social feeling of the city.<\/p>\n

\"\"<\/a>
Omotesando Station, \uff13\u4e01\u76ee-\uff16 Kitaaoyama, Minato, Tokio, Jap\u00f3n<\/span><\/figcaption><\/figure>\n

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

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

Article is published in ZAZPIKA 2012.09.09<\/em><\/span><\/p>\n

\"\"<\/a>
Omotesando Station, \uff13\u4e01\u76ee-\uff16 Kitaaoyama, Minato, Tokio, Jap\u00f3n<\/span><\/figcaption><\/figure><\/p>\n

A cidade \u00e9 un dos paradigmas da actividade humana, e probablemente \u00e9 imposible definila sen aludir \u00e1 intensidade das relaci\u00f3ns, os intercambios e as conexi\u00f3ns entre os cidad\u00e1ns, que \u00e9 capaz de xerar.<\/p>\n

Dende un punto de vista espacial, toda a lexislaci\u00f3n e todas as normativas aluden \u00fanicamente a dous tipos de espazos, o espazo p\u00fablico e o espazo privado, pero xa abundan os textos que falan dun terceiro espazo, o espazo colectivo.<\/p>\n

Si o espazo privado \u00e9 aquel que est\u00e1 definido porque o seu titularidad \u00e9 privada e o p\u00fablico def\u00ednese polo seu pertenencia \u00e1 colectividad, o espazo colectivo ser\u00eda aquel que a\u00ednda sendo privada a s\u00faa propiedade, o uso no desenvolvido \u00e9 claramente p\u00fablico.<\/p>\n

Si pensamos m\u00ednimamente nesta categor\u00eda, os bares, os restaurantes, os comercios, cines, centros comerciais ou ata alg\u00fans museos pertencen a esta categor\u00eda. Moitos te\u00f3ricos como Jose Miguel Iribas, xa atrib\u00faen a este espazo, o denominado espazo colectivo, o gran logro de manter a r\u00faa activa, \u00e9 dicir a actividade urbana. Este concepto, dif\u00edcil de cuantificar que a mi\u00fado \u00e9 resumido con expresi\u00f3ns que aluden \u00e1 vida do lugar, t\u00f3rnanse vitais \u00e1 hora de proxectar a cidade, a s\u00faa urbanismo e ata os seus edificios. Est\u00e1 xa demostrado que os espazos p\u00fablicos requiren destas actividades, de bares, comercios, cines ou outros espazos colectivos para manter a tensi\u00f3n urbana e xerar actividade e polo tanto capacidade para socializar e intercambiar e cumprir as\u00ed cunha das definici\u00f3ns de cidade \u00e1 que aludiamos ao principio.<\/p>\n

\"\"<\/a>
Omotesando Station, \uff13\u4e01\u76ee-\uff16 Kitaaoyama, Minato, Tokio, Jap\u00f3n<\/span><\/figcaption><\/figure>\n

Neste sentido a mestura de usos t\u00f3rnase, non xa unha opci\u00f3n, sen\u00f3n unha necesidade, para aumentar a complexidade e por ende a actividade e a vida do \u00e1mbito urbano.<\/p>\n

Un edificio que resume ben este novo modelo \u00e9 o levantado polo arquitecto xapon\u00e9s Hiroshi Nakamura para o centro comercial Praza Omotesando situado nun dos cruzamentos de cami\u00f1os m\u00e1is concorridos do mundo no distrito comercial de Harajuku, en Tokyo<\/p>\n

Esta zona da capital nipoa ofrece xa un alto grao de mestizaxe, nunha interesante combinaci\u00f3n e superposici\u00f3n dos rituais tradicionais do antigo imperio e dos delirios consumistas e tecnol\u00f3xicos do novo Xap\u00f3n. Pode resultar chocante e mesmo dif\u00edcil de crer que a avenida Omotesando, chea de grandes tendas de marcas de luxo dese\u00f1adas por Kengo Kuma, Toyo Ito, Tadao Ando, MVRDV ou SANAA, sexa ao mesmo tempo o acceso procesional ao templo xinto\u00edsta m\u00e1is antigo e m\u00e1is grande de toda a cidade.<\/p>\n

Esta mestura \u00e9 precisamente o punto de partida da arquitectura de Nakamura, que reinterpreta a est\u00e9tica das grandes cubertas, a mi\u00fado o elemento m\u00e1is importante dos edificios tradicionais xaponeses, para dese\u00f1ar un edificio comercial onde a clave est\u00e1 na devoluci\u00f3n do espazo da cuberta ao cidad\u00e1n.<\/p>\n

A composici\u00f3n do edificio div\u00eddese claramente en d\u00faas partes, \u00e9 lixeiro e transparente na base, s\u00f3lido e opaco na parte superior. As tendas da parte inferior abren os seus grandes ventanais \u00e1 avenida Omotesando, mentres que aos pisos superiores se accede por unha escaleira que \u00e9 sen d\u00fabida o elemento crave para trasladar os transe\u00fantes \u00e1 cuberta- praza que remata o edificio. Nunha das cidades m\u00e1is densamente poboadas do planeta, como Tokyo, perder chan para xerar espazo p\u00fablico era un luxo que o proxecto non se pod\u00eda permitir, pero por contra si que se pod\u00eda xerar un espazo aberto ao cidad\u00e1n na cuberta, que complementara os usos e a actividade do centro comercial multiplicando as posibilidades de uso. Deste modo, formulouse a construci\u00f3n dun xard\u00edn, dunha nova paisaxe na azotea do edificio. Esta illa verde que concentra 34 \u00e1rbores e 50 tipos diferentes de plantas parece apartar momentaneamente o visitante do intenso ritmo de Tokyo, esquecendo por un momento a localizaci\u00f3n ultra-urbana na que se encontra no edificio.<\/p>\n

\"\"<\/a>
Omotesando Station, \uff13\u4e01\u76ee-\uff16 Kitaaoyama, Minato, Tokio, Jap\u00f3n<\/span><\/figcaption><\/figure>\n

Este espazo de uso p\u00fablico pero de titularidade privada \u00e9 a esencia do terceiro espazo da cidade, un espazo que activa a vida urbana, que predisp\u00f3n o intercambio de informaci\u00f3n e de experiencias, en definitiva, que predisp\u00f3n a socializaci\u00f3n. A praza do centro comercial Omotesando, est\u00e1 en relaci\u00f3n directa cos espazos comerciais, pero tam\u00e9n coa r\u00faa e co espazo p\u00fablico da cidade. Dalg\u00fan xeito todos estes estratos neces\u00edtanse e complementan, facendo dif\u00edcil que un poida subsistir sen o outro.<\/p>\n

A cidade urbana actual necesita deste tipo de modelos para emendar os erros do seu urbanismo, evidentemente estes non se encontran nos centros urbanos, al\u00ed onde a actividade \u00e9 m\u00e1xima e a cidade a\u00ednda mant\u00e9n o seu pulso activo. A decadencia da cidade est\u00e1 nas periferias, neses non lugares, espazos sen nome, id\u00e9nticos en todas as grandes urbes, onde non existe a identidade e o espazo colectivo, o terceiro espazo, non foi proxectado para complementar o uso p\u00fablico e a cidade se encontra mortas e reducidas a cidade dormitorio. Talvez unha soluci\u00f3n sexa a de implantar, edificios, nodos de usos mixtos, onde a mestizaxe produza actividade e poida axudar a aumentar o p\u00e1lpito social da cidade.<\/p>\n

\"\"<\/a>
Omotesando Station, \uff13\u4e01\u76ee-\uff16 Kitaaoyama, Minato, Tokio, Jap\u00f3n<\/span><\/figcaption><\/figure>\n

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

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

Artigo publicado en ZAZPIKA 2012.09.09<\/em><\/span><\/p>\n

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

La ciudad es uno de los paradigmas de la actividad humana, y probablemente es imposible definirla sin aludir a la intensidad de las relaciones, los intercambios y las conexiones entre los ciudadanos, que es capaz de generar. Desde un punto de vista espacial, toda la legislaci\u00f3n y todas las normativas aluden \u00fanicamente a dos tipos […]<\/p>\n","protected":false},"author":31,"featured_media":46242,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[3657,318,397,5907,516,4285,1575,1620,5615,2701,2740,5909,1206,1262,2677,10641,12468],"class_list":["post-24628","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-arquitectura-japonesa","tag-ciudad","tag-cubierta","tag-espacio-privado","tag-espacio-publico","tag-inigo-garcia-odiaga","tag-japon","tag-jardin","tag-jose-miguel-iribas","tag-kengo-kuma","tag-mvrdv","tag-omotesando","tag-sanaa","tag-tadao-ando","tag-tokio","tag-toyo-iyo","tag-urbanismo"],"yoast_head":"\nEl tercer espacio | \u00cd\u00f1igo Garc\u00eda Odiaga<\/title>\n<meta name=\"description\" content=\"tercer espacio\" 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